This is the primary in a short series of articles in which we will explore a few uses of secondary color correction. While that is written through a Sony Vegas consumer for Sony Vegas customers, the simple concepts will also follow in different non-linear modifying packages.
The secondary color correction plug-in in Vegas is a powerful tool ranging from very subtle corrections to inventive or even comical consequences. Before we get into reaching precise results, let’s take a look at how the plug-in works. The layout is split into sections: pinnacle and bottom. The backside phase defines what elements in the photo you want to be struck by the impact. The details may be selected by expressing any luminance, saturation, or hue levels. There is also an eye dropper device so that you can be included in a future article. The pinnacle phase defines what you want to do to the decided elements, including converting the hue, saturation, gamma, and extra. In this first article, we will be proscribing ourselves to the hue settings in the backside part and the saturation put inside the pinnacle element.
The Girl in the Red Dress
If you have seen the Spielberg movie Schindler’s List, you will no doubt recall the scene with the woman in the purple dress (or coat). In an other in a black and white film, Spielberg chose to colorize the little lady red to draw interest to her at an emotional point inside the film. While he probably did it the old school manner, including color to black and white movies as became regularly finished with vintage pics, you could reap the equal impact using your secondary shade correction. This system offers you a massive head begin via including a “Desaturate all but Reds” preset. Don’t contact that preset! While within the maximum simple scene, the preset would possibly paint, it’ll no longer get you an expert result in full cases.
Let’s start with choosing your scene. It’ll be smooth if you’re shooting something scripted and might plan. Ensure the crimson get dressed (or blue flower or something you are used to) is the best issue within the shot with that coloration. Avoid having something with different sun shades of the identical shade, and watch out for mild reflecting off the purple. Get dressed and affect another object. Congratulations, you can use the preset if you can control all that. Now, for the relaxation of us. I will now and again employ this effect in wedding motion pictures, leaving the bouquet or even the little female’s dress because of the only colored detail within the scene. Yes, it’s too obvious; it’s a touch cliche. However, it looks accurate. Although if the flower woman was surely sporting a red get-dressed, I might not suggest putting a right visible connection with a holocaust movie within the wedding ceremony video. Anyway, you can not use this effect in just any vintage shot. There are commonly too many objects of equal coloration or mixed colors within the image, so you are seeking out an idea where one detail already stands out because it is an exceptional color.
Alright, so you’ve determined your shot. What we want to do is (as the preset says) desaturate all but purple. The pinnacle part of the plug-in defines what we want to do, so in this situation, virtually flip the saturation down to zero. Assuming you failed to cheat and start with the preset, you currently have a black-and-white photo. Within the backside half of the plug-in, we want to outline what must be affected. At the instant, with the aid of default, everything is involved, so we can alter it to tell it exactly what not to act (purple).
Since we’re looking to do away with the color crimson from the desaturation effect, we can most effectively manage hue. You will note that the width slider is all the way up at 360. For a visible reference of what this represents, just look at the chrominance color wheel on the top. With the width at 360, we are affecting all 360 degrees of the coloration wheel. Consequently, everything has been desaturated. You may also note that the “middle” slider is set to one hundred eighty. This represents the attitude of a hundred and eighty ranges on that same coloration wheel.
If you switch down the width, you may see blues and magentas appearing first. Referring back to the chrominance shade wheel, you will see that with the middle at 180 and the width right down to one hundred eighty, we’re now telling it to desaturate everything on the left aspect of the wheel. So, to make the reds saturated, you need to move the middle slider to round 260 levels, so you are desaturating the whole lot on the opposite aspect from purple. Now, you may alter the width until the crimson dress is colored. You may want to tune the center barely if the dress is slightly more orange or purple.
There, you probably did it! Wait, something else in the photograph that didn’t look pink now has red splotches? Try adjusting the smoothing. This will stretch the boundary of what is being desaturated and blend the borders a touch.
If you continue to have that one stubborn purple spot someplace in the photo that you don’t want, then it’s time to hire a 2nd effect to ease matters up. This can get complicated if the camera or purple factors shift around a lot, but it can be executed.
First, right-click at the tune header and create a duplicate tune (or replica and paste the occasion on a song immediately under the original). On the lowest track, set the impact’s width again to 360 for a black-and-white event (or use one of the many other strategies to show it b&w). Now, quickly mute the bottom song to make looking at your work less complicated. In the pinnacle, music adds the cookie-cutter plug-in. Set the technique to “Cutaway phase” and decrease the scale till it’s miles huge enough to cover up the ugly purple splotch you want to remove. Add a touch of feathering to keep away from any artifacts and cover-up that more purple spot together with your big black dot. Now unmute the lowest song, and you have a female in a red dress, and the greater red in the scene has been eliminated.
Just one greater tip. If the red factors in the scene (or the digital camera) are transferred, so the patch isn’t always in the right vicinity, you may need to animate it using keyframes. I’ll keep the keyframe animation for another tutorial.
