IntroductionWelcome| 00:04 | Hi! I am Robbie Carman and welcome to
Color Correction with Final Cut Pro X. In
| | 00:09 | this course, we will explore the Color
Correction tools that are available to
| | 00:12 | you in Final Cut Pro X--including
some new tools like Shape Mask, Automatic
| | 00:16 | Color Balance, and Color Matching--that weren't
available in previous versions of the application.
| | 00:21 | We will also take a look at how to
make primary corrections, that is,
| | 00:24 | corrections that affect the entire clip,
while at the same time using the video
| | 00:29 | scopes in Final Cut Pro X to
help us make informed corrections.
| | 00:33 | We will also talk about secondary
corrections, that is, corrections that target
| | 00:38 | a specific portion of a clip.
| | 00:39 | We'll also discuss creating looks with
primary and secondary corrections, and
| | 00:44 | along the way, we'll talk
about the issue of Broadcast Safe.
| | 00:48 | Without further delay, let's jump
right into Color Correction with Final Cut
| | 00:51 | Pro X.
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| Comparing color correction in Final Cut Pro 7 and Final Cut Pro X| 00:00 | Chances are if you're watching this
title on Color Correction of Final Cut Pro
| | 00:04 | X, you've probably used Final Cut Pro
7 before and have probably used the
| | 00:07 | color correction and gradient
tools in that version of the app.
| | 00:10 | In this movie, I want to quickly
compare the color correction tools in Final
| | 00:13 | Cut Pro 7 to those found in Final Cut Pro X
so you can better understand how they compare.
| | 00:20 | First, the video scopes in
Final Cut Pro X are actually useful.
| | 00:23 | Now don't get me wrong, the scopes
in Final Cut Pro 7 were pretty good but
| | 00:27 | lacked resolution and detail.
| | 00:30 | The scopes in Final Cut Pro X, on the
other hand, are nice and sharp and provide a
| | 00:35 | great amount of info to
base your corrections on.
| | 00:37 | The only downside? Well, currently you
can't display more than one scope at a time.
| | 00:42 | We will talk more about the scopes, of course,
throughout this title as we make corrections.
| | 00:48 | Next, the Color Correction effects bin
that was a single category of effects in
| | 00:52 | Final Cut Pro 7 is gone.
| | 00:54 | While there are some filters or
effects spread across the Basics, Light, and
| | 00:58 | Stylize categories that pertain to
color correction, a category that's pretty
| | 01:02 | exciting is the Looks category.
| | 01:05 | This category has effects that
create overall looks to your footage.
| | 01:08 | Of course, these effects can be
augmented by other effects, and depending on the
| | 01:13 | look effect itself you can change
different attributes of the look.
| | 01:17 | We will talk about some of these
effects that can color correct footage in a
| | 01:21 | movie later in this title.
| | 01:23 | The other thing about Effects in
Color Corrections is that of course they
| | 01:25 | need to be rendered.
| | 01:27 | But now in Final Cut Pro X, that
rendering can happen in the background,
| | 01:31 | which can drastically speed up workflow if you've
enabled it in your Final Cut Pro X Preferences.
| | 01:36 | So, I know what you're thinking--no
Color Corrector, no Color Corrector 3-Way.
| | 01:40 | Well that is the major paradigm shift
between Final Cut Pro 7 and Final Cut Pro
| | 01:45 | X. Instead of the three traditional
color wheels in contrast sliders for the
| | 01:49 | three parts of the tonal range--shadows,
mid tones, and highlights--Final Cut Pro
| | 01:54 | X introduces a new tool called the Color Board.
| | 01:57 | We will go into depth about the Color
Board later in this title, but put simply,
| | 02:01 | in Final Cut Pro X you have no color
wheels in Contrast sliders like you do with
| | 02:05 | the Color Collector and Color
Collector 3-Way effects in Final Cut Pro 7.
| | 02:09 | Instead, the Color Board takes the
three major tasks of color correction--
| | 02:13 | adjusting color, saturation, and
exposure--and puts them all into one place, but
| | 02:18 | on three separate tabs or panes.
| | 02:21 | Furthermore, the Color Board
flattens out the color wheels,
| | 02:24 | saturation controls, and contrast
sliders in Final Cut Pro 7 into a board for
| | 02:29 | each type of correction.
| | 02:31 | Also, Final Cut Pro 7's Color Correction
tools operate in what was called YCbCr,
| | 02:36 | or generically, YUV color space,
| | 02:39 | while Final Cut Pro X operates in RGB color
space, which is really more how we see the world.
| | 02:46 | Here's another difference. In Final
Cut Pro 7, you are always able to make
| | 02:49 | secondary corrections, that is,
corrections that affect only part of the picture.
| | 02:54 | But in that version of the app, those
corrections were mainly done with an HSL
| | 02:58 | key or Hue Saturation
and Lightness or Luma keys.
| | 03:02 | This technique still exists in Final Cut
Pro X and it is called Color Mask, but a
| | 03:06 | new feature in Final Cut
Pro X is called a Shape Mask.
| | 03:10 | This feature lets you use a geometric
shape often called a vignette or a window
| | 03:14 | to isolate part of a clip for color correction.
| | 03:16 | We will talk about both Color masks
and Shape masks later in this title.
| | 03:22 | Final Cut Pro X also offers several
Color Correction technologies to make your
| | 03:26 | life easier, especially if you're an
editor who doesn't have time for hours and
| | 03:31 | hours of manual color correction.
| | 03:33 | The first feature allows you to
balance or to correct a shot automatically.
| | 03:37 | This is generally a two-step process
and we will explore in more detail in a
| | 03:41 | later movie in this title.
| | 03:43 | But it basically entails analyzing
the clip for contrast and color and then
| | 03:47 | having Final Cut Pro X use that data to
make a correction for you automatically.
| | 03:53 | The other feature that I just love
and that can make quick work out of the
| | 03:56 | sometimes detailed and trying process
of making shots in a scene or across a
| | 04:01 | whole project flow together is a
new feature called Match Color.
| | 04:05 | If you like the look of one shot and
want another shot in a scene or even in
| | 04:09 | your project to have the same look and feel,
you can use Match Color to match those shots.
| | 04:14 | Is it perfect?
| | 04:15 | Well no, but it can really help speed
along matching shots and of course, you can
| | 04:20 | manually refine a match after
using the Match Color feature.
| | 04:23 | We will talk about Match Color
in a later movie in this title.
| | 04:28 | All in all, while different, I think
that you will see over the course of this
| | 04:31 | title that Color Correction between
Final Cut Pro 7 and Final Cut Pro X is
| | 04:35 | not all that different.
| | 04:37 | What I mean is that the concepts
of making a correction are the same.
| | 04:41 | The capabilities are pretty much the
same, if not better, and I think over the
| | 04:45 | course of this title, you'll find Final
Cut Pro X to have many of the tools you
| | 04:48 | need to color correct your footage and projects.
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| Using the exercise files| 00:00 | If you're a premium member of lynda.com
Online Training Library, you have access
| | 00:04 | to the exercise files
used throughout this title.
| | 00:07 | When you download the exercise files zip,
the first thing that you need to do is
| | 00:10 | unzip it by double-clicking on it.
| | 00:12 | After you do that, you'll be
presented with a folder called Exercise Files.
| | 00:15 | Now I've actually already gone ahead
and unzipped the exercise files, and here
| | 00:18 | they're on my desktop.
| | 00:20 | If you open up this folder, you'll
notice three additional folders--Final Cut
| | 00:24 | Events, Final Cut Projects,
and Import for Balance Color.
| | 00:27 | We'll use this last folder
to import a clip in Chapter 1.
| | 00:30 | The two folders that I want you to pay
attention to right now though are the
| | 00:33 | Final Cut Event and Projects folders.
| | 00:35 | Final Cut Pro X is pretty specific
about how it accesses projects.
| | 00:39 | So what I actually want to do is
launch a new finder window here and then
| | 00:42 | navigate to my user Movies folder.
| | 00:44 | The Movies folder is the default folder
that Final Cut Pro X uses for event and
| | 00:49 | project organization, and what we're
going to do is add most of the content from
| | 00:53 | the Exercise Files here into the
Movies folder, and this way we can quickly
| | 00:57 | access projects and the event for this course.
| | 01:00 | Now, if you've previously launched
Final Cut Pro X, you might see these folders
| | 01:03 | here inside of the Movies folder called
Final Cut Events and Final Cut Projects.
| | 01:07 | If you haven't previously launched Final
Cut Pro X, you won't have these folders.
| | 01:10 | So if you previously launched Final Cut
Pro X and you open up the Final Cut Events
| | 01:14 | and Final Cut Projects inside of your
Movies folder, you'll see any previous
| | 01:19 | events and projects that you've created.
| | 01:21 | So the issue is if we were to drag the
Final Cut Events and Projects folders
| | 01:25 | from the Exercise Files into the
Movies folder, we'd actually replace any
| | 01:29 | existing events and projects, and
you probably don't want that to happen.
| | 01:33 | So a better option is to simply go back
to the exercise files here and open up
| | 01:37 | the Final Cut Events folder, and then
drag this event called Color Correction in
| | 01:42 | Final Cut Pro X into the Final Cut
Events folder in the Movies folder.
| | 01:46 | This way, now when you launch Final
Cut Pro X, you'll have access to all the
| | 01:50 | media used in this title, as well as
any media that you've previously used in
| | 01:54 | Final Cut Pro X. Projects work the same way.
| | 01:57 | I'll come back to the Exercise Files
here and open up the Final Cut Projects
| | 02:00 | folder, and then simply select all of
these projects, and then drag them in
| | 02:06 | through the Final Cut
Projects folder in my Movies folder.
| | 02:10 | Now, if you want to focus solely on
this title, you can actually copy any
| | 02:14 | existing events and projects to
another location on your system, and because
| | 02:19 | they're not in your Movies folder,
Final Cut Pro X won't be aware of them.
| | 02:22 | So I'll simply go into the Final Cut
Events folder here and take this event and
| | 02:25 | drag it out to my desktop.
| | 02:27 | I'll then go down to the Projects
folder and take this project and drag it
| | 02:31 | out to the desktop.
| | 02:32 | When you're done with this title, you
can copy any existing events and projects
| | 02:36 | back to the Event and Projects folder
and your Movies directory on your system.
| | 02:41 | If you haven't previously launched Final
Cut Pro X before, the Event and Projects
| | 02:44 | folders won't exist in your Movie folder.
| | 02:47 | In that case, you can simply copy both
the Final Cut events and Projects folders
| | 02:51 | in their entirety from the Exercise
Files folder to your Movie folder.
| | 02:55 | Okay, now that we've copied the
exercise files to the appropriate places, let's
| | 02:59 | go ahead and close these windows, and
then let me go down to my dock here and
| | 03:03 | launch Final Cut Pro X. After Final Cut
Pro X launches, I'll be presented with
| | 03:09 | the Project Library right down here, and
here I can see all of the projects that
| | 03:13 | I used in this title.
| | 03:15 | I'll be sure to mention what project
we're using for a particular movie, but all
| | 03:19 | you need to do if you're following along
is open up the Project Library and then
| | 03:22 | choose the appropriate project to
follow along with the movie that you're
| | 03:25 | watching. And to open up a
project, you simply double-click on it.
| | 03:29 | Additionally, up here in the
Event Library, I have one event.
| | 03:32 | This event is called Color Correction
in Final Cut Pro X. This event contains
| | 03:36 | most of the media that we'll use
throughout this title and it's already
| | 03:39 | connected to the projects that we use,
and all of the media is already online.
| | 03:44 | For most of this title, I'll actually
have the Event Library hidden just like
| | 03:47 | this, but you can still see
the media from that event.
| | 03:51 | Now that we've covered all the technical
details, I'll tell you about this footage.
| | 03:55 | The footage used in this title comes
from the independent short film called The
| | 03:58 | Funeral by filmmaker Colin Foster.
| | 04:00 | You can find out more about the film by
visiting thefuneralmovie.com. It's a great film,
| | 04:06 | and I have had the
pleasure of grading it recently.
| | 04:08 | The film will be making rounds at
festival soon, but all the media from the film
| | 04:11 | was originally shot 4K on a Red One camera.
| | 04:15 | Since Final Cut Pro X currently doesn't
have any direct support for native red
| | 04:18 | material, and to make your download
smaller and faster, the footage has been
| | 04:22 | encoded as Apple ProRes Proxy.
| | 04:24 | Although 8-bit, ProRes Proxy is still
robust enough for the Color Correction
| | 04:28 | we'll be doing in this title.
| | 04:30 | The last thing I want you to keep in
mind is that for the most part, projects in
| | 04:33 | this title use a single
shot or a few shots together.
| | 04:36 | When shots are put together, they're not
really meant to tell a story or be part
| | 04:40 | of the original film.
| | 04:42 | Furthermore, since this film was shot
using a separate digital audio recorder to
| | 04:45 | record audio, the footage that you'll
find throughout this title doesn't have
| | 04:48 | any sound associated with it.
| | 04:50 | So don't think this is a bug with your system.
| | 04:52 | If you don't have access to the
exercise files, you can follow along from
| | 04:56 | scratch with your own
assets or just watch the movies.
