Part 2: Pinnacle Liquid Edition's Color Correction Tool
Feb. 03, 2004 - Editor's Note: Missed part one? Click here.
As we continue to dive in to Liquid Edition’s capabilities we’ll again focus on one of Pinnacle’s big marketing blurbs: The CX Color Correction tool. Last time, we looked at the interface and some of the basics. In this second installment on Liquid Edition’s color corrector, we’ll spend some time digging into the specifics of what makes Liquid’s CX Tool tick. Using Scopes in Liquid Edition
Having a waveform monitor and vectorscope isn’t really an option in today’s professional NLEs. There was a time when only the most expensive, high-end editors had these tools and you still relied on a hardware scope to verify your colors. These days, it seems that software scopes are all the rage and more and more people are relying on them for color/signal measurements.
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Liquid Edition has several different types of views for displaying color information. As we covered in the last article, Liquid Edition has Waveform, Vectorscope, Histogram, Lightning, Cube and a Vectorlight view which is a summary of views. Each of these is pretty straightforward, displaying a mix of RGB color information, hue and saturation. The Cube view is kind of interesting since it displays Color and Luma in 3 axis. You can switch between these views by clicking on an icon or a pull down menu – nice. Take a look at all of them below:
More to the point, you can use Liquid Edition’s waveform views to actually make color adjustments. In other words, you can actually adjust color by manipulating your scope. The Histogram view and the Vectorscope view both support elements of the 3-way primary color correction. Starting with the histogram view first, you can grab the independent Red, Green and Blue values to adjust any gain on the highs, mids, and lows. This is a great way to graphically adjust your colors. In the vectorscope view, it works much the same way – grab the display and you can control the hue (by spinning around the vectorscope) and saturation (by pulling the color outwards).
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