![]() I don't know Power Director, but assuming it has decent color controls this is what you want to do in this order. Just remember, the "GoPro" look that everyone loves is highly saturated - so don't be afraid to push it. Walk away and then come back to get a fresh look. If it looks fine, then it's probably still over saturated. Just crank up the saturation until it looks horrible. Machtiging voorbeeld rechtbank van Deutsche schule kapstadt kindergarten writing. Often I'll push a touch of blue or teal into shadows, and add warmth to the highlights. Once I've got that balanced, I uncrop and then tweak. Even parts red green and blue = neutral color. 5DtoRGB Lite offers incredible control over the transcoding process, making it one of the top choices for cinematographers and post. Post-production professionals rely on 5DtoRGB every day for its high-quality results. Then I push the color hue controls until the red, green, and blue graphs all peak at the same level. 5DtoRGB is widely regarded as one of the best tools for converting footage from HDSLR and other cameras for video editing. Other times of year I try to find something that should be white, or at least natural grey.įirst I crop the image to show only white (or grey). Personally I temporarily crop the image so that only a white section of the image is visible. We need to adjust the color balance ourselves. Since we shot the footage with "native" white balance, the GoPro didn't do anything to compensate colors. push your midtone exposure down to get get a richer, sharper look. You can allow some whites to spike over the top of the graph if they corespond to specular highlights off metal or water. In general you don't want your whites to exceed the top line on your graph (I'm way over simplifying here, the limit is 940 lre). Only the original MTS files are available for download on my infinite storage Bitcasa. Keep doing that until you find a black level where you can scrub through your whole video and the waveform never dips below 0. Settings in '5DtoRGB Lite': Output Format: ProRes 4444 (25fps) Decoding Matrix: ITU-R BT.709 Luminance Range: Full Range Chroma Mode: Default Post-Processing: None Gamma Correction: 1.0. If you find that, then push exposure in your blacks up a bit. I did some testing with ‘5DtoRGB lite’ and it works great. Scrub through your video and look for frames where the luma wave form dips below 0. If there is something black in the scene, then at least part of your luma graph should be touching 0. You should see the luma waveform graph start to stretch toward black. Luma is the measure of how bright or dark a pixel is.Īnyway, start by brining down exposure in the blacks. To fix exposure it's best to have a wave form scope showing luma levels. Anyway, here goes some extra info on the 3 steps above. This is also a valid approach in Davinci Resolve, with some tweaks. The ability to do that with exposure is kind of critical. I'm not even sure Power Director has scopes, which you'll need, or the ability to adjust exposure independently in the blacks/shadows, midtones, and whites/light areas. At the very least you can research some of the terms, etc. Hopefully it's enough to get you started. I'm going to oversimplify and not thoroughly explain everything. ![]() So I'm going to throw a ton at you below.
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