Specifications

ptg
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Introducing Color Correction
5. Now, click the eyedropper below the Highlights ChromaWheel, and
click an area of the frame that is supposed to be white, such as the
back wall.
Watch as both the RGB Parade and the image adjust to remove the
color cast from the whites.
6. Click the Dual Split button to display the “before and after” view. How
did balancing the image using the Remove Color Cast buttons com-
pare to the Auto Balance procedure from the previous exercise? If one
method worked better than the other, why do you think that it did?
7. If necessary, tweak the chroma values further using the
ChromaWheels. (Feel free to load the “Color correction sequence
Part 1” sequence and look at its ChromaWheel values to determine
how you should approach your adjustments.)
Remember that you can sample colors using the Color Match con-
trol boxes to test the exact red, green, and blue values of specific
image areas.
8. Repeat steps 3–7 for the remaining two shots in the Timeline.
9. From the menu in the left monitor, select the Vectorscope.
Because the last two shots show human faces, you will make sure that
the chroma values are accurate in terms of flesh tones.
10. Examine how the video signal registers on the Vectorscope. Does it fall
on the flesh tone line, extending out about one-third of the way from
the center of the graph?
11. If necessary, tweak the hue and saturation values using the Midtones
ChromaWheel. You may also need to drag the Saturation slider on the
Controls tab to increase or decrease saturation at a given hue value.
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