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| Making interface and preference adjustments| 00:00 | As you follow along with this course,
you might notice that there are several
| | 00:03 | things in my interface of Final Cut Pro
X that look a little different from the
| | 00:07 | default layout of the application.
| | 00:09 | I just wanted to spend a few moments in
this movie to point out those differences.
| | 00:12 | First, throughout this title, I'll have the
Event Library hidden to make more room
| | 00:16 | for other on-screen elements like the
Viewer and the Scopes. And at any time
| | 00:20 | you can access the Event Library
by clicking this button right here.
| | 00:24 | Here in my Event Library you'll
notice that I actually only have one event,
| | 00:26 | called Color Correction in Final Cut
Pro X. Depending on how you've copied
| | 00:30 | the exercise files to your machine, if
you have access to them, you may have
| | 00:34 | other existing events. But for this title
and on my machine, I only have this one event.
| | 00:38 | Let me go ahead and hide the Event Library.
| | 00:42 | Right here I can actually see all the
clips that are in the Color Correction for
| | 00:45 | Final Cut Pro X event.
| | 00:47 | You shouldn't have to access clips here,
as they've already been placed into
| | 00:50 | the various projects used throughout this title.
| | 00:53 | Next, I'll be running Final Cut Pro
X in Full Screen mode for this title.
| | 00:56 | I like Apple's recent move to full-
screen apps and the easiest way to get to get
| | 01:01 | Final Cut Pro X into Full-Screen is to
come over here to the upper right hand
| | 01:04 | corner of the interface and
click on this button right here.
| | 01:08 | To get out of full-screen mode, simply
press the Escape key, and of course to
| | 01:12 | get back into full-screen
mode, click the button again.
| | 01:15 | Throughout this title we'll be
accessing what is known as the Color Board
| | 01:19 | here in Final Cut Pro X. So let me go
ahead and select the shot down here in
| | 01:23 | the timeline and then I'll use the keyboard
shortcut Command+6 to access the Color Board.
| | 01:29 | Due to the resolution that I'm recording
this movie at, I'm not actually able to
| | 01:32 | see all of the Color Board.
| | 01:34 | If I place my cursor between the dark
and light gray areas right here and drag
| | 01:38 | down, I can resize the interface a bit,
and when I do that you'll notice some
| | 01:43 | additional information here on the Color Board.
| | 01:46 | This area of the Color
Board is just informational;
| | 01:48 | you can't actually click into one of
these fields here to edit the position or
| | 01:52 | value of a control up here in the Color Board.
| | 01:55 | For that reason I've chosen to
have this part of a color board hidden
| | 01:58 | throughout this title.
| | 01:59 | Final Cut Pro has a new feature called
Skimming, and this feature allows you to
| | 02:04 | quickly preview a shot with what's
called the skimmer without having to move the
| | 02:07 | playhead. This is how it works.
| | 02:09 | I'll simply come down to the timeline
and I can skim the shot, but notice the
| | 02:14 | main playhead is staying still.
| | 02:17 | This feature makes it easy to quickly
view clips on a timeline, but it also
| | 02:21 | gives you the ability to quickly
preview shots in a selected event, and
| | 02:25 | skimming is on by default in Final Cut
Pro X. Now I should just say that some
| | 02:29 | people love this future, but when you
have it turned on and you move your mouse
| | 02:33 | down here in the timeline, the image
in the viewer constantly changes, and I
| | 02:37 | find this can be distracting.
| | 02:38 | Also, when color correcting, I like to
make sure that I'm viewing the frame I
| | 02:42 | want to look at in the viewer and not
the frame that my mouse might happen to
| | 02:46 | be over here in the timeline.
| | 02:49 | On your system, you're welcome to keep
this feature on, but for this title, I'm
| | 02:53 | going to disable Skimming, and to
disable audio and video skimming, simply click
| | 02:57 | this button right here.
| | 02:59 | You can also use the
keyboard shortcut S, S for skimming.
| | 03:03 | However, disabling skimming draws
attention to an issue that I want to show you.
| | 03:07 | Let me go ahead and use the keyboard
shortcut Command+6 to close the Color
| | 03:11 | Board, and then what I want to do is
come up here into the Viewer and click on
| | 03:15 | this little light switch icon right here, and
then I want to choose to Show the Video Scopes.
| | 03:20 | We'll talk about the Video Scopes
throughout this title, but what I want
| | 03:24 | you to understand right now is that
there's actually no information being
| | 03:28 | displayed in this scope.
| | 03:30 | To display information in the Scopes
window, Final Cut Pro needs to have a shot
| | 03:34 | be skimmed or selected, which
essentially moves the playhead to the point where
| | 03:38 | you clicked to update the Scopes.
| | 03:41 | In the case of a parked playhead in the
timeline, you can also nudge the playhead
| | 03:45 | by using the left or right
arrows to update the Scopes.
| | 03:49 | Because I've gone ahead and disabled
Skimming for this title, I can't use the
| | 03:52 | skimming option to update the scope.
| | 03:55 | Throughout this title I'll use the
option of actually coming down to the
| | 03:57 | timeline and selecting a shot.
| | 04:00 | Now in the scope I can actually see
some trace or information about this shot.
| | 04:04 | I also want to make you aware that
on my system I've gone ahead and made
| | 04:08 | sure that Auto or Background rendering is on,
and you can find that option in Preferences.
| | 04:13 | So let me come up here to the Final Cut
Pro menu and then down to Preferences.
| | 04:18 | Then here on the Playback pane of my
Preferences, the option I want to take a
| | 04:22 | look at is this one right here for Rendering.
| | 04:24 | Right now I have Background rendering
on, and I like this feature, as it can
| | 04:29 | quickly speed up workflow, and of
course, it renders in the background.
| | 04:33 | In some movies in this title, if
you're following along with the Exercise
| | 04:36 | Files, there will already be color
corrections on a shot that will need to be
| | 04:40 | rendered, and if you have Background
rendering on, when you open up a project
| | 04:44 | rendering should automatically begin based
on the time value that you input right here.
| | 04:49 | If you're on a slower system you might
want to disable background rendering.
| | 04:53 | But when you do that I want
to show one important thing.
| | 04:56 | Let me go ahead and close my
Preferences here. Then I want to come back down to
| | 05:00 | this shot on the timeline and select it,
and use the keyboard shortcut Command+6
| | 05:05 | to open up my Color Board, and I'm going
to do a simple correction on this shot.
| | 05:09 | Right now don't worry about how
I'm actually making the correction.
| | 05:12 | The point is, is that over the clip
right now I have this orange line;
| | 05:16 | this indicates that the
shot needs to be rendered.
| | 05:19 | At any time you can come up here to
the Modify menu and choose to render
| | 05:24 | everything in your timeline
or render just a selected shot.
| | 05:28 | You can also use the keyboard shortcuts
of Control+R to render a selection and
| | 05:33 | Ctrl+Shift+R to render the entire timeline.
| | 05:35 | Let me go ahead and render the entire timeline.
| | 05:39 | And when I do that you'll see this
little progress icon of the rendering right
| | 05:42 | here in the middle of the interface,
and slowly but surely, you'll see the
| | 05:46 | orange bar disappear over the clip, indicating
that that part of the shot has been rendered.
| | 05:51 | Let me just make sure that I go back up
to my Preferences here and once again
| | 05:55 | enable Background rendering.
| | 05:57 | Now that we've adjusted the interface
and some preferences, we're ready to start
| | 06:01 | Color Correcting in Final Cut Pro X.
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|
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1. Color Correction Tools in Final Cut Pro XUnderstanding the video scopes| 00:00 | Video Scopes. You've probably stumbled upon
them before in Final Cut Pro X or other NLEs.
| | 00:05 | These days every color correction tool
and pretty much every editorial tool is
| | 00:09 | going to have Video Scopes, but
what are they and what do they do?
| | 00:14 | Well, in this movie, I want to
quickly answer those questions and in movies
| | 00:17 | throughout this title, we'll use the
Scopes to help us to make corrections.
| | 00:21 | Put simply, Video Scopes allow you to
objectively look at the video signal in a
| | 00:25 | number of different ways, like measuring
the lightness or brightness information
| | 00:29 | of a clip, or the saturation of
colors that are present in a shot.
| | 00:33 | The thing I want you to understand is
that your eyes lie to you, and they lie to
| | 00:36 | you all the time about the video signal.
| | 00:38 | Described with scientific terms like
adaptation, your eyes can quickly tell
| | 00:43 | you things that aren't really happening
in a shot, but by using Scopes, you can
| | 00:47 | get a much more accurate idea of
what is happening in the shot, without
| | 00:50 | depending on your eyes alone.
| | 00:53 | So the first thing we need to do is
figure out how to gain access to the Scopes
| | 00:56 | here in Final Cut Pro X, and to do
that we have a few different options.
| | 00:59 | First, I can come up to the Window
menu and then down to Show Video Scopes. I
| | 01:03 | can also use the keyboard shortcut Command+7.
| | 01:06 | Here in the viewer, if I click on this
little light switch icon, I can choose to
| | 01:09 | show the Video Scopes.
| | 01:11 | When I activate the Videos Scopes,
you'll notice that the viewer gets a little
| | 01:14 | smaller to share space with the Scopes.
| | 01:16 | Now the important thing I want to point
out is that currently in Final Cut Pro X
| | 01:20 | you can only display one Scope at a time.
| | 01:24 | The other thing that I want to point
out is that Final Cut Pro X is very
| | 01:27 | sensitive about what it shows you in
the viewer and thus the Scopes window,
| | 01:31 | and the sensitivity is
based on what you have selected.
| | 01:34 | So for example, if I come over to my
event here and select a shot, you'll notice
| | 01:38 | that the shot is now viewable here
in the viewer and the Scopes show me
| | 01:41 | information about that
clip that I have selected.
| | 01:44 | If I come down to, say, the timeline and
select this shot, you'll notice that the
| | 01:48 | viewer updates, but so do the Scopes.
| | 01:50 | If you had skimming enabled, which I
don't in this title, you could also skim a
| | 01:54 | shot to get the scopes to update.
