Heads up Display : Moods lets you manipulate the color tint and the luminance of an image to perform an ideal color balance or to create a special look. The heads up display interface is made up of an overlay of 6 wheels and an optional Help Card. To show or hide the wheels, use the "Setup Effect" button. In the same way, the Help Card can be displayed/removed with the "Help Card" button. At any point in time, you can also use the parameters provided in the effects windows to perform adjustments if necessary.
Compare A compare handle let's you split the screen and show the before / after. By default, the compare handle is located at the left side of the canvas slightly below the center of the image.
Reset Control Points : Hold down the Command+Option keys to turn the on-screen controls points into reset buttons. Then click a button to restore the default coordinates for a control point (centered on the wheel).
Legal Levels : Paying attention to the white, black, gamma and saturation levels is important in order to obtain a clean image with an amplitude that stays within the limits of the video signal. We recommend using a waveform monitor and a vector-scope to control the signal and prevent chrominance and luminance overflow. Depending on your region, the broadcaster's specifications may be different and you may have to carefully set up the black and white levels.
How to use Moods with the Video Instruments? The Moods head up interface is an overlay and becomes part of the video signal. This overlay creates traces in the waveform monitor and the vector-scope. These traces are clearly identifiable compared to the signal of the original image and don't block major adjustments. Nevertheless, we recommend you hide the wheels for a precise analysis of the signal and continue to work with the parameters provided in the effects window.
Colors : Moods uses RGB to manipulate colors. Red, green, and blue are the primary colors used in additive synthesis. Mixing these 3 primary colors with their maximum amplitude gives you white. Black is obtained by setting the values of the 3 colors to zero.
Secondary colors are created by adding only 2 of the 3 primary colors : • Red and blue produces magenta • Green and red produces yellow • Blue and green produces cyan
Color wheels are a representation of the primary and secondary colors, where each primary color faces the secondary color that doesn’t contain it.
Color Balance Wheels White is in the center of the wheel: With this model, the center of the wheel returns the maximum value for red, blue and green. Moving to the edge will progressively remove (subtract) the opposite colors. For example, if you go in the direction of red, green and blue, colors are decreased and the image becomes more red. On the opposite side, moving towards cyan will decrease the red and keep the maximum value for green and blue. This model is used in Moods for the 3 wheels managing the color balance of the shadows, mid tones and highlights.
Additive and Subtractive Aspect : To help set the color balance in a neutral way, identify the color dominance in a specific luma range and progressively decrease (subtract) it by dragging the control point of a wheel in the opposite direction. To increase (add) a particular color in a specific luma range, just drag the control point of the wheel in the direction of this color.
Amplitude of the Wheels : Note that the amplitude of each color balance wheel can be adjusted with the strength parameters located in the Effects window. By default, the Shadow Strength, Midtone Strength and Highlight Strength are set to medium. If you find you need finer control of a wheel, just decrease the corresponding Strength parameter. To create more radical color changes, increase the Strength. The strength parameter is also useful for increasing or decreasing a color without losing its angle location on the wheel.
Luma Ranges : Each of the 3 distinct color wheels is applied with the help of a curve to influence the color of a defined luminance range more than the others. These 3 curves are smooth to prevent abrupt color changes and banding issues with gradients.
Because of the smooth curves, changing the color in a particular luminance range will also influence the color of the nearest luminance range. For example, adding green in the shadows will also add in a little green in the Mid tones. In this case, the opposite color mapping model of the color wheel lets you use the adjacent wheel to compensate.
Wash Shadows Black in the center of the wheel: The center of the wheel represents the minimum quantity (absence) of the red, green and blue components. Moving to the edge of the wheel increases the corresponding components without decreasing the opposites. For example, moving towards magenta will increase the red and blue components without affecting green. The Wash Black wheel lets you add some pure colors in the shadows in order to create vintage looks.
Black Levels : Black level determines the amount of light in the darkest parts of the image. The brightness wheel lets you modify this area. Lowering the brightness will make the black and grey levels become more dark. When the black level of your image is too low, you are loosing details in the shadows. Make sure you keep this part of the signal consistent to avoid banding in the dark part of the gradients.
Saturation : The saturation wheel lets you desaturate the image before the color correction. Moving up will desaturate the 3 components equally. Moving down (silver) desaturates the components with different quantities changing the saturation in an artificial way, helping to create the bleach bypass look.
Gamma - Grey levels : The Gamma, or contrast, determines the distribution of the grey levels in the image. The gamma wheel lets you compress or expand this area. Adjusting gamma helps to redistribute the light and the color cast on skin tones, and changes the luminance values that are closer to black in order to modify the shadow details.
White levels : The exposure wheel lets you adjust these highest levels without affecting the Shadows. Ideally, you may set the white levels to keep enough detail in the bright part of the image while at the same time avoiding whites to exceed the legal levels.