It processes in Tab order with at least a few exceptions that I know of. The addition of the Setup, Gain, Saturation etc... in the Curves Tab is a departure from the Tab order as it is manipulating the master controls in the first HSL Tab. I like having them there as it saves a step but it is an exception to the left right processing rule. You can also play around and got to HSL and remove saturation to 0 no color then you will see the curves will still add colors after the fact.
As far as the channels tab it's one of my most used for initial white balance. Curves bottom point for black balance and channels for white balance serves me well. I usually end with hue offsets for fine tweaking after all my other tweaks. There are many ways to color a fish just find your favorite bait. ;-)
---In Avid-L2@yahoogroups.com, <steve4lists@...> wrote :
On Mar 20, 2014, at 5:50 AM, Paul Shields <paulshieldsavidl@...> wrote:If we put the "state of the art 1998" arguments to one side, does anyone
have any in depth understanding of how the Symphony CC tools process
colour - and more importantly in what order.
I use it mainly by instinct - tend to start with the Hue Offsets with a
little help from the Curves if required followed by some Levels action
and going into a Prog Segment effect or CC Effect on top if the self
shooter really needs a slap. But, sticking with Source Segment mode, in
what order are the various adjustments applied? I'm thinking
specifically of the Hue Offset wheel vs the colour Curves. I'm assuming
there must be a serial/linear nature to how the adjustments are applied
so, if I swing the midtones over to blue in the colour wheel, would a
blue curve shift back be applied downstream of this or does it happen
first? The Secondaries appear to be last in line so are the corrections
applied from left to right down the tabs?
Please feel free to smack me down for complete ignorance of how all the
maths works but I'm interested in any under the hood knowledge. If
anyone can explain how I could ever use the Channels tab for anything
other than breaking the picture I'd also be very interested and will
send doughnuts to anyone who can explain how the mysteries of the
Fluidmotion controls work.
Paul Shields
Manchester UK
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