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29th May 2018, 09:02 | #21 | Link |
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It is part of vd2 package, here is sample I already inserted once in gammac thread http://virtualdub2.com/data/fish_balance6.webm
The filter name is "6-axis color correction" but I use it from "Master blend" filter to have interactive histograms at the same time. Btw your photoshop result looks good to me, I don't think I could do any better. But I can't download your video, just get tons of ads.
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29th May 2018, 16:48 | #23 | Link | |
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https://www.blackmagicdesign.com/ca/...avinciresolve/ Download links at bottom of that webpage. That's for the most recent beta (4) release of DR 15. I'd go with the last official (stable) release of DR 14.3 which can be downloaded from the BMD Support page - scroll down 'Latest Downloads' on the left: https://www.blackmagicdesign.com/ca/...lve-and-fusion More than adequate pro-level color toolset for the job...well, the 'best outcome' in this case anyway. I don't have personal experience color correcting/grading underwater video, but my two cents on this: 1. +1 on everything Poisondeathray said above. 2. Naturally, the primary 'focus of attention' is the 'anemone fish' (? Clown Fish), and to a lesser degree the foreground anemone bed it's frolicking in. So that should be the focus of color correction. Not at my editing/grading PC just now but If I were to go at it with Resolve, I'd likely look at applying a series of HSL Qualifiers (color key/mask). * First zoom in and pull a qualifier (as best) on the colored fins of the fish (taking multiple samples from different frames) and use the Color Wheels (master Offset primarily) to get as close as possible to the expected tint of orange. * Create an 'Outside Node' from that (i.e. 'inverse mask' of the fish fins = everything else) and do the same again on the anemone (?) tentacles...likely more tricky to change that 'aquamarine' tint to a warmer palish pastel. Then either turn off the key on the anemone and live with whatever color change that manipulation has had on the background, or else create another Outside Node from that and work on the 'background' separately i.e. all but the fish fins and anemone tentacles. Depends on how well the tentacles can be isolated. * Could also try tinting with a solid warm color (Layer Mode with Composite Blend set for 'Color') or as an External Matte, but I'm not optimistic it would achieve much other than 'muddying the waters'. Total color replacement would be very difficult to pull off. I doubt very much that you'd be able to set a white balance sampling off the (assumed) white stripes on the fish. Of course you'd also need to play around with 'exposure' levels, contrast and saturation, globally and/or on the qualifiers, maybe adding at little 'mid-tone detail' (local contrast) on the fish/anemone or sharpening to taste (denoising only available in the paid Studio version). But that's the basic strategy I think I would try. If it achieves something close to acceptable, you could then think about more refined techniques - tracking the fish (or whatever) with qualified 'power windows' and applying subtle color changes with soft key points, but it hardly seems worth it in this case. I'd tend to agree with Poisondeathray. OK, it achieves better rendition of the fish coloring (as assumed) and takes that aquamarine tint off the foreground anenome clump, but the effect it has on the background - that washed out pinkish tone on sea bed especially - looks unnatural and is distracting.
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Nostalgia's not what it used to be Last edited by WorBry; 30th May 2018 at 05:28. |
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30th May 2018, 02:07 | #24 | Link |
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Quick stab at it with Resolve using the above strategy. Not sure what color the anemone in the foreground is supposed to be; as predicted, it proved difficult to swing it away from that aquamarine tinge completely.
Same again with a final light 'warm wash': Maybe not accurate, but adds a bit more color contrast. And just for kicks, with a little 'pseudo HDR' enhancement: Well, maybe not.
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Nostalgia's not what it used to be Last edited by WorBry; 30th May 2018 at 06:12. |
30th May 2018, 13:54 | #26 | Link |
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I'm thinking that's one of my images with some further levels/color adjustment, right ? Or was it using another method?
If mine, yes, I'd agree they are a tad on the dark side. Referencing the Histograms when I was doing it last night I was tempted to up the Gain, but they seemed OK to the eye. This morning, under natural lighting, they definitely look too murky. Such is the nature of color grading.
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Nostalgia's not what it used to be Last edited by WorBry; 30th May 2018 at 14:13. |
30th May 2018, 14:06 | #27 | Link |
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No, I took similar frame from original video and adjusted in vd. Brightness maybe, but also mine is closer to gray. I don't like dominant greenish tint
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30th May 2018, 14:19 | #28 | Link |
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Q), what depth was the clip taken at ?
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30th May 2018, 14:45 | #29 | Link |
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I agree. Makes it a bit too mirky. I'll maybe have another go at it when I have some time.
As Stainless intimates though, depends somewhat on the depth.....not that I'm in any way an expert on sub-aqua color temperatures Used to dive a fair bit in my formative (single) years, but had no interest in videography/photography at that time.
