Recently, I used Apple color for my mise-en-scene exercise at my film school at Whistling Woods International, India for color correction. As a student we were supposed to shoot a long shot and multi-cam with two cameras where two different formats on film and digital which was used on aweek long workshop which was a collaborative exercise with different departments in my film school.
The formats used for the long shot was shot with 16mm arriflex (with 500T 7219 Kodak - 400 foot) on single pref on a collapsible set which could be easily customized to suit the narrative and on day 2 we shot with Sony D50 on DVCAM tapes.
As editor, I was expected to edit the film shot on 16 mm and the Sony D50 rushes on a 4 day shift in the Edit lab and sound to be designed by my dear friend Rahul B. I was shocked to find that the colors were extremely warm. The lighting had dominant reddish-orangish-yellow look which looked very bad on the Panasonic broadcast monitor. I edited the multi-shot exercise on final cut pro 7 gave it for the sound to my friend Rahul but I didn't feel right to just submit the assignment without proper visuals when as film student who has to show his work to the get jobs in future commercial projects.
Few months ago as a student of editing specialization in film school. We learned to use apple color by my professor Vivian Sir and few months ago we also had learned to use 3 way color corrector on final cut pro from David Hover's editing workshop. To get the optimum visual quality I sent my video to apple color via round tripping and corrected the black and whites of the luminance and the selected portions of highly lit areas on the frames affected due to lighting exposure issues. First few hours was difficult as I was not familiar with the color software as we didn't give a seriousness to it but as the project progressed I was able to master apple color with tracking and manipulating the selected areas of frame with secondaries on apple color after doing the color correction by setting the hue, saturation of the shadows (Blacks) and highlights (whites). I was even able to remove the camera markers recorded on the frame accidentally on one of the clips.
The formats used for the long shot was shot with 16mm arriflex (with 500T 7219 Kodak - 400 foot) on single pref on a collapsible set which could be easily customized to suit the narrative and on day 2 we shot with Sony D50 on DVCAM tapes.
As editor, I was expected to edit the film shot on 16 mm and the Sony D50 rushes on a 4 day shift in the Edit lab and sound to be designed by my dear friend Rahul B. I was shocked to find that the colors were extremely warm. The lighting had dominant reddish-orangish-yellow look which looked very bad on the Panasonic broadcast monitor. I edited the multi-shot exercise on final cut pro 7 gave it for the sound to my friend Rahul but I didn't feel right to just submit the assignment without proper visuals when as film student who has to show his work to the get jobs in future commercial projects.
Few months ago as a student of editing specialization in film school. We learned to use apple color by my professor Vivian Sir and few months ago we also had learned to use 3 way color corrector on final cut pro from David Hover's editing workshop. To get the optimum visual quality I sent my video to apple color via round tripping and corrected the black and whites of the luminance and the selected portions of highly lit areas on the frames affected due to lighting exposure issues. First few hours was difficult as I was not familiar with the color software as we didn't give a seriousness to it but as the project progressed I was able to master apple color with tracking and manipulating the selected areas of frame with secondaries on apple color after doing the color correction by setting the hue, saturation of the shadows (Blacks) and highlights (whites). I was even able to remove the camera markers recorded on the frame accidentally on one of the clips.
Only bug this software has is that I had to make new files to save color files to make sure that a new render files was to created with all the preferences of the render settings in the project set prior to the creation of apple file color project or sending it from final cut pro to apple color. The other bug is the codec preset and the pixel size always changes to NTSC setting so I had to do again and again reset the project setting of the color project file from original format to apple pro-res and back and then back to original format may be it has been fixed in the newer version.
Apple color is a best starter tool as a editor and colorist which gives you basic touch up features on your frames for films and television and even for low budget film makers which even lets you highlight a specific character on screen to enhance narrative with the vignette.
