Color correction fcp x

Looks like no one’s replied in a while. To start the conversation again, simply ask a new question. Greetings, I am coming up to speed with FCP. I am using FCP 5, for now, and am considering upgrading to FCP 6. The thing that interests me most about 6 is Color. I would appreciate any and all advice on this - if you were new to FCP, and cared a lot about color and color correction, is it best to learn FCP color correction, or should I go right to Color? For what it's worth, I know quite a bit about color correction from Photoshop. Not sure how much of that knowledge will transfer. I am assuming I am best off digging into the color correction offered via FCP 5 first. If though Color is much superior, and has a different learning curve then FCP 5, I'd prefer to save the time and not learn FCP 5 color correction, and spend the $ to get Color. Hope that makes sense? All help is most apprciated! Eric Macbook Pro 2.33 ghz, 2 gig of RAM, 17 inch, Mac OS X (10.4.10) Posted on Jul 9, 2007 8:18 PM Posted on Jul 9, 2007 8:34 PM Color is a professional colorist tool. It doesn't compare to Photoshop. Photoshop is for pictures, Color is for video/film. The controls are COMPLETELY different. You will have the "eye" for the color, but as for the controls and interface, it is VERY different. If you have never color corrected video before, I'd stick to FCPs controls. The 3-way is VERY powerful. SO much can be done with that. Learn that. Get Alex Van Hurkman's ENCYCLOPEDIA OF COLOR CORRECTION from AMAZON.com. Also get Color Correction for FCP from Ripple Training. These will get you started down the color path. If you can first master this, then I'd think you'll be ready to tackle Color. Gotta learn to drive before you race in an Indy car. Shane Color Correction: FCP vs Color for a newbie

Two shots, select the clip with bad color, then, go back to the Magic Wand menu and select Match Color. The keyboard shortcut is Option+Command+M.Two images are displayed in the Viewer, along with a message at the bottom saying click the frame you want to match.Here’s the cool part: The frame that you want to use as the source for your color match DOESN’T have to be in the Timeline.For instance, here’s the shot with color I like — located in the Event Browser. I skim to the frame I want to use as the color master and click it.Instantly, the selected frame is loaded into the left side of the Viewer, and the clip with the bad color on the right is immediately corrected to match the color of the master clip.Compare the difference between the way the clip started, on the left, and the finish result!Click the Match button in the lower right side of the Viewer and make sure FCP X renders the Timeline.NOTE: On my system, I’ve found that color corrected clips don’t always playback smoothly, nor are colors accurate until after rendering is complete.Now you can see how much more closely the two clips in our sequence match.Assuming your clips have been analyzed, the process of color correcting a clip using these two techniques would set you back about 15 seconds. While we could do a better, more accurate, job using the video scopes and manual color correction in FCP X, we could not do it anywhere nearly as quickly. When time matters, and your clips need help, this is a great tip to keep in your back pocket.NOTE: I’ve created a video tutorial that goes into color correction in FCP X in a lot more detail Click here to learn more.(Thanks to Fran and Miles Hale of Model Railroad Builders for their permission to use these clips.) Bookmark the permalink. Larry Recommends:--> 2,000 Video Training Titles Apple Final Cut Pro Adobe Premiere Pro DaVinci Resolve Edit smarter with Larry Jordan. Available in our store. Access over 2,000 on-demand video editing courses. Become a member of our Video Training Library today! JOIN NOW Subscribe to Larry's FREE weekly newsletter and save 10%on your first purchase.

Correct, go to View > Range Check > Excess Luma (Control+Z) and make sure the checkmark symbol in the Canvas stays green. A yellow icon means your white levels are too hot.For me, I find where the yellow checkmark disappears, then lower the white level by four clicks.Now that the black and white levels are set (and, by the way, it helps to set them in this order), it’s time to get the colors right.Change the scope to “Vectorscope,” and click the eyedropper in the Color Corrector next to the far right circle, labeled “Whites.” Use this to select the color in the image you want to adjust to make white.NOTE FROM 2011Andrew Balis prefers to color-correct on mid-grays. When I first wrote this article, I found it easier to color correct on whites. However, after studying this for a few years, Andrew is exactly right. The closer you get to pure white and pure black, the less room you have for color correction. You have the greatest latitude when you color correct on mid-tone gray.I’ve created several webinars that cover this topic. If you have FCP 7, watch this training. If you have FCP X, watch this episode.Click the eyedropper on something that should be white in the image, in this case, I used the white paper on the desk. Be sure to select something that is not over-exposed and blooming. (In other words, avoid the sky, light through windows or overexposed sections of your image.)Notice how the colors have instantly shifted closer to the flesh tone line?Ta-dah! Instant color correction. Bookmark the permalink. Larry Recommends:--> 2,000 Video Training Titles Apple Final Cut Pro Adobe Premiere Pro DaVinci Resolve Edit smarter with Larry Jordan. Available in our store. Access over 2,000 on-demand video editing courses. Become a member of our Video Training Library today! JOIN NOW Subscribe to Larry's FREE weekly newsletter and save 10%on your first purchase.

