Full Course Name: MC 239: Color Grading with Media Composer and Symphony
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 Symphony’s 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 Avid’s 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: Avid’s Hidden Secondaries
Exploring Avid’s 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
What’s 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