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Nostalgia's not what it used to be Last edited by WorBry; 30th May 2018 at 15:10. |
30th May 2018, 15:06 | #30 | Link |
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Now if someone can enhance it, we have diving computer in this shot
IMO around 15..20m
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30th May 2018, 19:23 | #31 | Link |
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Don't tickle my crazy mind. I was about thinking to request a plugin that takes csv as input (time-depth) and invert curve of water color absorption based on depth. Such as Paralenz does indeed.
It would have a GREAT impact on all the diving cam users. Anyway, if I recall correctly, it was at 15-20 meters. If you want precise value, I can get from diving computer.
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3rd June 2018, 04:48 | #32 | Link | |
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Edit: Noticed feint magenta tinge to the blues after posting. This one, a bit less: Couldn't get a decent result using the previous 'sequential qualifier' strategy in Resolve. So opted for reconstructing the red channel (as best) with the RGB Channel mixer. Then just one qualifier to deal with some vibrant magenta coloration on the tips/edges of the anemone tentacles that stood out, followed by fine tweaking and levels/contrast adjustment with the primary color wheels, and a pinch of local contrast ('mid-tone detail'). Didn't mess with global Saturation too much as it only brought back the blue cast. Better, surely....maybe, bearing in mind that I don't know what color the anemone is supposed to be ? Tormento did mention though that the fish is orange (the fins): I guess that would make it the fabled 'Orange-Fin Anenome Fish' Anyway, best I could come up with. Interesting exercise though. Did you arrive at a workable solution Tormento ?
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Nostalgia's not what it used to be Last edited by WorBry; 3rd June 2018 at 05:23. |
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3rd June 2018, 09:02 | #33 | Link |
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Not an automatic or simply standardized one. Every video has its own color lack problems. Paralenz algorithm is cunny indeed. It could be nice to have that reverse water color absorption formula and use diving computer log to apply it.
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3rd June 2018, 14:13 | #35 | Link | |
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(Of course we dont know what was done to those images, but given the name [Orange-Fin Anenome Fish], they might well be often Orange)
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I sometimes post sober. StainlessS@MediaFire ::: AND/OR ::: StainlessS@SendSpace "Some infinities are bigger than other infinities", but how many of them are infinitely bigger ??? Last edited by StainlessS; 3rd June 2018 at 14:15. |
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3rd June 2018, 17:05 | #36 | Link | |
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In my previous attempt at correcting it with Resolve, I put a qualifier key on the fish fins, deliberately pushed the color to orange and preserved it. In this last effort that was just the way the fin color turned out after all the channel mixing and secondary manipulation to achieve best possible overall balance and taking the white stripes on the fish as reference - which was about all there was to go on. Whether the resulting orange tone is close to 'actual' or not, I guess only Tormento is in a position to judge in this case. Obviously if 'too orange' it's just a matter of qualifying the orange fins and moving to a more yellowish tint.
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Nostalgia's not what it used to be Last edited by WorBry; 3rd June 2018 at 17:28. |
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3rd June 2018, 17:07 | #37 | Link | ||||||
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Perhaps some large white object fixed at some depth eg 10m, and something tracking distance from the object up to say 100 m. Repeat every 10m depth (up to 10,994 meters, the Mariana Trench would do nicely). EDIT: Quote:
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EDIT: This gets some hits: "red spectrum absorption of sea water":- https://www.google.com/search?q=red+...ient=firefox-b EDIT: http://www.waterencyclopedia.com/La-...the-Ocean.html Quote:
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I sometimes post sober. StainlessS@MediaFire ::: AND/OR ::: StainlessS@SendSpace "Some infinities are bigger than other infinities", but how many of them are infinitely bigger ??? Last edited by StainlessS; 3rd June 2018 at 17:35. |
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3rd June 2018, 18:04 | #38 | Link | |
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Dunno, it might be that one. There again, I'm not a marine ichthyology taxonomist (I had to look that one up )
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Incidentally, I created a 3D Cube LUT from the graded clip using Resolve's internal LUT creator. Reapplying it to the original clip though, the grade did not hold true.
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Nostalgia's not what it used to be Last edited by WorBry; 3rd June 2018 at 18:25. |
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3rd June 2018, 18:17 | #39 | Link | |
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3rd June 2018, 19:46 | #40 | Link |
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Better compromise ?
That was using a qualifier key on the orange fins. Actually it proved impossible to get uniform isolation that worked throughout the clip - it would definitely require tracking the fish with a rotoscoped power window and modifying the qualifier at (many) soft key points. A lot of work. Don't want to back at it, but I don't think I would have been able to turn the fins more yellow using just the channel mixer and primary wheels without fighting a green bias over the rest of the image, which is what I was laboring to avoid. Shekh seemed to get there though.
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Nostalgia's not what it used to be Last edited by WorBry; 3rd June 2018 at 19:53. |
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