7.0
Table Of Contents
- Site Settings
- Index Site Settings
- Avid Liquid Reference Manual
- Contents
- Introduction
- Documentation
- Basics
- Signup
- High Definition
- Input
- Logging and Digitizing (Capture)
- EZ Capture
- Starting EZ Capture
- Basics
- The Logging Tool and Its Functions
- Video Inlay, Timecode Fields and Status Field
- Player Source (D)
- Reels and Racks (E, F)
- Controls (Player and Edit Buttons, G)
- A/V Inputs (Selecting Source Tracks, H)
- Stereo or Mono (I)
- 4:3 or 16:9 (I)
- Selecting a Media Format/Codec Preset (J)
- Destination Volumes for Digitizing / Capture Volumes (K)
- Select Audio Monitor /Mute
- Video Tool / Calibration Control /IPB Settings
- Clip Tab: Naming and Numbering Clips
- Color Correction Tab
- Audio Tab
- Master Tab
- Media Tab
- Send Clips To Timeline (Direct Insert)
- Properties
- Methods
- File Ingest
- Background Live Capture
- Importing Objects
- Copying/Pasting Objects from Other Projects
- Media Management and Object Import
- Creating Objects
- Voice-Over
- Importing EDL/AVID MediaLog Files
- Exchange
- Administration
- The Project
- The Object
- Media Management
- Edit
- Video Editing
- Audio in the Timeline
- Special Functions
- Finish
- Effects in Avid Liquid: The Basics
- Detailed Description of Classic Effect Editors
- Realtime FX
- AFX PlugIns
- Special FX
- Timewarps and Color Correction
- Color Correction Editor
- Linear Timewarp
- Timewarp Editor
- Audio
- Audio Postproduction and Audio Effects
- Basics
- ASIO Driver and DirectSound
- 32-bit Floating Point Audio
- Special Characteristics of Audio Clips
- Inserting Audio Clips on the Timeline
- Assigning Tracks
- Stereo and Mono, Panorama and Balance
- Muting Timeline Tracks (Audio Playback)
- Audio Scrubbing - Digital or Analog
- Working with more than 16 Audio Source Tracks (Real- Time Playback)
- Audio Tool
- Audio Editor
- Special Functions
- SmartSound: Background Music Made to Measure
- Audio Effects
- Avid Liquid Plugin Audio Effects (VST)
- Basics
- Audio Postproduction and Audio Effects
- Titler
- DVD Authoring
- Export
- Customize Avid Liquid
- Glossary
- Index
743
Color Correction Editor
RGB Color Space
On a computer monitor, colors are generated by means of red, green and blue dots illuminated at differ-
ent intensities. If you look closely enough at the monitor, you can see these dots. The red, green and blue
(RGB) variables can be stored digitally as bytes with values from 0 to 255. The notation (255,255,255)
means “white”, (0,0,0) means “black” and (0,255,0) means a fully saturated “green”. The brightness not
only of the resulting colors is also described by the RGB value sets: (25,25,25) would be a dark gray,
(200,200,200) a light gray.
Many graphics programs use the RGB model to define colors.
YUV Color Space (YC
b
C
r
Space)
Television was originally black and white. All the information was transmitted in one signal, the lumi-
nance signal (Y), which permitted the display of the necessary shades of gray. When color television was
developed, it still had to operate on the many existing black-and-white TV sets. For this reason, two
“color difference signals” were added to the Y signal: C
b
(analog: B-Y; U) and C
r
(analog: R-Y; V).
These three components form what is often called the “YUV” signal. From this signal, red, blue and
green values can be computed that guarantee the correct reproduction of color on the color monitor.
Stored digitally as bytes, the value of each component can in theory range from 0 to 255. The actual
ranges of values, however, are limited by CCIR Standard 601:
Y (16 to 235)
C
b
, C
r
(16 to 240)
Mathematically speaking, the two color spaces (YUV and RGB) describe the same space. However, the
different range of values results in a very different spatial resolution. Moreover, specific colors are “not
possible” in the RGB space but can be produced in the YUV space. See also “Legalizer” on page 761.