Have you followed the good old rule that

a) you make an adjustment of black- and whitepoint first. Allways. You can use the filter levels, curves or even the luminance adjustment in the primary color corrector for that

b) only after you have finished a) you adjust colors and color saturation.

This is what I did. Adjusting the color change again the black and white point, so I need to add another FX.

Not if you use the possibilities in the primary color correction filter.

Because here you have also color saturation, gamma, gain and offset available.

And I would do the adjustment within 8bit project settings - and change the project settings before I render the film only. Due to performance reasons .... but that depends on your machine an type of footage.

GJeffrey, I second the base of your critics. While for most cases we have all the color correction plug-ins needed, it is far from easy to put the best set together and adjusting all the parameters to get perfect results. Also some of the tools are of poor quality (like the secondary color corrector which mask is so harsh even with best smoothness values) or crucial adjustments are missing (like further settings to adjust ranges for shadow/midtones, highlight/midtones).

Now color correction of underwater shots is a very specific task. You should be able to correct color balance individually (RGB and SMH), you need to re-adjust levels and saturation. So I find using a triple of Vegas' Color Balance FX (because you can't adjust Highs, Mids and Shadows in one go), Levels FX, HSL FX (for saturation adjust) does a job which is near perfect. But now you have 5 FX in the pipeline! Saving as FX Package helps.

Then again while the result you achieved by using the white point correction of GoPro seems fine at a first glance, it isn't because it still has a yellow/green cast and it also would need further correction.
HitFilm's/Ignite's Auto Color FX results in better balanced colors without touching any adjustment, but at the same time it spreads blacks and whites to its extremes.
SeMW Auto Levels FX does bit better as it allows re-adjusting black and white level. Though I still find best result is that one of the Vegas Pro's filter package.

To make a long story short: while I agree there could (and should!) be improvements to the native color correction plug-ins given in Vegas Pro, I find it is unlikely you would get a perfect one-click-solution for such a special task like underwater color correction - unless it would be exactly this: A very specialized plug-in for this one certain task.

I have found 99% of my color correction has been serviced well by creating a plugin chain and saving it:  first the Levels plugin. Master it and you're well on the way to a great result if your footage is decent. Second, the Curves plugin. Fine tune your hightlights, midtones and shadows. Third and possibly one of the most neglected is the LAB plugin. Its mastery can lead to the most pleasing color balance.  Finally, always use your scopes and a calibrated monitor. Otherwise, it's all hit or miss anyway.

-- tom

You restrict LEVELS first? I always thought that would reduce the bits available to mess with in correcting/grading, so I always do it last. Anyone else have input on proper levels placement?

In 8 bit, any change of color channels will decrease your quality that way. In most cases, I follow "Levels First" - not only because in many cases this is the only correction needed.

In this certain case (the color correction example of the given underwater pic) I didn't do because though the pic looks flat the highlights of green and blue are already clipped while the red highlights needs a big push. Underwater color correction is very special.

"possibly one of the most neglected is the LAB plugin"

True, indeed.

You restrict LEVELS first? I always thought that would reduce the bits available to mess with in correcting/grading, so I always do it last. Anyone else have input on proper levels placement?

What really forced me to levels first was working with S-log where starting with levels is virtually forced on you. While most REC 709 levels might look within bounds on a monitor, fine tuning separate RGB channel levels will solve a great number of color issues or get you on the right road, at least.

-- tom

Totally agree that the color correction tools need improvement soon.

Most of my stuff is underwater and I usually do all the color balance, levels and contrast with a single Color Curves FX, sometimes adding a secondary color corrector to adjust saturation or mask a particular area. But it's really fiddly.

GJeffrey, I had a go with your still and I found it very difficult to get a nice result. You'd do well to use a color correction filter with the camera, and that will get your levels to a place that they're easier to correct. I'm planning to get a Flip 5 kit for my Hero5 Black (if I ever get hold of a housing for it). There is an OK one made by GoPro themselves or you can try a Magic Filter.

@Marco

Great result indeed. I never think of using color balance. I'll give it a try. Thanks a lot.

Agree that there is still a green cast with GoPro app but it's easy to get rid of it by using the the temperature and the tint sliders. (the water was green though that day😉).

I know that a 1 click solution is not possible but i would like to see a more complete built in fx to avoid multiplying them and going back and forth for adjustment (without mentioning the playback rate going down with multiple fx).

@Nick

Quite recently I color correct my friend underwater footage to match mine. He was using a red filter. The result is greenish highlight, fake dark blue water (and this within the depth range of the filter).

He was also using auto WB, which is a nightmare on GoPro. It can dramatically change in few seconds.

It might worth setting the WB (even though the increment are 500 to 1000K) but I'm afraid it might need a adjustment for each filter and each depth (which is not straightforward and fast to do with a GoPro).

That's why i finally decide to use a native WB and no filter. I will give another try next time though.

I have been trying Marco suggestion successfully. 3 Color balance + level (or curve) + saturation adjust Fxs do the trick.

I also been trying 2 other 3rd party plug-in (with a steep price...):

1- Redgiant Magicbullet Look.

It gives a good result but I don't like that the interface only show a still image. I also have to multiply the effect and switch between them, not easy.

It doesn't play real time, only around 20/21fps preview @ best full (for 2.7k 30p footage) in 8 bits mode.

2- TiffenDFX (Color correct).

It also gives good result. It has an special interface like Magic Bullet and also all available sliders available in the FX window as usual. I find it the easiest to customize (control independently the lift, gamma and gain mask, R,G and B channels for each, plus a master which affects the overall image).

