User Manual

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There are two ways of using the Color Stabilizer:
The easiest way is to choose Entire Frame from the Region For Analysis pop-up menu.
Then, move the playhead in the Viewer to the frame that represents the contrast and
color you want the entire clip to have, and click the Analyze This Frame. Now, if you
play through the clip, changes in contrast and color should be gone. This method
works best for clips where the inconsistency you’re trying to eliminate is fairly uniform,
affecting the entire picture.
Another way is to choose Overlay Rectangle from the Region For Analysis pop-up
menu. This causes an onscreen rectangle to appear that you can resize and position
over a specific region you want to sample for the duration of the clip. If the selected
feature you’re analyzing is moving, then you can use the FX Tracker to track the subject
so the selection box follows it (this is important for a consistent result). Once this is
set up, move the playhead in the Viewer to the frame that represents the contrast
and color you want the entire clip to have, and click the Analyze This Frame. Now, if
you play through the clip, changes in contrast and color should be gone. This method
works best for clips where there are parts of the picture that are supposed to have
a change in brightness or color, such as when something moves into the frame, or a
reflected highlight comes and goes because of the lighting scheme, at the same time
as an otherwise undesirable change in contrast or color. You can use the selection box
to specifically analyze the part of the frame that has the unwanted exposure change,
while ignoring the desirable exposure change.
Depending on what option you choose from the Region for Analysis pop-up menu, different
additional options appear.
Analysis Region
If you choose “Entire Frame” from the Region For Analysis pop-up, these controls don’t appear.
A set of Source X/Y Position and Source Width/Height parameters let you transform the
selection box that defines which part of the image is being analyzed.
Channels to Stabilize
Once you’ve analyzed the frame that represents the best contrast and color for that clip, the
Channels to Stabilize controls let you choose how you want to handle making the correction.
The What to Stabilize pop-up menu lets you choose between stabilizing White Balance and
Brightness, or R, G, B Channels Separately.
If you choose White Balance and Brightness, two checkboxes let you choose
whether or not you want to include Stabilize White Balance and Stabilize Brightness
independently from one another.
If you choose R, G, B channels separately, three checkboxes appear letting for Stabilize
Red, Green, and Blue Channel, so you can pick which particular channels you want to
correct.
The “Stabilize Levels How” pop-up lets you choose how to make the correction, with options to
Match Levels and Contrast, Lift to Consistent Level, Gain to Consistent Level, each of which
uses a subtly different method to make the necessary correction, so if one method doesn’t
work for the particular problem your clip is exhibiting, you can try the other methods to try and
get a better result.
Chapter – 139 ResolveFX Color 3029