You know the drill… The deadline is crashing down around you and one of your clips was shot by a color-blind orangutan and it is ruining your entire opus. But, you don’t have time for a complete color grade – in fact, the video scopes are pretty much of a mystery. What to do?Easy – read this. This color correction technique isn’t perfect, but it is REALLY fast and gets you close enough to keep your job.Here’s the problem: the color is way off; in this case, between two model train shots. The left picture looks great, while the right picture is blue/green and washed out.While you can color correct a shot at any time, it is best to have FCP X analyze the clip BEFORE you edit it to the Timeline. Analysis can only be performed on clips in the Event Browser.Analysis looks at the grayscale and color values of the entire clip. If you don’t analyze a clip before editing it to the Timeline, when you color correct an unanalyzed clip in the Timeline FCP X looks only at the color values of the frame at the position of the playhead, or, if the playhead is not in the clip, at the color values of the frame at the exact middle of the clip.For this reason, spending a little bit of time analyzing the clips you want to color correct before editing them into the Timeline is a really good idea. Remember, analysis runs in the background. While I do NOT analyze during import, I do analyze after I have a sense of what clips I want to edit into my sequence. That saves time and disk space, without waiting until the last minute to analyze my clips.To analyze clips in the Event Browser, select the clip, or clips, and choose Modify > Analyze and Fix.Check Analyze for Balance Color (the grammar of that sentence continues to set my teeth on edge) and click OK. (As soon as analysis starts, you can edit the clip to the Timeline as normal. You don’t need to wait for analysis to finish before editing the clip.)NOTE: You can monitor the status of analysis by either typing Command+9 or clicking the small “clock” in the Dashboard. This displays the Background Task monitor.Select the clip in the Timeline that has color problems. To correct problems in exposure or color cast, select Balance Color from the Magic Wand menu (Apple calls this the “Enhancements menu.”) The keyboard shortcut is Option+Command+B.To disable or remove, this correction, uncheck Balance Color.As you can see, this improves the color, right image, but it still doesn’t match the richness of the first shot in our sequence.To match color between

Have the Master levels, which you can adjust using familiar RGB curves, which actually are adjusted using sliders as opposed to moving points on the curves themselves. In addition, feel free to play with the "pop" slider, which could easily be renamed the "awesome" slider, to help give your overall image more of a visual punch. You won't be overwhelmed by 80 different sliders and wheels, but everything you'll need is here, and is streamlined for simplicity. Like some of Magic Bullet's other filters such as Looks or Misfire (which I find myself going to a lot), the quality is top notch, and easily trumps any similar plug-ins I've seen from other developers. The natural downside to the high quality, as with Magic Bullet's other products, Colorista results in long render times and choppy real-time playback. While I was hoping that running Colorista on CS5, where I could make use of the 64 bit processing and additional RAM would give me more instantaneous results, any real improvement in speed was negligible. Maybe I'm being unreasonable with this desire. No other color correction tool of this caliber will afford you this luxury either, and any color correction software I'm aware of that allows you to do secondary color correction, forces you outside of your editing program to do it, such as Apple's Color or Synthetic Aperature Color Finesse, so ultimately you'll end up wasting more time with all of the "back and forth" between programs. $299 for just one color-correction filter may seem a bit steep if you find yourself generally able to get by with what's included in your software, but at $99 for the upgrade it's well worth it for previous users. Like I said before, the differences between this and Colorista I are monumental. Furthermore, if you're in the business of high-end finishing, and either don't have access to Apple's Color, or are simply sick of bouncing back and forth between it and FCP, then Colorista II is a must. In addition, you may find it really worthwile to purchase this as part of the Magic Bullet Suite, which at $799 for the full version, not only includes Colorista, but the equally great Looks plug-in, as well as Denoiser, Frames, Grinder, Instant HD, & more, all in all, an extremely worthwhile set of great looking plug-ins that may be more appealing as a bundle, since you'll be saving a lot more of your hard earned cash this way. High end finishing and color correction is now easy and affordable thanks to Colorista II. For CS5 owners this is a great and affordable buy, and Final Cut owners should be glad to say goodbye to Color in favor of having all the same capabilities, with a much more user friendly interface, right within their effects window. Ease of Use 10.0 Depth of Options 9.0 Performance 8.0 Value vs. Cost 9.0 Overall Score 9.0 Mark Colegrove is the director of 2008's horror/comedy Isle of the Damned, which is self-distributed through

Care of all the usual suspects; footsteps, clothes rustling, doors closing, etc. Of all the work I did on this film in the edit, this section definitely took the longest. Between timing up footsteps one by one and mixing sounds from different libraries to match together, it took a lot of trial and error to dial in.At a certain point I thought I was finally through with the sound edit, but then realized I had missed something critical – two small lines of dialogue.On set, I meant to record wild lines with our lead actor (Morgan), that would be used in two scenes where she mutters something under her breath. But on the day of, I completely forgot to record them and only remembered they were missing while making final tweaks to the sound edit.Normally I would have recorded ADR at this point, but due to COVID restrictions I wasn’t able to do any in person recording, and had to think outside the box.Morgan (the main actor) was also in my first feature film, so as a possible solution I thought about going back into the raw sound from that movie and cherry picking a couple of lines that could be mixed into the short. Unfortunately though, I didn’t find what I was looking for in the raw files. So instead, I tried an experiment that I was sure would fail, but somehow didn’t…The experiment was to record the two lines of audio using my own voice, and modify it in post to play as a female voice coming from the main character.This was a long shot and I really didn’t think it would work, but it did. And it was shockingly easy to do, largely because the lines are performed in a whisper. That already makes it harder to distinguish between vocal ranges.Still though, there is an audible difference between and male and female whisper, even if it’s not as pronounced. To make my ADR whisper sound believable, I used the Pitch tool in FCP X to pull up the pitch of the dialogue by a couple of octaves. This little tweak made it sound 100% realistic, and once it was mixed into the rest of the audio you would never know.With that complete, so was the rest of the sound process. All that was left was the picture finishing.Color Correction & Picture FinishingThere were three main components I was dealing with while finishing the picture: Color correction, some minor visual effects, and titling. I’ll start with color –Going into the color process, I knew I wasn’t going to want to push the levels around too much – largely because this was shot on real film and I didn’t