And It plays real time on my old computer.

Both are too expensive for me but I wish Vegas team implement a similar color correct FX to TiffenDFX.

Where can I download a sample of the footage you're trying to correct?

Where can I download a sample of the footage you're trying to correct?

You can download the 1st picture in the 1st post.

One click correction with http://www.semw-software.com/en/autolevels/

GJeffrey,

I trust you've scrutinized Nick's Bubblevision website and YouTube channels.

It cannot be stressed enough how important it is to get the balance right at the camera. Since there is no natural source of white light underwater, it becomes a series of compromises and informed guesses, along with lots of feedback from other pros.

With only a couple of bits of red depth, ALL of it below the rgb median, your unfiltered camera example leaves relatively little to work with. Not even Nick could put the toothpaste back in that tube ...

It cannot be stressed enough how important it is to get the balance right at the camera

Definitely agree, however it's impossible to accurately set the WB using a white or grey card with a Gopro.

along with lots of feedback from other pros.

I'm waiting for yours 😉

One click correction with http://www.semw-software.com/en/autolevels/

Thanks 3Dpoint. Black are crushed but I guess that can be set in the plug-in.

I already tried this plug-in (on different underwater footage) and had weird flickering when the lumonisity change, even a small change.

 

I already tried this plug-in (on different underwater footage) and had weird flickering when the lumonisity change, even a small change.

That's the only disadvantage, the plugin analyses and corrects each frame seperately. It's not possible to sample  one frame and use that setting for the whole event.

Definitely agree, however it's impossible to accurately set the WB using a white or grey card with a Gopro.

It's not your camera, it is the lighting. WB is linear, underwater scenery is not. That goes double in post production, where bits of the red variety cannot be reclaimed.

I'm waiting for yours 😉

Following Nick and others' guidance, employ a proper card, filter, and/or auxillary lighting, and post back another example. I'll give that one more than a halfhearted effort, I promise!

 it's so easy to get a good result with the basic GoPro application:

GoPro Studio technology is anything but "basic," and the Protune log curve is proprietary, meaning it is not included in Vegas. If you really want a level playing field for comparison, shoot in non-Protune mode, from which better corrections can often be realized in Vegas.

Again, there is no need to shoot in 10 bit, when the camera sensors are seeing but a small fraction of that per channel,

 it's so easy to get a good result with the basic GoPro application:

GoPro Studio technology is anything but "basic," and the Protune log curve is proprietary, meaning it is not included in Vegas. If you really want a level playing field for comparison, shoot in non-Protune mode, from which better corrections can often be realized in Vegas.

Again, there is no need to shoot in 10 bit, when the camera sensors are seeing but a small fraction of that per channel,

I'm surprise by your statement about 10bit

Below what you wrote on Jan 30, 2013

As a point of information, Protune was designed to unpack in Cineform to full range 10-bit 4:2:2 flatline gamma for grading.

Together with this link

And this on March 12, 2013

Protune is full 10 bit 4:2:2 wrapped as 8 bit 4:2:0. It accomplishes this by impressing the data on a logarithmically "flat" 1.0 gamma, which accommodates far more bandwidth than traditional 2.2 video gamma, but looks like crap when played back in its native acquired state.

The "raw" (not "RAW") Protune files are all but useless out of the box. They must be unpacked to their full bit depth and chroma with the free GoPro software first. 
In Vegas, they would then be edited in a 32 bit float environment

And on Dec 26, 2014.

Native Protune is wrapped 8 bit 420 1.0 gamma. It's not ready for Vegas yet.
Unpacked Protune Cineform is full 10 bit 422 2.2 gamma. No losses, no voodoo. Just good science.

A day later

Is there no way that Protune can be unpacked & imported into Vegas as a 10bit 422 colour space?"

Yes, as Cineform from GoPro Studio. That's how they designed it.

​​​​​​This is what I did, why have you change your mind now?

PS: cross post previously.

I don't see anything in those quotes that is inconsistent with my impressions here.

If you will have but a look at the luminance histogram of your example you will see that your source range fills but a small fraction of the 8 bit per channel palette! More like 1 bit for the reds and 2 bits per channel for green and blue. It would be really nice to see a few more bpc before making a serious attempt at your post-correction challenge.

In fact, the unpacked image reports ~35,000 unique colors out of a possible 16.7 million. So to make efficient use of lighting and color balance there is already more than enough headroom in 8 bit per channel space (RGB24). And taking those steps is the way to great underwater footage, not wasting your breath blowing up a bigger balloon.

Remember the time someone pranked you with a really small gift inside a really large, otherwise empty box? That's analogous to what you've got here, so the extra space and time necessary to shoot, convert, and grade in 10 bit will result in zero value added.

Now that you've found those threads, go back and read them for content instead of quotables.

Protune is really great on the sea, slopes, and in outer space. Oh, and for shooting those underwater volcanos ...

Best.

If you will have but a look at the luminance histogram of your example you will see that your source range fills but a small fraction of the 8 bit per channel palette! More like 1 bit for the reds and 2 bits per channel for green and blue. It would be really nice to see a few more bpc before making a serious attempt at your post-correction challenge.

In fact, the unpacked image reports ~35,000 unique colors out of a possible 16.7 million. So to make efficient use of lighting and color balance there is already more than enough headroom in 8 bit per channel space (RGB24). And taking those steps is the way to great underwater footage, not wasting your breath blowing up a bigger balloon.

Finally a more complete answer. Thanks.

Now that you've found those threads, go back and read them for content instead of quotables.

To quote, I nead to read 😉.