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Color Matching – For Real?
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Choosing to learn some color correction techniques is a good idea..but I would have tried to find a course on Resolve, as you said you have Resolve light. Apple Color is “End Of Life” so I would not spend a lot of time learning it’s very deep interface. Resolve is quite different, and will become the tool of choice on the Mac, as many colorists are already moving on to it.
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[alban egger] “The auto-match is not working too well on my side. I need to do test, but maybe it is working with the metadata and matches shots from the same camera better than when mixing different cams. Looks like that to me.
But in some shots it works fine.”Auto-match, like in-camera auto-exposure, is essentially based upon perfect overall corner to corner exposure of a 17% gray card. So, unless you’re actually shooting a 17% card with flat lighting, which probably comprises very little of most of your media, you’re most likely going to get a mixed bag of performance in most real-world situations.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new tutorial: Prepare for a seamless transition to FCP X and OS X Lion
https://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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Good luck with the Color class…I’ve played with it, but never really dove in.
I deal with a lot of mismatched footage (some of it my own fault when I’m acting as DP), and found that the free version of Red Giant’s Colorista was helpful in some situations I couldn’t fix with the FC3 color correctors.
FC3 is pretty flexible for CC on the timeline — very easy to copy the corrections once I have them, and for shots that are unexposed as well as unbalanced, using composite modes/blend modes has been the best way to lift them 15 or 20 IRE without losing the shadows. Plus I can also adjust the opacity and/or color correction of the top layer to tweak it even more.
Plus it follows my first principle, which is to stay on the timeline whenever possible!
Chris Walsh
http://www.musicfog.com
Silver Spring, MD
Final Cut & AVID MC5
Former Windows User and edit* lover -
Got thru about half the course….totally unsuitable for my workflow. I build far too many FX in the timeline and build far too many layers to deconstruct and reconstruct a 15 minute sequence.
Peter Tours
TnT Video Services, Inc.
Fort Lauderdale, FLTRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 – 1984
Datatron Vanguard 1984 – 1993
GVG VPE141 1993 – 1998
Media 100 1995 – 2006
Final Cut Pro 2005 to infinity and beyond! -
Like turning so many proc amp buttons on the TBC but with more control. Been there, done that, but the deconstruction and reconstruction of lengthy multilayer, texted shows is a nonstarter. Back to the 3way.
Peter Tours
TnT Video Services, Inc.
Fort Lauderdale, FLTRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 – 1984
Datatron Vanguard 1984 – 1993
GVG VPE141 1993 – 1998
Media 100 1995 – 2006
Final Cut Pro 2005 to infinity and beyond! -
Color matching looks great on the X website. Figured it had to be too good to be true. More prosumer toys.
Peter Tours
TnT Video Services, Inc.
Fort Lauderdale, FLTRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 – 1984
Datatron Vanguard 1984 – 1993
GVG VPE141 1993 – 1998
Media 100 1995 – 2006
Final Cut Pro 2005 to infinity and beyond! -
The previous post about proc amp knobs refers to Color
Peter Tours
TnT Video Services, Inc.
Fort Lauderdale, FLTRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 – 1984
Datatron Vanguard 1984 – 1993
GVG VPE141 1993 – 1998
Media 100 1995 – 2006
Final Cut Pro 2005 to infinity and beyond! -
You seem like a candidate for Colorista. It has elliptical, rectangular, and free form mattes like Color, and a whole lot of other very =nice features, but still works on the timeline like the 3-Way CC. Give the demo a shot… I think you’ll like it.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new tutorial: Prepare for a seamless transition to FCP X and OS X Lion
https://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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David – I have heard a lot about Colorista. But in mid-project I obviously cannot put demo apps into it…and the cost is a bit much for me right now. But clearly I will have more opportunities to try it with our DP.
Peter Tours
TnT Video Services, Inc.
Fort Lauderdale, FLTRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 – 1984
Datatron Vanguard 1984 – 1993
GVG VPE141 1993 – 1998
Media 100 1995 – 2006
Final Cut Pro 2005 to infinity and beyond! -
Try the free version of Colorista, not as powerful (mattes and more) as the full paid version, but you can’t beat the price.
https://www.redgiantsoftware.com/products/all/magic-bullet-colorista-free/
Chris Walsh
http://www.musicfog.com
Silver Spring, MD
Final Cut & AVID MC5
Former Windows User and edit* lover
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