I try messing around with the Color Correcting filter in msp7 every once in a while, usually the "Auto" setting will make the video turn out for the better, but i'm curious as to just what it is doing...
i can occasionally get my video to look a bit better by using manual settings, but that is all by just 'guess and check'. i've always had a thing where i just get frustrated if i can't have a direct explanation telling me what i'm doing! (this is one of the..) so what i'd like to know is, just what is it doing when i pick different highlights, midtones, and shadows for the video, what do the different shades of colors do to the video..? i feel like if i knew what i should expect to happen, say , if i select a dark color for "this" and a light color for "this" and so on...that i'd be able to get better , quick , and easier reults!
if anyone can help me out i would GREATLY appreciate it!
color correcting... looking for an explanation!
IMHO, colour correction is extremely difficult unless you have some concrete reference. In the early days of TV, even greyscales were tricky, as each studio camera had a different gamma with three trimmer corrections for low, medium and high lights. When colour came in, for studio work, the cameras were calibrated individually using a large colour chart. It could take 30 - 60 minutes to balance the response of three cameras.
With computers, the task is enormously difficult because it is rare to have a colour reference and it is even worse because of the fact that a TV has a colour temperature 1500 - 2000 K higher than a computer monitor. Also, the gamma of a monitor is different from a TV, for alll three of the RGB curves.
Then it takes an extremely critical eye to colour match. I used to supply a knitting wool dyer and they fine-tuned the dye baths by adding small quantities of chemicals to achieve the standard colour. The experts there would compare the colour of a trial swath with that of standard one. They would say it was way out, add 100 g of sodium hydroxide and 20 g of sodium metabisulfite to a 5 m3 dye bath: even under standard lighting, I could never see the difference.
The secret is a little at a time, wait an hour or two, then look at the result on the screen (or type of screen) that you wish to view the final result on. If it does not offend the eye, it's OK!
With computers, the task is enormously difficult because it is rare to have a colour reference and it is even worse because of the fact that a TV has a colour temperature 1500 - 2000 K higher than a computer monitor. Also, the gamma of a monitor is different from a TV, for alll three of the RGB curves.
Then it takes an extremely critical eye to colour match. I used to supply a knitting wool dyer and they fine-tuned the dye baths by adding small quantities of chemicals to achieve the standard colour. The experts there would compare the colour of a trial swath with that of standard one. They would say it was way out, add 100 g of sodium hydroxide and 20 g of sodium metabisulfite to a 5 m3 dye bath: even under standard lighting, I could never see the difference.
The secret is a little at a time, wait an hour or two, then look at the result on the screen (or type of screen) that you wish to view the final result on. If it does not offend the eye, it's OK!
[b][i][color=red]Devil[/color][/i][/b]
[size=84]P4 Core 2 Duo 2.6 GHz/Elite NVidia NF650iSLIT-A/2 Gb dual channel FSB 1333 MHz/Gainward NVidia 7300/2 x 80 Gb, 1 x 300 Gb, 1 x 200 Gb/DVCAM DRV-1000P drive/ Pan NV-DX1&-DX100/MSP8/WS2/PI11/C3D etc.[/size]
[size=84]P4 Core 2 Duo 2.6 GHz/Elite NVidia NF650iSLIT-A/2 Gb dual channel FSB 1333 MHz/Gainward NVidia 7300/2 x 80 Gb, 1 x 300 Gb, 1 x 200 Gb/DVCAM DRV-1000P drive/ Pan NV-DX1&-DX100/MSP8/WS2/PI11/C3D etc.[/size]
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Nilsy
Hahaha
Hahaha, I see why you call yourself "Devil".
I used to work with illustrations etc, handmade, especially with airbrush.
Sometimes to make paper effects as backdrops I'd dip the "Schôellerhammer 4G-Dick" (just cardboard for this stuff) in a bath of tea water.
When looking at the result with fluorescent lighting in the office, hm, that was not correct... but, as most offices use that form of lighting, it was useable.
But I also had a light table that was hand built in Sweden, that gave 5500 Kelvin. Great for assessing differences.
However, if you have the money, I have read somewhere that the best way for this is to get a super dooper top notch screen.
Apparently the best for this is a Ikegami video screen.
I don't have the money for it, so I am doing my stuff by the trial-and-error method.
I used to work with illustrations etc, handmade, especially with airbrush.
Sometimes to make paper effects as backdrops I'd dip the "Schôellerhammer 4G-Dick" (just cardboard for this stuff) in a bath of tea water.
When looking at the result with fluorescent lighting in the office, hm, that was not correct... but, as most offices use that form of lighting, it was useable.
But I also had a light table that was hand built in Sweden, that gave 5500 Kelvin. Great for assessing differences.
However, if you have the money, I have read somewhere that the best way for this is to get a super dooper top notch screen.
Apparently the best for this is a Ikegami video screen.
I don't have the money for it, so I am doing my stuff by the trial-and-error method.