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MC 239: Color Grading with Media Composer and Symphony

MC 239: Color Grading with Media Composer and Symphony

Overview

Manhattan Edit Workshop
119 W 23rd St
Ste 700
New York, NY 10011
Register for Course
Saturday, August 4, 2018 -
10:00am to 6:00pm
$1,095

Details

Color grading is more popular today than ever before - and in greater demand! Avid Media Composer has a powerful toolset allowing you to combine both HSL and Curves corrections for robust corrections, while Symphony takes it to the next level with advanced secondary correction tools and the fastest color-grading workflow in the industry. You can learn to use these powerful tools efficiently, using expert techniques to achieve consistent, professional results. Our two-day Color Grading with Media Composer and Symphony (MC239) course will teach you to carefully analyze images to diagnose the problems and fix them quickly. Learn to grade in multiple passes, leveraging various tools for flexibility in correcting the toughest images. Learn to control the eye of the viewer through little known shape-based secondary tools found in both Media Composer and Symphony that enable you to create animated masks, vignettes, and gradients. Plus, master the advanced relationship-based grading tools in Symphony to streamline your grading workflow and finish in less time than you thought possible. Who is this class for? Editors Assistant Editors Multimedia Producers. Prerequisite: Completion of MC 101: Media Composer Fundamentals I and MC 110: Media Composer Fundamentals II or equivalent experience of 12 months full-time editing on the system. Completion of MC 210: Media Composer Professional Editing II is also strongly recommended At the end of this course you will be able to: Color Grading Fundamentals System Configurations for Color Grading Core Grading Tools and Techniques Using Curves for Grading Advanced Primary Color Correction Secondary Color Correction (Avid Symphony) Using AniMatte with Color Correction Grouping Color Corrections Delivering a Graded Digital Master Note: Each student gets their own workstation. SYLLABUS Color Grading Fundamentals Introduction What is Color Grading? Are You (only) the Colorist? Before You Grade Properly Calibrated Viewing Monitor Core Color-Grading Workflow Stage One: Set the Baseline Grade Stage 2: Achieving Shot-to-Shot Consistency Stage 3: Achieving a Final Look Color Correction Mode The Composer Window The Color Correction Tool The Timeline Analyzing Images with Scopes Video Scopes, Color Science, and Speed Dating Types of Scopes Overview of Scope Displays Understanding the Y Waveform Understanding the RGB Parade Shot Analysis with the RGB Parade Understanding the Vectorscope Shot Analysis with the Vectorscope Understanding the YC Waveform Summary Establishing the Base Grade Performing a Primary Correction The HSL Group Adjusting the Controls and Hue Offsets Tabs Using Tonal Controls in HSL Identifying the Tonal Controls Understanding Tonal Adjustments Setting the Tonal Range Using HSL Controls Using Chroma Controls in HSL Understanding the ChromaWheel Controls Removing a Color Cast Using Hue Offsets Grading with Curves Identifying the Curves Controls Exploring Curves Adjustments The Master Curve Using Avid Artist Color to Adjust the Curves Graphs Exploring R, G, or B Curve Adjustments Making Adjustments Using Curves Versus HSL Controls Performing a Primary Grade Using Curves Performing a Basic Grade Correcting a Color Cast Automatically Grading a Sequence in Curves Grading the First Shot Grading the Second Shot Grading the Third Shot Matching Shots Methods of Shot Matching Using the Color Match Controls Succeeding with Color Match Control Grading a Scene Using Color Match Controls Understanding NaturalMatch Using NaturalMatch Working with Color Correction Effect Templates Saving Color Correction Effect Templates to a Bin Using Color Correction Effect Templates Workflow for Using Source-Based Templates Stepping Up to Symphony The Added Power of Advanced Tools Identifying Symphonys Advanced Tools HSL Controls HSL Luma Ranges Levels Group Channels Group Secondary Group Customizing the Color Correction Tool Understanding the Symphony Grading Workflow The Interaction of Color Correction Groups The Relationship Menu Identifying Relationships in the Timeline Understanding the Levels Group Levels and Color Space Processing Performing Primary Corrections with Levels Understanding the Channels Group Identifying the Channels Controls Repairing Damaged Signals with Channels Performing Secondary Corrections in Symphony Understanding Secondary Corrections Identifying Avids Secondary Correction Tools Understanding Qualification Understanding Luma Ranges Using Luma Ranges Making Adjustments Using Luma Ranges Exploring the Secondary Group Performing Vector-Based Corrections Using Standard Vectors Using Custom Vectors Intraframe Effects: Avids Hidden Secondaries Exploring Avids Shape-Based Secondary Tools Understanding Intraframe Effects Using the Spot Color Effect Using the Paint Effect Creating Gradients and Vignettes Tracking Spot Corrections Using AniMatte to Create Spot Corrections Finishing the Grade Whats in a Look? Techniques for Applying Looks Applying a Look as a Program Relationship Applying Corrections to Filler Keyframing Color Changes Keyframing HSL Adjustments Keyframing Curves Adjustments Creating Popular Looks Monochrome Looks High-Contrast Looks Changing the Color Temperature Managing Multiple Grades Merging and Updating Sequences Delivering Safe Colors Using Safe Color Warnings Using the Safe Color Limiter Effect Rendering Effects with ExpertRender

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