Specifications

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Introducing Color Correction
Getting Started with Color Correction
As with most editing processes, color correction gives you the best results
if you follow a proper workflow. Although this chapter primarily discusses
automatic color correction techniques, good workflow practices also ben-
efit manual color correction methods.
Color Correction Workflow
The following is a typical workflow for color correction:
1. Set the black and white values of your image: Map the black and
white areas of your image to the appropriate video levels. Then, adjust
the midtones as needed.
Video black values should be mapped to 16 bits (digital) or 0 IRE
(analog), and video white values should be mapped to 235 bits (digi-
tal) or 100 IRE (analog). These values can be measured using the Y
Waveform monitor, which is accessible as part of the Color Correction
toolset in Media Composer.
White areas should measure 235 bits (digital)
or 100 IRE (analog)
Black areas should measure 16 bits (digital)
or 0 IRE (analog)
The image shown here should be read from left to right to correspond
with the actual video frame. Therefore, areas on the left side of the
frame that are black (such as Tony’s shirt) should rest along the bot-
tom of the waveform, regardless of where they are located within the
actual frame. Likewise, areas on the right side of the frame that are
white (such as the window) should rest along the top of the waveform,
regardless of where they are located within the actual frame.
NOTE Because neutral
colors (black, white, and
neutral gray) should
measure identical levels
of red, green and blue,
a color cast occurs
when one color chan-
nel measures more or
less value than the other
color channels.
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