| | 01:56 | To access the different scopes
available in Final Cut Pro X and to access the
| | 02:00 | options for a selected scope, what you
need to do is simply come up here to the
| | 02:04 | Settings menu in the Scope window
itself, and here in the top section where it
| | 02:08 | says display, we can choose from the
Histogram, Vectorscope, or Waveform. These
| | 02:12 | are different types of scopes.
| | 02:14 | So for example, if I chose
Waveform here, the scope changes.
| | 02:17 | Now again, I need to make sure that I
have the clip that I want to view selected.
| | 02:21 | So I'm going to go ahead and select
this clip down here in the timeline.
| | 02:23 | If I come back up to the Settings
window, the lower section will show me
| | 02:27 | different options available for that
scope. And for the Waveform here, I have a
| | 02:31 | quite a few different options, but
again, these options will change based on
| | 02:35 | what scope that you have active.
| | 02:37 | The first scope that you'll use all the
time is called the Waveform scope, and
| | 02:40 | that's the one I currently am showing, and the
Waveform scope can be viewed in different ways.
| | 02:45 | The three most common ways are to view
the Waveform Scope set to Luma, which
| | 02:49 | allows you to measure the overall
lightness information in the clip, as well as
| | 02:53 | view the contrast ratio of a clip.
| | 02:55 | You can also use the RGB Parade, and
you use the RGB Parade any time you want to
| | 03:01 | see the relative color balance
between the red, green, and blue channels.
| | 03:05 | You can also use the RGB Overlay mode,
which gives the same basic results as the
| | 03:10 | Parade, but in more of a composite view
with all the signal information layered.
| | 03:15 | let's go back and choose Luma
from the Settings menu once again.
| | 03:19 | Before we go any further you need to
understand what is displayed on each scope.
| | 03:24 | Each scope displays what is called
the Trace, this stuff right here.
| | 03:29 | Put simply, the trace on digital
displays, like the ones used in Final Cut Pro X,
| | 03:33 | show you all the pixels in the video signal.
| | 03:36 | Next, each scope has its own scale and
on this Waveform Scope you can see the
| | 03:40 | scale right here, going from -20% to 120%.
| | 03:45 | Each scale on the different scopes allows
you to measure the trace in different ways.
| | 03:50 | The cool thing about the Waveform Scope
here is that it mimics the total range
| | 03:54 | from bottom or blacks down here to
white up here at the top, with midtones here
| | 04:00 | in the middle of the scope.
| | 04:01 | The picture on screen is also mimicked
on the Waveform Scope from left to right.
| | 04:07 | So in this shot, this bit of trace right
here is brighter than this bit of trace
| | 04:11 | down here. And because the waveform
scope mimics the picture from left to right,
| | 04:15 | this bit of a brighter trace is
probably this window right here in the shot.
| | 04:19 | And the darker portion of trace right
here is probably the actor right here in
| | 04:23 | the middle of the shot.
| | 04:23 | As I said, we'll break down the
Waveform Scope in a little bit more detail in
| | 04:28 | later movies in this
title as we make corrections.
| | 04:31 | The other scope that we use all
the time is called the Vectorscope.
| | 04:34 | So let me come back up to the
Settings menu here and choose Vectorscope, and
| | 04:38 | let me select the shot in the timeline.
| | 04:41 | This scope is the principal scope that
you'll use to measure overall Hue and
| | 04:45 | Saturation in your footage.
| | 04:47 | Hue is represented as the angle around
the scope and saturation is represented
| | 04:52 | by the distance out from
the center of the scope.
| | 04:55 | The center actually represents no saturation.
| | 04:58 | So in this shot you can see that most of
the trace is pointed out towards the blue
| | 05:01 | and kind of between the cyan targets.
It's extended pretty far out but not
| | 05:05 | excessively so, indicating that
this clip is saturated, but not overly
| | 05:08 | saturated, and if I look at the actual
clip here you can see that it is indeed
| | 05:12 | blue, and its looks to be
saturated, but not too saturated.
| | 05:16 | Another thing to point out--
| | 05:17 | remember how we talked about the
RGB Parade in overly Waveform Scopes?
| | 05:21 | You'll often use those scopes in
combination with the Vector Scope to get an
| | 05:25 | accurate idea what's going
on with color in your footage.
| | 05:29 | So if I go ahead and switch back to
the waveform and then go and choose RGB
| | 05:33 | Parade, I can see that the blue trace
here is elevated over the green and red
| | 05:37 | traces, indicating that I have a blue
color cast in this clip. If I change the
| | 05:41 | waveform to show RGB Overlay,
I'll see the same information.
| | 05:45 | The blue trace is elevated over the
green and red traces in this composite view.
| | 05:50 | The last scope that we
have is called the Histogram.
| | 05:52 | The Histogram provides you a
statistical view of the video signal in a
| | 05:56 | variety of different ways.
| | 05:58 | We can view the signal as Luma only,
so the histogram shows me only the
| | 06:02 | brightness information of the clip.
| | 06:04 | I can view the different color
channels and I can also view an RGB overlay,
| | 06:07 | as well as a parade.
| | 06:10 | What I mean by statistical view is
that spikes in the trace, these bits
| | 06:13 | right here, indicate that you have
more pixels or more values in that part
| | 06:18 | of the tonal range.
| | 06:19 | I like to use the histogram in
combination with the various waveform scopes to
| | 06:23 | get a good idea what's going on with
my brightness levels as well as what's
| | 06:26 | going on with color in my clip.
| | 06:28 | So for now, that's a quick
introduction to the Video Scopes.
| | 06:31 | As I said, we'll use the scopes
throughout this title to make some informed
| | 06:35 | decisions about the
corrections that we will make.
| | Collapse this transcript |
| Using Balance Color| 00:00 | What I want to show you in this movie is
an amazing new color correction feature
| | 00:03 | in Final Cut Pro X that can
drastically speed up your workflow.
| | 00:06 | The process of balancing color is
generally a two-step process, and most of the
| | 00:10 | time it begins on import.
| | 00:12 | So after you've opened up the project,
simply go up to the File menu, and then down
| | 00:15 | to Import, and choose to Import Files.
| | 00:17 | You can also use the keyboard shortcut
Shift+Command+I. In just a second, the
| | 00:22 | Import Files dialog box will open up
and what I am going to do is navigate out
| | 00:25 | to my Desktop and then
choose the Exercise Files folder.
| | 00:27 | On your own system, simply navigate to
wherever you saved the Exercise Files.
| | 00:32 | Inside of that folder, I am going to
open up this folder called Import for
| | 00:34 | Balance Color, and then select
this movie called balancecolor.mov.
| | 00:39 | So with this clip selected, let's come
down to lower section of the dialog, and
| | 00:43 | the first choice that we have is
whether we want to import this clip into an
| | 00:45 | Existing Event or if we
want to Create a New Event.
| | 00:48 | I have actually already gone ahead and
created an event called Color Correction
| | 00:51 | in Final Cut Pro X, and I want to
import this clip into that existing event.
| | 00:55 | Remember, events are simply a way of
organizing media in Final Cut Pro X. Next
| | 01:00 | down here in the Organizing section,
let's make sure that we have this first
| | 01:03 | option, Copy files to Final
Cut Events folder, selected.
| | 01:06 | Although this will create a
duplicate of the media, that's actually okay.
| | 01:10 | If you choose later to trash the
Exercise Files folder, you will still have this
| | 01:13 | clip in the Event called Color
Correction in Final Cut Pro X. We can leave this
| | 01:17 | option for Import folders as
Keyword Collections unchecked.
| | 01:21 | Then, in the Transcoding section, we
can leave both of these options for
| | 01:24 | Creating optimized media and proxy
media unchecked, as all of my media is
| | 01:27 | already encoded as Apple ProRes Proxy.
| | 01:30 | Here in the Video section is the
option that I want to focus on.
| | 01:33 | This one right here, Analyze for balance color.
| | 01:35 | Let me go ahead and check that option.
| | 01:37 | We can actually analyze a clip for
several things, including stabilization
| | 01:40 | and rolling shutter.
| | 01:41 | We can also analyze a clip to find people.
| | 01:44 | But, the option that I want to have checked
for this movie is Analyze for balance color.
| | 01:48 | Then, down here in the Audio section,
I can actually leave all three of these
| | 01:51 | options unchecked, as I don't
have any audio on this clip.
| | 01:54 | Now, before we actually go ahead and
click Import, let me move the Import Files
| | 01:57 | dialog box over to the right here.
| | 01:59 | What I want you to notice in the middle
of the Final Cut Pro X interface is this
| | 02:02 | icon right here that currently says 100%.
| | 02:05 | What this icon shows you is
the status of background tasks.
| | 02:09 | And when we import this clip in just a
moment, what's going to happen is Final
| | 02:12 | Cut Pro X will automatically start
analyzing this clip for balance color, and
| | 02:16 | that analyzation will happen in the background.
| | 02:18 | As it's analyzing, this little icon
will count up from 0% all the way to 100%,
| | 02:24 | but it's going to happen really quickly.
| | 02:26 | So I just wanted to point it out
before we actually imported the clip.
| | 02:30 | Let's go ahead and import the clip.
| | 02:32 | In just a second, it's added to our Event.
| | 02:33 | You can see it right here, and this
little Progress icon of Background Tasks
| | 02:36 | quickly counted up from 0% all the way to 100%.
| | 02:39 | Now, of course, if you had a thousand
clips, it would go a little slower than
| | 02:43 | just a single clip, but in
general, it goes pretty quick.
| | 02:46 | Let's go ahead and take this clip that we
just imported and drag it down into our timeline.
| | 02:52 | Then, let me skim this clip and
you can see that the clip - well, it
| | 02:55 | doesn't look so good.
| | 02:56 | It's kind of blue, and it's kind of washed out.
| | 02:59 | And of course, I could do a manual color
correction on this clip using the color
| | 03:03 | board to balance this clip out.
| | 03:04 | We will talk about the Color Board in
more detail later in this chapter and then
| | 03:08 | throughout the rest of this title.
| | 03:09 | But I actually want to
perform an automatic correction.
| | 03:11 | What I am going to do is use that
analyzation data that we just created to
| | 03:15 | perform an automatic correction.
| | 03:18 | So what I am going to do is select this
clip and then use the keyboard shortcut
| | 03:20 | Command+4 to open up the Inspector.
| | 03:23 | Here in the Color section of the Video
pane of the Inspector, notice that I have
| | 03:27 | this option right here called Balance.
| | 03:29 | Also notice right next to the
word Balance, it says Analyzed.
| | 03:33 | That's because we analyzed this clip on import.
| | 03:36 | If we had not chosen that option during
import, it would say Not Analyzed here
| | 03:41 | next to the word Balance.
| | 03:42 | If we had a non-analyzed clip,
curiously, enabling balance color would still
| | 03:48 | actually balance the clip.
| | 03:49 | But, Final Cut Pro would use the frame
that your playhead is on to balance the
| | 03:53 | rest of the shot, or if your playhead
is on a different clip or you selected a
| | 03:57 | clip elsewhere in your project, it
will use the middle-most frame in the clip
| | 04:00 | to balance the shot.
| | 04:02 | In my opinion, you will get much better
results if the clip has been analyzed,
| | 04:06 | and you can do this in two ways.
| | 04:07 | First, either on import as we've done,
or if you've forgotten to analyze on
| | 04:11 | import, you can quickly
analyze it once it's in an event.
| | 04:15 | To do that, simply find a clip and
right-click on the clip, and then choose this
| | 04:19 | option right here called Analyze and Fix.
| | 04:22 | In the dialog box that pops up, you will
notice that you have the same options that
| | 04:25 | we had when we imported this file originally.
| | 04:28 | One of those options is
Analyze for balance color.
| | 04:30 | Now, of course, this shot has already been
analyzed, so I can simply click Cancel here.
