Please give version of Premiere Elements and operating system on which it is running.
For a generalized answer please see what follows.
Please check out my blog post on Premiere Elements Color Matching where I explored and experimented with some ideas involved in the questions that you present in your thread.
Please let us know if any of that worked for you.
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The Three-way CC is about as good as it gets. With its eyedroppers, one can adjust to Black, White or 18% Gray points, but with mixed lighting, there is only so much that can be done.*
In a Hollywood production, gels would be applied to the windows, to help balance the light through them, to the ambient lighting in the room, or a large light source would be positioned outside the window, to overcome the natural light coming through it. Having a supply of Rosco (or similar) gels, and a good color temp meter are necessary for accomplishing this, as is time required to apply the correct gels to the windows, themselves.
* Also, critical color grading/correction is best done on a program that provides a video feed to a calibrated NTSC (or PAL) monitor, as most computer monitors will lack the capability for critical color work.
Just a quick modification....on reflection, I may have picked up on your question as color match in the sense of red red green green etc instead of other.
Perhaps, Three-Way Color Correction is as good as it gets, but have you looked at Auto Levels and its properties in your particular situation?
You might want to look at the HSL Tuner effect. It lets you adjust the Hue, Saturation and Luminance of eight color channels and is keyframeable.
Insanity is hereditary, you get it from your children
If this post or another user's post resolves the original issue, please mark the posts as correct and/or helpful accordingly. This helps other users with similar trouble get answers to their questions quicker. Thanks.
I'm using Premiere Elements 12 on a mid-2012 Macbook Pro with using the Mavericks OS. Thanks for asking. And great answer from you and all the other posters. You guys are why Adobe rocks.
Indeed; but right now I am working in the world of non-profits where gelling six windows in an office building is a little out of the budget. However, I have learned my lesson. Next time I will shut the blinds.
To follow up on your asterisk and I'm not asking to be a troll, this is a genuine question. I'm migrating over from the stills world where lots of people think that calibrating a regular laptop monitor with a Spyder or ColorMunki gets us within 90 percent of where we need to be most of the time.
So are you saying that in the video world having a calibrated screen on my MacBook still doesn't get me close to the precision I need for video? Are there higher precision requirements for video production than there are for stills? In other words, if I keep doing this are you saying I need to buy a different monitor specifically for video?
Unfortunately, PrE is not a Color Managed Workspace. That means that even with a properly calibrated monitor, it has no way to display the video with 100% broadcast accuracy.
PrPro, with the correct hardware, can do that, just not PrE. Now, Photoshop IS a Color Managed Workspace, as you obviously know, but that does not help much with Video, unless one has Ps CS3 - CS5.5 Extended, or Ps CS6, or CC, which can edit Video, on a somewhat limited basis. Even then, I am not certain how accurate the Ps Video displays will be. For Still Image work, it is perfect with calibration for output.
To specifically address this question:
In other words, if I keep doing this are you saying I need to buy a different monitor specifically for video?
First, one needs the capability to work in a Color Managed Workspace, and then the ability to feed the signal to a calibrated monitor. It might be possible, with PrPro, and your monitor, to get pretty close. You would need to re-calibrate for Video Broadcast, but I think that your Spyder and its software can get you pretty close. Where the calibrated Broadcast monitor comes in, is that it can be calibrated 100% to Broadcast standards, anywhere in the world, say PAL, NTSC, etc. Many editors will feed that Video signal through additional hardware, such as a BlackMagic card. For critical Broadcast Color Correction, many will move the Video to say a Da Vinci Resolve workstation, for that final Color Grading:
http://www.markertek.com/Video-Equipment/Video-Editing-Equipment/Video-Mixers/Blackmagic-D esign/DAVINCI-RESOLVE-10.xhtml?utm_medium=shoppingengine&utm_source=googlebase&cvsfa=3786& cvsfe=2&cvsfhu=424d442d445245534f4c56452d3130&gclid=CLadwIPmhbwCFc9afgodK3kAgg
For Still work, the monitor is calibrated to the exact workflow - actually, the entire workflow gets calibrated, with the monitor just being part of the system - from the camera, or scanner, through the computer's monitor, to the printer (and its driver, plus the ICC Profile for the exact paper), will be calibrated. That way, what one sees on their computer's monitor is the same as the printed result.
PrE just lacks the necessary functions to do high-level color grading, though the addition of the Three-Way CC Effect is a big step in that direction. It is a powerful tool, even in the somewhat stripped down version in PrE. Its inclusion was very welcome.
Another big issue with CC for Video, is that other than a standardized digital projector in a theater, there is zero control on how that Video will be displayed. The best that even the CC pros can hope for, is to do things per broadcast standards - when the final product gets to the public, who knows how their display devices will be calibrated? Most estimates are that 99% of all TV's, and display devices are left at the factory settings, and are never calibrated at all. In simple terms, Aunt Marge might be playing, say the BD on her old, CRT TV, that barely displays an image, where Uncle Walt might have a high-end digital projector, in his home theater, that WAS professionally calibrated, and then re-calibrated as the bulb is used. The consumer display spectrum is very wide, indeed.
However, that does not mean that one should not worry with CC, as they should deliver the best that they can, and let the end-user get by, with what they have.
I do not mean to bore you, but think that you have asked some very good, and highly valid questions. I never thought the post to be a troll, at any level - just a user trying to get the best color possible, with the tools at hand.
Fascinating. The more I learn, the more I see how the two worlds are so similar in some ways, completely different in others.
The more I learn, the more I see how the two worlds are so similar in some ways, completely different in others.
You are 100% correct!
I went from advertising still photography to doing some Web work. I was astounded (in a very bad way) by how little control I had over my Images and their properties, such as color, when displayed on the Web. That has gotten better over the decades, but still is so very far behind commercial printing. Then, I went to digital Video, and was astounded again. Not only did I have even less control over color, but the resolution (DVD and SD were as good as it got back then) was horrible! Still, the DVD was such an improvement over VHS, that I was able to console myself a bit. Things did get better with BD and HD, but, compared to a 400 LPI 8-color press, on fine stock, the results were disappointing. Such is life in Video. Now, things seem about to improve greatly with Ultra-HD, but we will just have to wait a bit. Still, who knows how Aunt Marge's U-HD TV will be set up...
Thanks for the replies.
I do not have access to a Mac computer, so all my works are done in Windows XP 32 bit or Windows 7, 8, or 8.1 64 bit.
If you have any interest in Premiere Elements Auto Levels and its Properties, I can give you the way to find it in Premiere Elements Windows. Hopefully the path to it will be the same in Premiere Elements 12 Mac. Please let us know, when you get the time, if the paths to the feature are the same for AutoLevels and its properties in Premiere Elements 12 Mac and Windows. Please see
Thanks. Looking forward on what works for you.