Hello, I'm Adam Stanislav,
now recovering from bronchitis, so please bear with me,
My voice and my looks aren't my best.
Anyway, let's start by taking a look
at a video clip shot right here with the same camera
set to 7500 K color temperature,
except these two lights were not lit.
There was just a ceiling light with a very wrong color temperature,
a very low illumination, so a bad clip.
And then we'll discuss how we can fix it.
Maybe while you're watching it (it's only 56s long)
you can think about how you would approach fixing it,
and then we'll see if we say the same things.
Anyway, here it is:
Well, this is ridiculous!
Just look at the colors of this video clip:
How aweful they are!
The color temperature is all wrong.
Why on Earth would you be even watching it?
How else am I gonna fix it, Old Man?
Oh, heh heh, you want to fix it.
Well … Perhaps this can help …
Maybe we can expand it …
So you see some white here.
Or …
We can even go further with a SpyderCHECKR™.
Can you … Can you see it?
Like this!
OK! Now you can try to fix it.
And let's see what you've got!
What do we got? We got five instances of this
same clip, loaded into Vegas Pro.
And we got the Palette Mallet OFX plug-in.
We have selected a spot in one of these instances of the clip
with the white side of the Lastolite™ shown,
thankfully, in that clip.
If we didn't have this, we might use the white part
of the hair, or some other white point.
OK, so, we will use several different
techniques of how this can be fixed.
Why several? Because some are easy, some more complicated,
and the easy ones might work better with a very simple problem,
which this isn't, this is quite a bad clip,
but it might work with a clip that is not as bad.
Anyway, let's add Palette Mallet to the clip.
Palette Mallet has several parts. One of them, called Palette,
is divided into two parts: The black and white, called the Svit,
and the rest of it (red, green, blue, cyan, magenta, yellow),
called the Farba.
We will only be concerned with the Svit,
so we're going to not even consider the Farba.
And, indeed, all we want is to fix the white balance.
We click on the white color and select the picker.
We select a portion of this white (Vegas can average an area).
So, this now shows us what that so–called white looks like,
and it looks even worse because white has been turned into that.
We want the opposite: This color to become as close to white as possible.
We accomplish that by changing the white efficacy from 1 to -1.
And now we have a better part of the clip.
We might be tempted to go beyond -1,
to make it even whiter.
But, we're not going to do that because
it seems like a simple solution,
but it has its problems. We have other better solutions for that.
Now let's turn this off,
and let's just take a look at what the clip looks like now:
Well, this is ridiculous!
Just look at the colors of this video clip:
How aweful they are!
The color temperature is all wrong.
Why on Earth would you be even watching it?
Oh, heh heh, you want to fix it.
Well … Perhaps this can help …
Maybe we can expand it …
So you see some white here.
Or …
We can even go further with a SpyderCHECKR™.
Can you … Can you see it?
Like this!
OK! Now you can try to fix it.
And let's see what you've got!
The first method we used works in many cases.
Of course, as we know, this is a very bad clip,
so we need something better.
Luckily, we have the Datacolor SpyderCHECKR™ in our footage.
We are interested in 8 of its color chips,
This one is black, white, red, green, blue,
cyan, magenta, and yellow.
So we drag Palette Mallet here again.
This time we disable both, Farba and Svit
for the time that we are selecting these various chips.
If we didn't, the moment we select one,
the image would change.
The next one would change it again.
But we want to select them from the original image.
So, here's the Palette.
Here's black.
We select the black chip here.
Then we go to white.
We select the white chip.
And I'm going to speed up through the remaining ones.
OK, we have them all selected.
And now, of course, we get rid of these checkmarks.
So now we see the effect of selecting all of those colors,
and what you may think to do
would be to switch every efficacy from 1 to -1.
But, Palette Mallete allows us to do the entire Palette efficacy
with just one [slider]. This is 1, now it is -1,
and the colors have changed.
And this is our solution number two.
Again, we could go further than -1, see what that would look like.
It looks kind of good, but is not perfect.
There is one more thing we should do.
If we really take a look at this.
This image is extremely contrasty.
So, what we're going to do,
we're going to change black.
We're go to get rid of the black here, and disable it.
That will set black efficacy to zero and
the total black efficacy now is zero times -1 [= 0].
So we are only working with the white, red, green, blue, cyan, and magenta
[and yellow] colors, and this looks better
than if we used the black because
using black would make it even blacker and increase contrast.
Anyway, let's take a look at what this results in:
Well, this is ridiculous!
Just look at the colors of this video clip:
How aweful they are!
The color temperature is all wrong.
Why on Earth would you be even watching it?
Oh, heh heh, you want to fix it.
Well … Perhaps this can help …
Maybe we can expand it …
So you see some white here.
Or …
We can even go further with a SpyderCHECKR™.
Can you … Can you see it?
Like this!
OK! Now you can try to fix it.
And let's see what you've got!
Although there is a difference between the first two methods,
the difference is almost imperceptible for this clip.
So we need Method Three.
For that, we need to take a look at the parts of the plug-in.
There are four major parts: Palette; Channel Blend, similar
to the Channel Blend in Vegas Pro, though different;
then Simple Lookup Table, a LUT; and the Mallet.
These work in unison, together.
And they represent, by analogy, a special kind of film
inside of a camera, like there is a film for,
panchromatic and monochrome film, and special purpose films
(at least there used to be).
And this is very similar to that.
These together, the film processes whatever image
was sent to it by the objective.
This, my friends, is an objective.
And people call it lens sometimes, when it consists of …
… a lot more than a lens. There's usually many lenses and …
… it's called an objective because …
… the object reflects light into it …
… and that's where the image of the object is being formed.
That's an objective.
Now, we also do have an Objective in Palette Mallet,
so let's take a look at that one.
It is a lens filter effect,
applied before anything else, just as in a camera.
If you have a filter on a lens,
the light is filtered before it enters the camera.
And filters were used in the past to correct wrong color temperature.
So, let's see if we can use that here.
We're going to click on the black color here,
then take the color picker
and select a representation of white.
Now, this gives us a filter of the wrong color
because this would make white into this color
but we want the exact opposite.
Luckily, Objective has an option here to invert
the color of the filter.
This is the right color to correct for that particular
color cast, but we need to—
We have filter density here as zero.
We can try different densities.
If we go all the way up, then it becomes essentially a monochrome image.
If we go too low,
the correction isn't good enough, so I'm just going to type in
zero
point
two zero.
And we're going to go with that.
After we have done that,
we will go and do our Palette thing from—
from the SpyderCHECKR™ as before.
So, again we turn off the Farba and the Svit
and note that the colors didn't change despite us
getting rid of both of these. That is again because
whatever happens in the Objective happens before
the Palette Mallet four things are applied.
So, the color remains that. Now, we can skip
black. We already know that it doesn't help, from the
Second Method, at least not with this particular clip,
it may help with other clips.
So, I'm going to select
white, red, green, blue, cyan, magenta, yellow, and again I'm just
going to go— going to do it very fast.
There! Now again we'll go—
Well, we'll turn back Farba and
Svit, and we will turn the Palette efficacy to -1 as before,
and now it looks much better than the previous two versions.
So, let's take a look at what it looks like:
Well, this is ridiculous!
Just look at the colors of this video clip:
How aweful they are!
The color temperature is all wrong.
Why on Earth would you be even watching it?
Oh, heh heh, you want to fix it.
Well … Perhaps this can help …
Maybe we can expand it …
So you see some white here.
Or …
We can even go further with a SpyderCHECKR™.
Can you … Can you see it?
Like this!
OK! Now you can try to fix it.
And let's see what you've got!
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