| | 04:34 | So to actually fix this shot, let's
come back over to the Inspector and choose
| | 04:39 | to enable the balance.
| | 04:40 | We can do this in one of two ways.
| | 04:42 | I can simply choose to click this Black
square here to enable the balance, or I
| | 04:46 | can use this keyboard shortcut Option+
Command+B. I am simply going to click.
| | 04:50 | In one second, you can quickly
see that the shot has been balanced.
| | 04:54 | It looks way better than that original shot.
| | 04:57 | Now, is it perfect?
| | 04:59 | No, but I can always go back in later
and refine this correction using the color
| | 05:03 | board here in Final Cut Pro X. Let me
quickly toggle that on and off so you can
| | 05:07 | see the difference once again.
| | 05:08 | Then, let's come down to the
timeline here and play this clip.
| | 05:15 | Looks pretty good!
| | 05:17 | I think this is one of the best features as
far as color correction in Final Cut Pro X goes.
| | 05:21 | Analyzing for balance color on import
or after a clip has been brought into
| | 05:25 | Final Cut Pro X is quick and easy.
| | Collapse this transcript |
| Using Match Color| 00:00 | As a colorist, I work on
a lot of shows every year.
| | 00:03 | And one of my main concerns is making sure
that shots within a scene match each other
| | 00:07 | and that shots from scene to scene
feel like they belong with one another.
| | 00:11 | In the past, to match shots you needed
a keen eye and a deep understanding of
| | 00:15 | the video scopes to be able to match shots.
| | 00:17 | Well, Final Cut Pro X offers a very
cool solution called MatchColor to match
| | 00:21 | shots quickly and pretty effortlessly.
| | 00:24 | And that's what we are going
to take a look at in this movie.
| | 00:26 | This project contains a couple of
shots from the same scene but there are two
| | 00:29 | different angles, and one of the angles
has already had a look applied to it.
| | 00:33 | So let's go ahead and
scrub through this timeline.
| | 00:35 | And here on this first clip, you can
see that it has pretty stylized, kind of
| | 00:38 | aggressive look to it.
| | 00:40 | But it doesn't match the flat
look of this second shot at all.
| | 00:43 | What I actually want to do is have
this second shot match the more stylized
| | 00:47 | look of this first shot.
| | 00:48 | Now, speaking of this first
shot, I am pretty happy with it.
| | 00:51 | What I have done is actually gone ahead
and performed a primary color correction.
| | 00:55 | That is a correction that affects the
entire picture, and I have done this with
| | 00:59 | the color board here in Final Cut Pro X.
For right now, don't worry about how I
| | 01:02 | actually made the correction.
| | 01:04 | We will talk more about the color board
later in this chapter and throughout the title.
| | 01:08 | The point is, is that you can match
the contrast and color over raw shot
| | 01:11 | to another raw shot.
| | 01:12 | But you can also match a shot to a
previously corrected shot like the one I have here.
| | 01:17 | Alright, so let's go ahead and
select this second shot, the one we are
| | 01:20 | unhappy with, and then let me use the
keyboard shortcut Command+4 to open up the inspector.
| | 01:24 | Here in the inspector, let me make sure
that I am on the video pane, which I am.
| | 01:27 | Then let's come down to the Color section.
| | 01:29 | Just make sure that the Color section
is enabled, and you can tell that it's
| | 01:32 | enabled by this blue square right here.
| | 01:35 | Right here, I have the
parameter for Match Color.
| | 01:37 | And right now match color is not
currently enabled, and I can tell that because
| | 01:40 | of this black square.
| | 01:41 | To enable Match Color, I can simply
click on this black square but I can also
| | 01:45 | use the keyboard shortcut Option+Command+M
to enable the Match Color function of
| | 01:49 | Final Cut Pro X. I am simply going to click.
| | 01:51 | And when I click, you can see that
the viewer changes into this sort
| | 01:54 | of side-by-side view.
| | 01:55 | I have a clip here on the right, no
clip here on the left, but we will run
| | 01:57 | in that in a second.
| | 01:59 | Down here you can actually see
that I have some instructions.
| | 02:01 | And they are actually being cut off.
| | 02:03 | That's only because of the resolution
that I am recording in this movie at.
| | 02:06 | What these instructions really say
are "Skim to a frame you want to match and
| | 02:09 | click to preview it."
| | 02:11 | Okay, so what I am going to do is come down
here to the timeline and skim this first clip.
| | 02:14 | And as I drag back and forth, you can see
that I am picking a new frame in this first clip.
| | 02:18 | And I can see that on the left-hand
side of the split view up in the viewer.
| | 02:21 | Let me go ahead and click right here.
And when I click, you can see that the
| | 02:25 | right-hand side, or that second clip
on the timeline, updates to show me a
| | 02:29 | preview of that match.
| | 02:30 | Now it's only a preview.
| | 02:32 | I haven't actually committed to the match yet.
| | 02:35 | But on first blush, it looks
really, really, really good.
| | 02:39 | Now in this clip, it didn't really
matter the frame I chose since it is a pretty
| | 02:42 | static clip but if you had a shot that
the color and contrast changed within the
| | 02:46 | shot, be careful about what frame you choose.
| | 02:50 | Okay, so to accept the match, I am
simply going to click Apply Match.
| | 02:53 | Let's navigate down before the
edit here, and let me play this back.
| | 03:00 | And wow, that's pretty good!
| | 03:01 | You can see that the shots match pretty well.
| | 03:03 | Now if you decide, you know what, I
want to match this shot to another shot in
| | 03:07 | my project, all you need to do is make
sure that the shot is selected, come back
| | 03:11 | up to the inspector, and click Choose here.
| | 03:14 | And then you can simply repeat the
process of choosing a new frame that you want
| | 03:18 | to match the shot to.
| | 03:19 | Lastly, I think it's important to
mention that if a match is not perfect, you
| | 03:23 | can always refine it with the color
board or with filters and effects, all of
| | 03:27 | which we will discuss a bit later in this title.
| | 03:30 | So that's the essentials of color match.
| | 03:31 | I think along with balance color, it's
a huge feature of Final Cut Pro X, and
| | 03:36 | one that can save you hours of
time performing manual corrections.
| | Collapse this transcript |
| Understanding color looks and effects| 00:00 | So far in this chapter we have taken a
look at some specific color correction
| | 00:03 | features in Final Cut Pro X,
namely Balance Color and Match Color.
| | 00:06 | In this movie, I want to introduce you
to a few other options you have in Final
| | 00:09 | Cut Pro X to color
correct and grade your footage.
| | 00:12 | Let's start out by taking a look at some of
the color looks that were created by Apple.
| | 00:15 | To do this, I am simply going to
select this first shot in the timeline.
| | 00:18 | And then what I want to do is come over
and access the Effects Browser, and I can
| | 00:21 | do that by clicking on this button
right here in the interface. I can also
| | 00:23 | use a keyboard shortcut Command+5.
| | 00:26 | Here in the Effects Browser, I can see a
whole bunch of different categories for
| | 00:29 | both audio and video effects.
| | 00:30 | The category I am concerned with right
now is this one right here labeled Looks.
| | 00:34 | This category contains a bunch
of preset looks created by Apple.
| | 00:38 | Now the thing to understand about these
effects is that they are, well, effects.
| | 00:40 | In other words, they are not color
correction presets that manipulate the
| | 00:44 | controls of the color board in any way.
| | 00:46 | We will talk about the color
correction presets and the color board later in
| | 00:49 | this movie, and then later in this
chapter we will break down the color board
| | 00:52 | into a whole bunch more detail.
| | 00:54 | Now, here is one of my favorite features
in Final Cut Pro X. Prior to committing
| | 00:58 | to an effect, you can actually
preview it here in the Effects Browser.
| | 01:01 | The way this works is you simply place your
cursor over one of these effects or looks.
| | 01:05 | Let me show you.
| | 01:05 | I will place my cursor over
this look right here labeled Cast.
| | 01:09 | And when I do that, what you should
notice is that the viewer updates to show me
| | 01:12 | a preview of that effect.
| | 01:14 | The actual icon of the effect down here
in the Effects Browser also updates to
| | 01:17 | show you the actual clip
that you are working with.
| | 01:19 | And you can even skim left or
right to preview that look or effect.
| | 01:24 | I think this is an awesome feature
in Final Cut Pro X because instead of
| | 01:27 | having to commit the effect, you can first
preview it here inside of the Effects Browser.
| | 01:32 | Now for this movie, the effect
that I want to use is this one right
| | 01:35 | here, labeled 50s TV.
| | 01:36 | I kind of like this look.
| | 01:38 | It'll give this shot a
nice, black-and-white feel.
| | 01:40 | So, to apply this look, I have two options.
| | 01:42 | I can drag it onto the clip in the timeline
or I can simply double-click on it to apply.
| | 01:47 | Now that I have applied this look,
let's come back out to the timeline and
| | 01:50 | select the first shot.
| | 01:51 | And then I'm going to use the keyboard
shortcut Command+4 to open up the Inspector.
| | 01:55 | On the video pane of the Inspector
here at the top, notice that I have
| | 01:58 | the Effects section.
| | 01:59 | And here you can see that look
that we just applied, labeled 50s TV.
| | 02:02 | Now this look only has one parameter
that we can adjust--the Amount or the
| | 02:06 | intensity of the look.
| | 02:07 | Let me dial that up just a little bit.
| | 02:09 | And what that really did was intensify
the edge vignetting that was going on in
| | 02:13 | this look, and I kind of like that.
| | 02:16 | Now, because these looks are just effects,
we can keep adding multiple effects to
| | 02:19 | one another to create sort of a composite look.
| | 02:21 | What I am going to do is come back
down to the Effects Browser here, and let's
| | 02:24 | locate another effect.
| | 02:25 | I want to use this one
right here labeled Numeric.
| | 02:27 | This time instead of double-clicking on
this look, I am simply going to drag it
| | 02:30 | out to the clip on the timeline to apply it.
| | 02:32 | Now you can see up here in my Inspector,
I have both of those looks, the 50s TV
| | 02:36 | look, as well as the Numeric look.
| | 02:38 | Also notice that the Numeric look
has more parameters that we can adjust.
| | 02:42 | Depending on the look that you apply to
a shot, you'll have more or less parameters
| | 02:45 | that you can use to tweak the look.
| | 02:48 | For this Numeric look, let me simply
dial down the Amount. Something like
| | 02:53 | that works pretty well.
| | 02:54 | Let's come back down to the
timeline and skim through the shot.
| | 02:56 | All right, I am liking the
work. It's working pretty well.
| | 03:00 | Let's navigate down to the
second shot in this timeline.
| | 03:04 | The basics and stylized categories
here in the Effects Browser also have some
| | 03:08 | effects that we can use to
help us color correct our shots.
| | 03:11 | Let me go ahead and make sure
that the second shot is selected.
| | 03:13 | Then what I am going to do is
come into the Basics category over here.
| | 03:16 | And then in the Basics category, you can
see a whole bunch of different effects--
| | 03:20 | things like Tint, Sepia,
Colorize, Black & White, and so on.
| | 03:25 | Also notice this effect right
here labeled Broadcast Safe.
| | 03:28 | We we'll come back to this effect
in the later movies in this title.
| | 03:31 | For right now, I want to apply this
effect right here labeled Crisp Contrast.
| | 03:34 | And I will simply double-click on it to
apply it to the second shot in the timeline.
| | 03:38 | Up here in the Video pane of the Inspector,
you will notice that I now have that effect.
| | 03:42 | Let's dial back the Amount a little
bit so we are not crushing the black so
| | 03:45 | much. Something like that works just fine.
| | 03:48 | The Stylize category also has some effects
that can help you color correct your footage.
| | 03:53 | We have things like Bad TV, Aged Film,
Cartoon, Camcorder, and so on and so forth.
