How to use Color Correction techniques in Adobe CS2 to create professional looking video.
The best way to ensure proper color balance of your video is to manually white balance your camcorder as you're setting up your shots. Now, even if you do this it's sometimes hard to prevent a color balance that's not ideal, so this weeks tips and techniques, we're gonna show you how to color correct using your video editing software.
The light from the sun and the light from a typical house lamp are very different. Our camcorder sees them differently and that's because of color temperature. You see, the sun burns at a very, very hot temperature and the light our camcorder sees from the sun is a little more blue than what you would see from a typical house lamp, which burns a little more reddish.
In this example, our footage has a very strong blue tint to it. This happens because our camcorder was probably set up for an indoor lighting environment. To solve this problem, we'll be using Adobe Premier Pro CS2. You can use other applications to do the same technique. Once we have imported our footage and placed it on the timeline, we can then change the color with the color correction filter. We'll be using the RGB color corrector, found under your Color Correction folder in the Effects tab.
Now, double click your clip on the timeline and go to the Effects tab. Because this clip has a bluish tint, we will click the blue gain adjustment. Now, drop it down until the blue dissipates and becomes what you prefer. For a clip that is too warm or with a reddish tint, you can do the same process, but instead of clicking on the blue gain, you'll be using the red gain adjustment. Taking these steps will allow you to mix different shots from different lighting environments seamlessly into a professional looking video.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.