» Posts Tagged ‘colorcorrection’
Stu Maschwitz’s tutorial on color correction is one of the most-clicked links on this site, month after month. His very helpful tutorial was recorded for the cross-platform plugin Magic Bullet Colorista I, but the techniques he demonstrated applied to color correction in general. Now, however, Colorista II is available, and the amount of control the $299 plugin gives you is staggering. When it comes to software, however, a lot of people will sell you a product and then try to sell you training for that product — but here’s over an hour of free color correction tutorials from Stu. This is great stuff for an unbeatable price. More »
Magic Bullet Colorista is one of the more indispensable post-production plugins in my toolbox, as it is a very high-quality primary color corrector. I like Colorista because it’s powerful, it’s easy to use, and it’s cross-platform, which means you can use the same plugin on Macs and PCs, and within Final Cut, Premiere Pro, and After Effects. However, to date Colorista hasn’t offered secondary color correction, which allows for more precise adjustments; with the release of Colorista II, Red Giant has added this missing feature — and many more. More »
As part of today’s free Adobe workshop on HDSLR feature film workflows (I’ll update that post with a link to the archived presentation), one of the commenters brought to my attention a promising DSLR post-production plugin called 5DtoRGB.1 I’ve called DSLR color-correction on a Mac a clustercuss, not just because of the 4:2:0 color space, but because of Quicktime gamma inconsistencies (often related to YUV to RGB conversion). Rarevision’s 5DtoRGB plugin, currently in beta, just might be the solution to these problems. More »
- Sorry, whoever it was who commented about 5DtoRGB — I lost the chat thread when my Flash plugin crashed for the dozenth time. [↩]
In Zacuto’s most recent DSLR/film comparison, one of the commenters noted that upconverting to ProRes gave much better results (than editing native h.264 footage) in post. While ProRes is definitely a better codec (in terms of color space and compression), the clip showed as a reference seemed to exhibit a perpetually-annoying gamma shift bug that applies to a lot of DSLR shooters — more specifically, anyone editing h.264 video on a Mac. When I shot some stuff on my 5D for Focus Features, I noticed that the clips looked desaturated and flat in Quicktime 7, and supersaturated and contrasty in Quicktime X (Quicktime X ships with Snow Leopard, and Quicktime 7 is an optional install). Jerome Stern at MotionLife corroborates this experience, decrying the lack of consistency when it comes to viewing and editing h.264 footage on a Mac: More »
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