| | 03:58 | The one I want to use on
this shot is labeled Film Grain.
| | 04:01 | So this time I am going to apply this
effect by dragging it out onto this clip.
| | 04:05 | And in the Inspector here for Film
Grain, I have two different styles I can
| | 04:09 | choose, iMovie Grain or Realistic Grain.
| | 04:12 | And I don't find iMovie Grain to be
particularly realistic, so I am going to
| | 04:16 | choose Realistic Grain.
| | 04:17 | And that looks much better.
| | 04:19 | Let me skim through the shot.
| | 04:22 | Now our third shot sort of
disappeared here in my timeline.
| | 04:24 | It's kind of underneath the Effects
Browser, so only use the keyboard shortcut
| | 04:28 | Shift+Z to snap the clips in the
timeline back into the viewable area.
| | 04:31 | And then let's go down to this third shot;
| | 04:33 | let's make sure it's selected.
| | 04:35 | Now what I am going to do is actually
use the Color Board to apply a color
| | 04:39 | board preset to the shot.
| | 04:40 | Now don't worry, I know that we haven't
talked about the Color Board in detail.
| | 04:43 | We are not going to actually use any
of the controls on the Color Board.
| | 04:47 | All I am going to do is simply
apply a preset from the Color Board.
| | 04:52 | Let's go ahead and first hide the Effects
Browser, because I don't need that anymore.
| | 04:55 | And then with this third shot
selected, let's come up here to the Inspector.
| | 04:58 | You will notice in the Color
section, I have a default correction,
| | 05:01 | this one right here labeled Correction 1.
| | 05:03 | To access the Color Board, let's
click on this button right here.
| | 05:06 | Now again, we don't need to worry
about any of the controls here on the color
| | 05:10 | board on these three panes
for Color, Saturation, and Exposure.
| | 05:12 | What I want to do is come down and
click on this little menu right here where
| | 05:15 | you see the cog icon.
| | 05:16 | This is where I can access
presets for the Color Board.
| | 05:19 | You will also notice that you
can actually save your own preset.
| | 05:22 | In a later movie in this title, we will
talk about creating and saving our own
| | 05:27 | presets here on the Color Board.
| | 05:28 | But for right now, let's just
choose one of these presets.
| | 05:31 | And the one that I want to use is
this one right here labeled Ash.
| | 05:34 | And when I choose that preset, you
can see that the controls here on the
| | 05:37 | Color Board changed.
| | 05:39 | When you choose a Color Board preset,
what's really happening is that the Color
| | 05:42 | Board updates and adjust the
parameters on it to create a look.
| | 05:45 | In this shot it created a pretty
stylized sort of desaturated look.
| | 05:49 | Let me skim through the shot.
| | 05:50 | I am liking the way that looks.
| | 05:54 | Now if you were astute you would have
noticed that these shots are actually all
| | 05:57 | from the same scene.
| | 05:59 | And normally, you would think that I would try
to match these shots together. And you are right.
| | 06:02 | Normally, I would try to do that.
| | 06:04 | But I wanted to show you in this movie
different ways that we can sort of
| | 06:07 | stylize and correct our shots, without
directly manipulating the controls on the Color Board.
| | 06:12 | So you can see, besides the other
color correction tools that we have already
| | 06:15 | talked about like Balance color and
Match Color, you can easily use other
| | 06:19 | effects and presets here in Final
Cut Pro X to create custom looks.
| | Collapse this transcript |
| Overview of the Color Board| 00:00 | In this movie I want to do an overview
of the Color Board so you can better
| | 00:03 | understand its basic operation. And
then throughout the rest of this title, we'll
| | 00:07 | use the Color Board almost
exclusively to make corrections to footage.
| | 00:10 | The first thing that we need to figure out
is how to actually access the Color Board.
| | 00:14 | To do that, we have a few options.
| | 00:15 | First, we can simply select a shot and
then use the keyboard shortcut Command+4
| | 00:19 | to open up the Inspector.
| | 00:20 | You can also click on this button
right here to open up the Inspector.
| | 00:23 | Now, in the Color section of the
Inspector you'll notice that the shot already
| | 00:26 | has a correction applied to it, Correction #1.
| | 00:28 | This is the default correction that
every shot in Final Cut Pro X has, and to
| | 00:32 | access the Color Board for this
correction, I'll simply click on this icon right
| | 00:35 | here, and here's the Color Board.
| | 00:37 | Let me go ahead and use the keyboard
shortcut Command+4 to hide the inspector.
| | 00:41 | If you don't want to have to first go
through the main level of the Inspector to
| | 00:44 | access the Color Board, you don't have to.
| | 00:47 | You can use the keyboard shortcut Command
+6 to jump directly to the Color Board.
| | 00:51 | You can also use that same
shortcut to close the Color Board.
| | 00:54 | And if you're more of a menu type
person, you can simply click here in the
| | 00:56 | Enhancements menu and
choose to Show the Color Board.
| | 00:59 | Once the Color Board is active, you'll
notice that it's broken down into three
| | 01:03 | tabs or three different panes.
| | 01:05 | Here on the Color pane, we can make
color corrections, on the Saturation pane,
| | 01:09 | we can make saturation corrections,
and finally, on the Exposure pane, we can
| | 01:13 | make exposure or contrast corrections to a shot.
| | 01:16 | Let's start out here on the Exposure pane.
| | 01:18 | We have four controls.
| | 01:20 | First, this one right here allows me to
adjust the overall or global exposure or
| | 01:24 | contrast of this clip.
| | 01:25 | So if I drag up, I can lighten this clip,
and if I drag down I can darken the clip.
| | 01:30 | I could of course reset a correction
at any time by clicking on this little
| | 01:33 | Reset icon right here.
| | 01:35 | Just keep in mind that the Reset icons
are exclusive to the pane that you are
| | 01:38 | on. In other words, they only reset
the correction of the active pane.
| | 01:42 | Of course, here on the Exposure
pane I have three additional controls.
| | 01:46 | These allow me to adjust exposure over
the three different parts of the tonal
| | 01:49 | range: shadows or blacks,
midtowns, and then whites or highlights.
| | 01:54 | So for example if I wanted to
lighten the highlights in this shot I can
| | 01:56 | simply select the control and drag up
lighten the highlights or drag down to darken them.
| | 02:02 | I can of course make simultaneous corrections.
| | 02:05 | So for example, if I selected the
midtones here, I can drag up to lighten the
| | 02:09 | midtones, and I can drag down on the blacks or
shadows to darken the blacks and the shadows.
| | 02:15 | You don't actually have to drag though;
| | 02:17 | you can simply select one of the
controls that you want to adjust, like this.
| | 02:21 | You know that it's selected
when its icon gets larger.
| | 02:24 | Once it's selected, you can then use the
up and down arrows to make it darker or
| | 02:29 | to make that particular part
of the tonal range brighter.
| | 02:31 | These arrows of course will work on
the Global or Master control as well.
| | 02:35 | Let's go ahead and reset that correction.
| | 02:37 | Let me go ahead and switch
over to the Saturation pane.
| | 02:40 | The Saturation pane works
in a very similar fashion.
| | 02:43 | I have a Global or Master control,
where as I drag up, I can saturate the shot; if
| | 02:47 | I drag down, I can desaturate the shot.
| | 02:50 | I can of course reset this pane
by clicking on this Reset icon.
| | 02:53 | I also have Saturation controls for the
three parts of the tonal range--Shadows,
| | 02:57 | Midtones and Highlights.
| | 02:59 | Now let's click over to the Color pane.
| | 03:01 | Now the Color pane in the Color
Board in Final Cut Pro X gets all of the
| | 03:05 | attention because it's so different
from the traditional color wheels that
| | 03:09 | Final Cut Pro 7 used, as well as the
color wheels that pretty much every other
| | 03:12 | color correction application uses.
| | 03:14 | What Apple basically did was
flattened out a color wheel.
| | 03:18 | We have similar controls
that we had in the other panes.
| | 03:21 | I have four different controls. A
Global control--this one right here. Then
| | 03:25 | I have controls for the three parts of the
tonal range--shadows, midtowns, and highlights.
| | 03:31 | I can of course grab one of these
controls and position it anywhere that I want.
| | 03:35 | Where I position it left and right
determines hue, up and down determines the
| | 03:39 | saturation or intensity of the hue.
| | 03:42 | Let me go ahead and reset that.
| | 03:44 | Of course, I don't have to drag;
| | 03:46 | I can simply select one of these targets.
| | 03:48 | I'll select the Master or Global target
right here and then use the up arrows to
| | 03:53 | change its saturation and the left and
right arrows to change the particular
| | 03:57 | selected hue. Let me reset that one more time.
| | 04:00 | Obviously, the big difference here on
the Color pane of the Color Board is that
| | 04:04 | we have no color wheels.
| | 04:05 | What you should notice is that the
Color pane is broken down into a positive
| | 04:09 | section up here and a
negative session down here.
| | 04:12 | The positive section
actually makes a whole lot of sense.
| | 04:15 | So for example, if I drag the Global
control or Master control up here into the
| | 04:18 | green positive section, you'll
notice that the shot becomes, well, green.
| | 04:22 | And the further out that I drag, the
more green it will become, or the more
| | 04:26 | saturated it will become.
| | 04:27 | But what doesn't make a whole lot of
sense is what happens when I drag into
| | 04:30 | the negative section.
| | 04:31 | When I drag down here, the
shot actually becomes magenta.
| | 04:36 | This is kind of confusing and
there is a great way to visualize this.
| | 04:39 | Let me go ahead and open up the
Videoscopes by pressing Command+7 on the keyboard.
| | 04:44 | Once the Scope window opens up, let me
go ahead and click into the Settings menu
| | 04:47 | here and then down to choose the Vectorsope.
| | 04:51 | Then let me make sure that the shot
is active down here in the timeline.
| | 04:54 | Then finally, let me reset this correction.
| | 04:57 | When I drag the Global or Master
control up here to the green section, you'll
| | 05:00 | see that all of the trace kind of pushes
over here towards the green target, but
| | 05:04 | if I drag down into negative green,
you'll notice that most of the trace goes to
| | 05:08 | the opposite side of the
Vectorscope or towards the magenta target.
| | 05:12 | A good way to visualize the negative
space here, or the negative part of the
| | 05:15 | Color pane of the Color
Board, is as a Color Wheel.
| | 05:18 | You're going to the opposite side of the
Color Wheel that the hue is showing you.
| | 05:22 | So for example, negative green is
actually magenta, negative blue would
| | 05:26 | actually be yellow, negative cyan
would actually be red, and as we've seen,
| | 05:31 | negative green is magenta.
| | 05:33 | Of course, you can go in
between the opposite side targets.
| | 05:37 | Let me go ahead and reset this correction.
| | 05:40 | If you had a shot that was very blue,
to neutralize blue in that shot you'd go
| | 05:44 | into negative blue, thus removing blue
from the shot and adding yellow to the
| | 05:49 | shot to neutralize that color cast.
| | 05:51 | Still though, I think it takes a little
bit of practice to understand how this
| | 05:55 | new concept of the Color pane on
the Color Board actually works.
| | 05:59 | Throughout this title we'll be playing
with the Color pane here, but on your
| | 06:02 | own, do a little more experimentation until
you're comfortable with how the
| | 06:05 | controls work here.
| | 06:06 | Let me go ahead and reset this.
| | 06:07 | Now, I'm not actually showing
you the entire Color Board.
| | 06:12 | Let me come down here to the gray and
silver area right here until my cursor
| | 06:15 | becomes sort of this resize
icon, and let me drag down.
| | 06:18 | I've been hiding these controls right here.
| | 06:21 | Well, they're not actually controls;
| | 06:22 | they're just sort of information displays.
