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
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Chapter 13 Special FX
Practical Tips for Using Color Correction
Color correction is one of the most complex and difficult areas of postproduction. For non-professional
users, we’d like to offer the following tips:
No Exact Color Correction on the Computer Monitor
You should always evaluate any color correction on a calibrated video monitor or television. Because of
the different display technologies, the colors on the video monitor and computer monitor do not match.
Calibrating the TV Monitor
If possible, purchase a dark-blue filter (e.g. Wratten 47B), which will allow you to simulate the Blue Only
(Blue Check) feature available on professional video monitors. You’ll find this filter in any of the better
photo stores.
If you happen to be reading the printed version of the Reference Manual, you can also go to this section
in the online PDF file where the illustrations are in color. In Avid Liquid, press
F1 and go to the PDF tab.
1 To calibrate a typical TV monitor, use the SMPTE color bar test pattern from Avid Liquid (by
default located in ..\My Documents\Avid Liquid\Testpattern\NTSC). Load SMPTE Color Bars
(NTSC) to a Project and then to the Timeline or Clip Viewer so that it will appear on the TV mon-
itor:
SMPTE color bars
(Top row, left to right: White, Yellow, Cyan, Green, Magenta, Red, Blue
Middle, narrow row: Blue, Black, Magenta, Black, Cyan, Black, White)