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
774
Chapter 13 Special FX
Six Vector Color Correction
Six Vector Color Correction is already considered to be secondary correction because the hues R, Mg, B,
Cy, G and Yl can be edited independently of one another. For example, you can easily use this function to
“repaint” a red car blue.
Six Vector Color Correction appears in the Compact Display between the inlays
and in the bottom half of the Color Correction Editor when it is opened all the
way.
Six Vector Color Correction can be used separately or in combination with the
other correction functions.
You can activate or deactivate the parameters by means of the square on the
right in the Six Vector Color Correction title bar.
Selecting and Editing a Color Vector
1 First select the Color Vector you want to edit by clicking the color or the associated radio button.
The transitions between the six sectors are fluid; if you wish to define the hue exactly, you may
have to switch to Selective Color Correction.
2 Edit the Color Vector:
Either by means of the known parameters (Gain, Gamma, Black, Hue, Saturation; see “Parame-
ters” on page 764),
Or by going directly to the Vec to r D i spl ay w here you can drag the selected Color Vector to the
desired location.
Saturation can also be set by means of the mouse. See also “Vector Display” on page 754.
3 If appropriate, select additional Ve c to r s . You can edit all six Ve c to r s . If you go back and edit a spe-
cific Vec to r again, the previous values of this Ve c to r are overwritten.
Six Vector Color
Correction