| | 06:24 | As I move one of the controls up here
in, say, the Color pane, you notice that
| | 06:28 | this control updates to show me some
information about where I've positioned
| | 06:32 | the particular control.
| | 06:33 | Now the reason that I have this hidden
throughout the course of this title is
| | 06:36 | because you can't actually click in
here to make a correction; you can't be
| | 06:40 | precise and add a numeric value.
| | 06:43 | And because you can't add a numeric
value to make a correction, I don't find
| | 06:46 | this information particularly useful.
| | 06:48 | So throughout most of this title,
I'll have this section hidden.
| | 06:51 | Let's go ahead and reset that correction.
| | 06:55 | Now a few more things I need to
tell you about the Color Board.
| | 06:57 | You can quickly navigate between the
different panes on the Color Board by using
| | 07:00 | some simple keyboard shortcuts.
| | 07:02 | So to activate the Color pane of the
Color Board, you can use the keyboard
| | 07:05 | shortcut Ctrl+Command+C, C for color.
| | 07:09 | To activate the Saturation pane use
Ctrl+Command+S, and to activate the
| | 07:12 | Exposure pane use Ctrl+Command+E. Let's
click the back arrow here to go to the
| | 07:17 | main level of the Inspector.
| | 07:19 | As we see, we have our default
correction here, but we can add multiple
| | 07:24 | corrections to a shot, and the way that
I do that is by clicking on this plus
| | 07:27 | button right here.
| | 07:28 | When I click on the plus button you
can see that I have a new correction, and
| | 07:32 | every correction has its own Color Board.
| | 07:35 | So for example, if I wanted to go to
the Color Board for Correction #2, all I
| | 07:39 | would need to do is click on this icon
right next to Correction 2 to activate
| | 07:43 | the Color Board for Correction 2.
| | 07:45 | Let's go back to the main level there.
| | 07:47 | Also, each correction allows me to not
only perform a primary color correction,
| | 07:52 | I perform a secondary color correction.
| | 07:54 | Now with these two icons right
here, I can have different types of
| | 07:57 | secondary color correction.
| | 07:59 | This first icon allows me to Add a
Color Mask. That is one way of isolating the
| | 08:03 | shot for secondary color correction.
| | 08:05 | I can also Add a Shape Mask and this
uses a geometric shape to isolate a portion
| | 08:10 | of the clip for color correction.
| | 08:12 | We'll talk more about secondary color
corrections later in this title, but after
| | 08:15 | you've isolated a portion of the shot,
you can simply go to the Color Board to
| | 08:19 | correct just that isolated portion.
| | 08:22 | Then finally, when you have multiple
corrections on a shot, you can switch
| | 08:26 | between them very quickly by using
this pull-down menu right here at the top
| | 08:29 | of the Color Board.
| | 08:30 | You can see I have two Corrections.
| | 08:32 | I'll go back to Correction #1.
Hopefully now this tool makes more sense.
| | 08:37 | While certainly different from the
traditional color wheel and contrast sliders
| | 08:40 | found in Final Cut Pro 7 and other
applications, the Color Board is equally up to
| | 08:45 | the task of correcting shots.
| | Collapse this transcript |
|
|
2. Making Primary CorrectionsFixing underexposed footage| 00:00 | So you come back to the studio, load
up your footage, and start previewing it.
| | 00:03 | And then you see that clip or
clips that are really underexposed.
| | 00:07 | Underexposed footage is something
that you'll need to correct all the time.
| | 00:10 | Fortunately, fixing these types of clips
is actually pretty easy inside of Final
| | 00:14 | Cut Pro X, and to fix an underexposed
shot, we're going to use the Color Board.
| | 00:18 | To be clear, the Color Board gives you
manual control over making a correction.
| | 00:22 | Let me show you what I mean about this shot.
| | 00:24 | I'll skim through it real quick and
you can see it's a shot of an actor coming
| | 00:27 | down a flight of stairs, and he looks
pretty dark and overall the shot looks
| | 00:31 | pretty underexposed.
| | 00:32 | But remember, your eyes lie to you, so
it's a good idea to verify that the shot
| | 00:37 | is underexposed by using the Video Scopes.
| | 00:39 | So to access the Video Scopes I'm going
to come up to the Window menu here and
| | 00:43 | then down to this option
right here, to Show Video Scopes.
| | 00:46 | I can also use the keyboard shortcut
Command+7. You can also access the Video
| | 00:50 | Scopes by coming to this light switch
icon right here and choosing to Show or
| | 00:54 | Hide the Video Scopes.
| | 00:55 | Once the Scope window opens up, let's
click into the Settings pull-down and
| | 00:59 | choose to show the Waveform scope. Then
let's click again on the Settings menu
| | 01:03 | and let's choose show the Luma Waveform.
| | 01:06 | The Luma Waveform is going to be the
principal tool that you use to measure
| | 01:09 | brightness information in the clip, and
when you're trying to verify that a clip
| | 01:13 | is underexposed or may be overexposed,
the Luma Waveform is your best option.
| | 01:19 | Let's go ahead and select a shot in
the timeline to have the scope update.
| | 01:24 | Okay, so now that I've got trace on the
Luma Waveform, you'll notice that most of
| | 01:27 | the trace is from about, I don't
know, 5% up to about 15% or 16%.
| | 01:32 | Remember that the scale that the
waveform scope uses goes from zero or dark or
| | 01:37 | black down here, up to white or 100% up here,
with midtones being in this part of the scope.
| | 01:43 | With most of the trace centered down
towards the bottom of the scope itself,
| | 01:47 | this indicates that I have a pretty dark clip.
| | 01:50 | Now, just to be clear, we can actually
have values that go below 0% and above 100%.
| | 01:56 | These are called super blacks and super
whites, but generally speaking, it's a
| | 02:01 | good idea in most workflows,
especially in broadcast workflows, to keep your
| | 02:05 | trace centered between 0
or black, and 100 or white.
| | 02:10 | Okay, so the shot's pretty dark and to
fix this shot, what we're going to do is
| | 02:14 | make a correction on the Color Board.
| | 02:16 | To access the Color Board, I'm going to
press Command+4 to open up the Inspector.
| | 02:21 | Here on the Inspector in the Color
section, you'll notice that I have an item
| | 02:25 | right here labeled Correction #1.
| | 02:27 | Every single clip has a default
correction labeled Correction 1, and to access
| | 02:32 | the Color Board for this correction,
let's simply click on this button right
| | 02:35 | here. And here's the Color Board.
| | 02:37 | Now I don't actually have to access the
Color Board by first activating the Inspector.
| | 02:42 | I'm going to press Command+4
to hide the Inspector.
| | 02:45 | If I want to jump right to the Color
Board, I can. And to do that I'll simply use
| | 02:49 | the keyboard shortcut Command+6.
| | 02:51 | And when I press Command+6 I bypass
the main level of the Inspector and jump
| | 02:56 | right to the Color Board.
| | 02:59 | Now, to access any of the panes here on the
Color Board, simply click on the pane itself.
| | 03:03 | Now, you actually don't have to click,
you can use some keyboard shortcuts.
| | 03:07 | Those keyboard shortcuts are
similar for the various panes.
| | 03:10 | For example, if I wanted to access the
Color pane, I can simply use the keyboard
| | 03:13 | shortcut Ctrl+Command+C, C for color.
| | 03:17 | To access the Saturation pane, it'll be
Ctrl+Command+S, and finally, to navigate
| | 03:22 | to the Exposure pane, it'll be
Ctrl+Command+E, E for exposure.
| | 03:28 | Okay, so one way that I have to make a
correction on this clip is by using this
| | 03:31 | Global or Master exposure
control, this guy right here.
| | 03:35 | So let me go ahead and select that and drag up.
| | 03:37 | Now as I do, you'll notice that I'm
lightening this clip, and as a drag down
| | 03:41 | you'll notice that I'm darkening the
clip. But notice on the Waveform Scope
| | 03:45 | set to Luma that all I'm really doing is
moving the trace up and down the scope as a whole.
| | 03:50 | That's not actually the result I want to
have, so let me go ahead and reset this
| | 03:54 | correction by pressing
the reset arrow right here.
| | 03:57 | What I want to do is come into these
three controls for the three parts of the
| | 04:00 | tonal range: shadows or blacks,
midtones, and then highlights or whites.
| | 04:06 | So let's first select the whites or
highlights target, and then I'm going to drag up.
| | 04:10 | And as I drag up you'll notice that
the clip becomes a little lighter.
| | 04:14 | Also notice on the Waveform Scope set
to Luma, the trace was moving up
| | 04:18 | the scale just a touch.
| | 04:20 | Next, let's come into the blacks or
shadows target, this guy right here.
| | 04:24 | And I don't actually need to drag;
| | 04:25 | I can use the up and down
arrows to move this puck or target.
| | 04:29 | So in this case I actually want the
arrow down to move to the bottom of the
| | 04:32 | trace towards the 0% line.
| | 04:34 | What this will do is make sure that
anything that's supposed to be black in the
| | 04:38 | shot will be represented as black.
| | 04:40 | I want the bottom of the trace to just touch 0%.
| | 04:45 | Next, let's come into the midtones
puck or target, I'm going to select that
| | 04:48 | and once again I'll arrow up to lighten up
this clip. Something like that is working just fine.
| | 04:54 | Now you'll notice as I made that last
correction that the trace came off the 0%
| | 04:59 | line. That's due to the
overlapping nature of the tonal range.
| | 05:03 | Often, as you make a correction in one
part of the tonal range, you'll need to go
| | 05:07 | back to another part of the tonal range to
offset the correction that you just made.
| | 05:11 | So let me come back to the blacks or
shadows target right here and then arrow
| | 05:15 | down just a touch to make sure that the
bottom of the trace is just touching 0%.
| | 05:19 | Alright, let's navigate back to the
main level of the Inspector by clicking the
| | 05:24 | Back button right here, and then let
me toggle this correction on and off by
| | 05:28 | clicking this button.
| | 05:29 | Here's the original shot and
you can see that it's pretty dark.
| | 05:32 | Also notice that the trace is sort of
clumped up towards the bottom of the
| | 05:36 | Waveform Scope set to Luma.
| | 05:37 | Let me go ahead and turn that
Correction back on, and you'll notice that the
| | 05:41 | shot looks much better and also the
trace is expanded a little bit more over the
| | 05:46 | scale that the Waveform Scope set to Luma uses.
| | 05:48 | Let me go ahead and hide the Inspector for
a second, and let's skim through the shot.
| | 05:55 | And you can now see it's a much more
usable shot and the actor is much brighter.
| | 06:00 | Next, let's go ahead and turn
off the Video Scopes by using the
| | 06:03 | keyboard shortcut Command+7.
| | 06:06 | And then what I want to do is activate
the Inspector again by pressing Command+4.
| | 06:09 | And I'll toggle this correction on and
off in a bigger view here, and you can
| | 06:14 | see the shot before and the shot after.
| | 06:16 | The shot after is much more
usable than the original shot.
| | 06:19 | Now one last note, if you have to
lighten a clip excessively, the noise that is
| | 06:24 | inherent to a clip is also lightened.
| | 06:27 | It may become more obvious.
| | 06:29 | While there is no built-in way yet in
Final Cut Pro X to reduce noise, many
| | 06:33 | third-party tools exist for noise
reduction in other applications.
| | 06:37 | And while you can fix noise in a
clip if it's severely underexposed, you
| | 06:41 | might not even want to correct the
shot in the first place, as severely
| | 06:45 | underexposed clips, even after they
are corrected, oftentimes don't cut very
| | 06:49 | well with other clips in a show.
| | 06:51 | Okay, so that's the basics of fixing an
underexposed clip in Final Cut Pro X. I
| | 06:55 | think you can see it's pretty
straightforward and pretty easy.
| | Collapse this transcript |
| Fixing overexposed footage| 00:00 | Earlier in this chapter we took a
look at fixing an underexposed shot.
| | 00:04 | The underexposed shot is a cousin to
the overexposed shot that we'll talk
| | 00:07 | about in this movie.
| | 00:09 | Just like we did when we fixed an
underexposed shot, we're going to use the Color
| | 00:12 | Board here in Final Cut
Pro X to make a correction.
| | 00:14 | Let me show you what I mean about this
shot; let me skim through it real quick.
| | 00:18 | By looking at this shot you can
tell that it's pretty bright and in
| | 00:20 | general looks overexposed.
| | 00:22 | Also the clip seems to have almost a
gray patina over it. This is a common
| | 00:26 | symptom of an overexposed shot,
but remember, your eyes lie to you.
| | 00:30 | So we want to verify that this shot is
overexposed by using the Video Scopes,
| | 00:34 | and to access the Video Scopes I'm
simply going to come up to the Window menu
| | 00:38 | and down to this option
to Show the Video Scopes.
| | 00:40 | I can also use a keyboard shortcut Command+7.
| | 00:43 | By the way, another way that you
can access the Video Scopes is by
| | 00:46 | clicking on this light switch icon right here
and then choosing to Show or Hide the Video Scopes.
| | 00:51 | Once the Scope window opens up, let's
come up to the Settings menu and choose to
| | 00:55 | change the Display Type or the
Scope Type to the Waveform Scope.
| | 00:58 | Then let's click back in the Settings
menu and make sure that we're choosing to
| | 01:02 | display the Waveform Scope with the Luma option.
| | 01:05 | With the Waveform Scope set to the
Luma option, this is going to be the
| | 01:07 | principal way that you measure
brightness information in a shot.
| | 01:12 | And if you're trying to verify that a
shot is overexposed or underexposed, the
| | 01:15 | Waveform Scope set to Luma is
going to be your best scope choice.
| | 01:19 | Let me go ahead and select the shot down
here in the timeline and the scope will update.
| | 01:24 | And now I can actually see trace or
information about this shot in the viewer
| | 01:28 | here in the Scopes window.
| | 01:30 | Looking at the trace of this shot, most
of the trace goes from about 25% up to
| | 01:34 | about 100%, and in fact,
there is a bit of trace over 100%.
| | 01:39 | Trace that's over 100% or below 0%
is generally considered illegal for
| | 01:44 | broadcast, and even if you're not in a
broadcast workflow, it's a good idea to
| | 01:48 | keep your trace between 0% and 100%
on the Waveform Scope set to Luma.
| | 01:53 | And remember that the scale that the
Waveform Scope uses goes from 0 or Black
| | 01:58 | up to 100 or White.
| | 02:00 | So with trace elevated pretty much
in the middle to the upper portions of
| | 02:03 | the Waveform Scope here, I can
tell that this clip is overexposed.
| | 02:07 | And to fix this shot we're going to
make a correction on the Color Board.
| | 02:10 | So to access the Color Board let's
use the keyboard shortcut Command+4.
| | 02:14 | And here in the Color section of the
Inspector, you can see that I have an item
| | 02:18 | labeled Correction 1.
| | 02:20 | Every shot has a default
correction labeled Correction 1.
| | 02:25 | To access the Color Board for the shot
I simply need to click on this button
| | 02:28 | right here, and here I am on the Color Board.
| | 02:30 | You don't actually need to go to the
main level of the Inspector first to
| | 02:34 | access the Color Board.
| | 02:35 | Let me use Command+4 to hide the Inspector.
| | 02:38 | To access the Color Board directly
you can simply use the keyboard shortcut
| | 02:41 | Command+6, and there you
are right on the Color Board.
| | 02:45 | The Color Board contains three different
panes: Color, Saturation, and Exposure.
| | 02:49 | You can access these different
panes simply by clicking on them, and you can
| | 02:53 | also use different keyboard shortcuts.
| | 02:55 | You can use Ctrl+Command+C to access
the Color pane, Ctrl+Command+S to access
| | 03:01 | the Saturation pane, and for this movie
what we need to do is access the Exposure
| | 03:05 | pane and I'll use a keyboard shortcut
of Ctrl+Command+E, E for exposure, to
| | 03:10 | access the Exposure pane.
| | 03:12 | So here on the Exposure pane, one way
that we can make this correction is by
| | 03:15 | using this Global control right here.
| | 03:18 | If I select this and drag up, you'll
notice that I'm making the clip brighter,
| | 03:21 | and if I drag down, I'm making the clip darker.
| | 03:24 | And for this clip, dragging down actually
works pretty well, but I want to have a
| | 03:28 | little bit more granular
control over the Correction.
| | 03:30 | Let's go ahead and reset this Correction
by clicking the Reset button right here.
| | 03:34 | What I want to do is come in and use
these three controls right here for the
| | 03:37 | different parts of the tonal range.
| | 03:39 | Blacks or shadows with this one,
midtones with this guy, then highlights or
| | 03:43 | whites with this one right here.
| | 03:45 | So let's first come into the highlights
or whites control and drag down just a
| | 03:49 | touch until the trace is just inside
100% and the Waveform Scope set to Luma,
| | 03:54 | something like that.
| | 03:56 | Next, let's select the blacks or
shadows target, this guy right here.
| | 03:59 | You don't actually need to drag.
| | 04:01 | You can use the up and down arrows on
the keyboard to adjust the controls here
| | 04:05 | on the Exposure pane of the Color Board.
| | 04:07 | So with the shadows or blacks target
selected, I'm going to use the down arrow
| | 04:11 | quite a bit to darken the shot up, and
what I'm trying to do is have the bottom
| | 04:17 | of the trace here on the Waveform Scope
set to Luma just touch 0% and what this
| | 04:22 | will do is it will ensure that anything
that's supposed to be black in the shot
| | 04:26 | will be displayed as black.
| | 04:28 | Now when I made that last correction,
you'll notice that this woman's shirt got
| | 04:31 | a little too dark, so what I want to
do is actually come into the midtones
| | 04:35 | target and arrow up just a bit to
lighten the clip. Something like that.
| | 04:40 | The bottom of the trace is still
touching 0%, but her black shirt doesn't look
| | 04:45 | as deep or as crushed.
| | 04:47 | Okay, let's go back to the main level
of the Inspector here by clicking this
| | 04:50 | Back button, and then let me go ahead
and toggle this correction on and off.
| | 04:56 | So here's the original shot. You can
see that this shot kind of looks washed
| | 04:59 | out and that the trace on the Waveform
Scope set to Luma is elevated over 100%
| | 05:04 | and no portion of the trace touches 0%.
| | 05:06 | Let's go ahead and turn the Correction on.
| | 05:09 | Now the shot looks way better and you
can see that I have no portion of the
| | 05:12 | trace over 100% and the bottom of the
trace touches 0%, allowing for anything
| | 05:18 | that's supposed to be black in
the shot to be displayed as black.
| | 05:21 | Let me go ahead and hide the Inspector
by pressing Command+4. And then, let's
| | 05:26 | skim through the shot.
| | 05:28 | You can now see that the shot looks
way better and is much more usable.
| | 05:33 | Let's go ahead and hide the Scopes
window by using the keyboard shortcut
| | 05:36 | Command+7, and then what I want to do
is actually open up the Inspector once
| | 05:40 | again by using the keyboard shortcut Command+4.
| | 05:42 | And now if I toggle the correction
on and off, once again in this bigger
| | 05:45 | view, you can see that the clip looks
way, way better between the original
| | 05:50 | and the corrected shot.
| | 05:52 | So that's fixing an overexposed
clip with a simple contrast or exposure
| | 05:56 | correction using the Color
Board in Final Cut Pro X.
| | Collapse this transcript |
| Expanding contrast| 00:00 | Clients say funny things when it comes to
commenting on the contrast or color of footage.
| | 00:05 | One of my favorite ones is, "Can we
make that shot pop a little bit more?"
| | 00:09 | You might be thinking, what does that mean?
| | 00:11 | After years and years of color
correcting and grading shows for clients, I can
| | 00:14 | tell you it means they want you
to expand the contrast of a clip.
| | 00:18 | Earlier in this chapter we took a look
at fixing an underexposed clip, as well
| | 00:22 | as an overexposed clip.
| | 00:24 | In this movie I want to take a look
at a shot that has neither one of those
| | 00:27 | problems but could use a little help
to make it pop a little bit more. And to
| | 00:31 | do this, we're going to expand the
contrast of this clip using the Color Board
| | 00:34 | here in Final Cut Pro X. Now, I've already gone
ahead and opened up the Scopes in this project.
| | 00:39 | And I've set the Scopes
up to show the Luma Waveform.
| | 00:42 | Now if I skim through this clip,
you'll notice that there is really nothing
| | 00:45 | wrong with this shot.
| | 00:47 | It looks okay and if I look at the
trace here on Waveform Scope set to Luma,
| | 00:52 | I can see that no portion of trace is over
100% and no portion of the trace is below 0%.
| | 00:57 | So I don't have an illegal clip for
broadcast, but we can actually improve this
| | 01:01 | shot to make it pop a little
more by expanding its contrast.
| | 01:05 | One of the things that the Waveform
Scope set to Luma shows us is the relative
| | 01:09 | contrast ratio of a clip.
| | 01:11 | Contrast ratio, of course, is the
difference between the lightest and darkest
| | 01:14 | portions of the clip, and remember
that the scale that the Waveform Scope uses
| | 01:18 | goes from 0 or Black down here up to
100 or White up here with midtones in the
| | 01:24 | middle of the scale.
| | 01:25 | And right now this trace is pretty
spread out, but it's not too spread out. This
| | 01:29 | clip has an okay contrast ratio, but we
want to expand the contrast to give it
| | 01:34 | an even better contrast ratio.
| | 01:36 | Okay, so to fix this clip I'm actually
going to make a correction on the Color
| | 01:40 | Board, so let's make sure that we
have the clip selected and then to jump
| | 01:43 | directly to the Color Board, I'm going
to use the keyboard shortcut Command+6.
| | 01:47 | That shortcut will allow us to jump
directly to the Color Board bypassing the
| | 01:52 | main level of the Inspector.
| | 01:54 | So here on the Color Board I want to come
over to the Exposure tab, which I'm already on.
| | 01:58 | Remember, you can simply click on these
different panes to access them or you
| | 02:02 | can use keyword shortcuts: Ctrl+
Command+S to show the Saturation pane,
| | 02:06 | Ctrl+Command+C to show the Color pane, then
finally, Ctrl+Command+E to show the Exposure pane.
| | 02:12 | Now for this shot I guess I could use
the global or master exposure control,
| | 02:17 | this guy right here, and drag up to
brighten the shot or down to darken the
| | 02:21 | shot, but as you can see on the
Waveform Scope set to Luma, that's actually not
| | 02:25 | doing anything to expand the contrast ratio of
this clip, so let me go ahead and reset that.
| | 02:29 | What I want to do is use the three
controls right here in the exposure pane to
| | 02:34 | adjust the three parts of the tonal
range: Black or Shadows, Midtones, then
| | 02:38 | Highlights or Whites.
| | 02:40 | So let's start out here with the
Shadows or Blacks control, this guy right here,
| | 02:44 | and drag down just a touch.
| | 02:45 | What I want to do is have the
bottom of the trace just touch 0%.
| | 02:50 | This will allow anything that's
supposed to be black in the shot to be
| | 02:53 | displayed as black.
| | 02:55 | Next, let's come to the Whites or
Highlights target and drag up. I'm going to
| | 02:59 | drag up so the top of the
trace is just about 97% or 98%.
| | 03:05 | And then finally, let's come in here
to the Midtones control, and I'm going to
| | 03:08 | arrow up--remember, you can use the up
and down arrows to move this target or
| | 03:12 | puck on the exposure pane--so I want
to arrow up just slightly to improve the
| | 03:17 | midtones in the shot. Okay,
something like that works.
| | 03:19 | Now you'll notice when I made that last
correction that the bottom of the trace came
| | 03:23 | off the 0% line. That's because of the
overlapping nature of the tonal range and
| | 03:28 | the controls here on the
exposure pane of the Color Board.
| | 03:31 | So what I need to do oftentimes is come
back to another part of the tonal range
| | 03:35 | after I've made a correction, so I'm
going to click on the blacks or shadows
| | 03:38 | target right here and just arrow down,
just slightly, until the bottom of the
| | 03:42 | trace is just touching 0%. Something like that.
| | 03:45 | All right, let's go ahead
and hide the Color Board.
| | 03:48 | I'll use that same keyboard shortcut
of Command+6 that I used before and that
| | 03:52 | hides the board, and now you can see
on the scope that the trace is well
| | 03:57 | expanded over the entire scale that
the Waveform Scope set to Luma uses,
| | 04:01 | indicating that we have a much
better contrast ratio on this clip.
| | 04:05 | Actually, let's go back and open up the
Inspector now by pressing Command+4 and
| | 04:09 | then I'm going to use
Command+7 to hide the scopes.
| | 04:13 | Then let's toggle the default
correction, Correction #1, on and off.
| | 04:17 | Here is the shot before the correction,
and you can see it's kind of flat and
| | 04:22 | kind of gray. And here's the shot after
the correction; it has a lot more punch
| | 04:27 | and definition to it.
| | 04:28 | If I skim through this clip, you
can see that it looks pretty good.
| | 04:32 | So that's expanding the
contrast ratio of a clip.
| | 04:35 | In my experience, while I do get over
and underexposed clips, most of my time is
| | 04:40 | actually spent expanding the contrast of
footage to get it to pop or punch a bit
| | 04:45 | more, and you can see that's easy to
do with a simple exposure or contrast
| | 04:50 | correction using the Color
Board here in Final Cut Pro X.
| | Collapse this transcript |
| Neutralizing a color cast| 00:00 | Early in this chapter, we spent some
time discussing contrast or exposure
| | 00:03 | corrections in Final Cut Pro X. These
types of corrections are ones that you'll
| | 00:06 | use all the time, but you know what?
It's called color correction after all, and
| | 00:10 | in this movie we'll talk about color
correcting the shots, specifically about
| | 00:13 | neutralizing the color cast.
| | 00:14 | And this project contains the
clip that has an obvious problem.
| | 00:18 | Well, an obvious problem at least to my
eye. This clip appears to be too blue.
| | 00:21 | Let me go ahead and open up the Video
Scopes to verify this. I'll do that by
| | 00:25 | pressing Command+7. And here in the
Scopes Window let me click into the Settings
| | 00:28 | menu and choose the display to
Vectorscope. Then down here on the timeline, let
| | 00:31 | me just make sure that the shot is active.
| | 00:33 | Here on the Vectorscope I can see most
of this trace is pointed out between the
| | 00:36 | cyan and blue targets, indicating
that the shot is actually pretty blue.
| | 00:40 | Another way that I can tell that the
shot is blue is by clicking here into the
| | 00:43 | Settings menu and choosing to display
the Waveform Scope, and then I'll click
| | 00:46 | back into the Settings menu and choose
to display the RGB Parade option for the
| | 00:50 | Waveform Scope. And let me just
make sure that the shot is selected.
| | 00:54 | The RGB Parade shows you the relative
color balance between the red, green, and
| | 00:58 | blue channels, and right now I can
see that the blue channel is actually
| | 01:01 | elevated over the green and red channels,
indicating that have a blue color cast
| | 01:05 | in the shot. But remember, the Waveform
Scope actually mimics the tonal range,
| | 01:10 | from 0 down here or black up to 100% or white.
| | 01:15 | And I can actually see that the
trace is elevated over red and green, but
| | 01:17 | particularly up here in the
lighter portions of the image.
| | 01:21 | This is common with poorly white
balanced shots, and because this trace is
| | 01:25 | over 100%, it's actually illegal for
broadcast, but we'll fix that in just one moment.
| | 01:31 | With the shot active, let's go ahead and
use the keyboard shortcut Command+6 to
| | 01:34 | open up the Color Board for the shot.
| | 01:36 | Now prior to making a color
correction, it's always a good idea to make a
| | 01:40 | contrast or exposure correction to the shot.
| | 01:43 | So what I want to do is come into the
exposure pane right here by clicking on
| | 01:46 | it, but I can also use the keyboard
shortcut Ctrl+Command+E. And then by using
| | 01:50 | the highlight's exposure control, this
guy right here, I'm going to drag down just
| | 01:53 | a touch until my trace is
inside a 100% here on the RGB Parade.
| | 01:57 | All right, that's looking much better.
| | 01:59 | Let me click back over into the
Settings menu and then choose the display the
| | 02:03 | Luma option for the Waveform Scope.
| | 02:06 | Using a Luma option, what I want to do
is adjust my blacks or shadow exposure,
| | 02:11 | so I am going to select this control
right here and then I'm going to use the
| | 02:13 | down arrows do deepen my blacks just
a touch. Something like that works.
| | 02:18 | Okay, so for just one moment, let's go
ahead and hide the Video Scopes so we can
| | 02:22 | actually see the image at a bigger size.
| | 02:24 | I'll press Command+7 and Command+7 again
to hide the scopes, and then let me go over
| | 02:29 | to the color pane, and the way that
I'm going to do that is by using keyboard
| | 02:31 | shortcut Ctrl+Command+C, C for Color.
| | 02:35 | Remember, the color pane of the
Color Board here is broken down into two
| | 02:38 | sections--a positive section and a
negative section. But remember, the negative
| | 02:42 | section is simply adding in color from
the opposite side of the color wheel. And
| | 02:47 | a good way to actually visualize that is
by taking the look at the color wheel up here.
| | 02:51 | Here is blue, and if I wanted to
neutralize that color cast I would actually add
| | 02:54 | in some negative blue or yellow.
| | 02:57 | So what I'm going to do is actually
start out with my highlights control, this
| | 03:00 | guy right here. It's not a good idea to
make color corrections like this with the
| | 03:04 | global or master controls. You should
always use the three controls for the
| | 03:09 | different parts of the tonal range.
| | 03:11 | So let me select the highlights control,
| | 03:13 | this guy right here, and I want to drag
down into negative blue, something like this.
| | 03:17 | Remember, you don't actually have to drag;
| | 03:20 | you can use the left and right
arrows as well as the up and down arrows.
| | 03:24 | The left and right arrows will change
your selected Hue, something like this
| | 03:29 | works, and then the up-and-down
arrows will change the intensity or the
| | 03:33 | saturation of that selected Hue, and
then let me go down even a little further.
| | 03:38 | All right, that's working well for me.
| | 03:41 | Then let's go ahead and select the
Midtones control, this guy right here, and
| | 03:44 | it'll also drag down into sort of
the negative blue section right here.
| | 03:48 | Again, I'll be little bit more precise
by using the controls on the keyboard.
| | 03:51 | All right, I think that's working for me.
Actually, let's go a little bit this way.
| | 03:57 | All right, I'm liking that.
| | 03:59 | And then what I'm going to do with
the shadows controls is actually go into
| | 04:01 | the positive section.
| | 04:02 | My blacks here don't look quite right to
me, so I'm going to select this control
| | 04:07 | and come over here. Something like that.
Maybe a little further over to the left.
| | 04:13 | Here we go, and maybe a little bit more saturation.
| | 04:17 | Okay, I'm liking that. Let's go ahead
and go back to the main level of the
| | 04:21 | Inspector by clicking this back
button right here, and then me toggle this
| | 04:24 | correction on and off.
| | 04:26 | Here is the original shot that looks
quite blue, then here is the corrected
| | 04:30 | shot. That looks much more natural; it
looks a whole bunch better. So here is
| | 04:35 | the original shot, and then
here is the corrected shot.
| | 04:37 | Let's skim through this shot, and yep,
you can see that looks pretty good.
| | 04:42 | Let's go ahead and open up our
Video Scopes once again by pressing
| | 04:44 | Command+7. Here in the Settings window,
let's go ahead and choose to display the
| | 04:49 | Vectorscope, and then let me select
the shot down here in the timeline.
| | 04:53 | Now you can see I have a great deal
of trace that's actually pointed over
| | 04:55 | towards the yellow and red targets,
actually where it should be because this
| | 04:59 | line right here actually represents
skin tone. You can see the skin tone of
| | 05:03 | this actor looks pretty good.
| | 05:04 | Let me go back into the Settings window
here and choose to display the Waveform
| | 05:07 | Scope. Then let's click to display the
RGB Parade. Then let me select the shot
| | 05:12 | down here in the timeline.
| | 05:14 | So here on the RGB Parade, the blue
trace has been brought way down on the
| | 05:18 | scale, but you'll notice that my red
trace has been elevated a little bit. That's
| | 05:22 | actually okay because I like this
warmer feel to the shot, but I do have a
| | 05:26 | small problem. I have a
bit of trace that's over 100%.
| | 05:28 | So let's go back here to Correction #1
and click to open up the Color Board, and
| | 05:32 | click back into the exposure pane right
here, and select or highlight our white
| | 05:37 | exposure control, and then use the
down arrows to darken up the highlights
| | 05:41 | just a touch in that shot. Our
clip is now legal once again.
| | 05:44 | Let me hide the scopes, and you can
see that we've corrected the shot and
| | 05:49 | it looks pretty good.
| | 05:50 | So that's neutralizing the color cast
with the Color Board, and you can see that
| | 05:53 | the process of neutralizing the
colorcast is made even easier by using the
| | 05:57 | Video Scopes as a guide.
| | Collapse this transcript |
| Controlling saturation| 00:00 | So when I saw the Color Board in Final
Cut Pro X, one of the features that I was
| | 00:03 | immediately drawn to was the Saturation Pane.
| | 00:06 | In previous versions of Final
Cut Pro you were limited to how you
| | 00:08 | controlled saturation.
| | 00:10 | For example, in the Color Corrector 3-
Way in Final Cut Pro 7, you could control
| | 00:14 | master overall saturation but
not shadow or highlight saturation.
| | 00:18 | To do that, you had to use
additional filters or effects.
| | 00:21 | Well, in Final Cut Pro X, the Saturation
panel of the Color Board allows you to
| | 00:25 | control saturation in very detailed
ways, and that's exactly what we're going to
| | 00:29 | talk about in this movie.
| | 00:30 | Let's take a look at this first clip.
| | 00:32 | We've actually seen this shot before
but this is a different take, and this take
| | 00:35 | actually kind of looks flat
and, well, kind of de-saturated.
| | 00:38 | But remember, it's always a good idea
to verify what your eyes are telling you
| | 00:42 | by taking a look at the video scopes.
| | 00:44 | So to access the scopes I'm going to
use the keyboard shortcut Command+7.
| | 00:47 | Once the scopes open up, let me come into
the Settings menu right here and choose
| | 00:51 | to display the Vectorscope.
| | 00:53 | Remember, the Vectorscope is the
principal tool that we have to display overall
| | 00:56 | hue and saturation information about a shot.
| | 00:59 | Let me just select the shot down here
in the Timeline and now we can see some
| | 01:03 | trace up here in the Vectorscope.
| | 01:05 | Remember, on the Vectorscope, the
distance out from the center to the edge of the
| | 01:08 | scope represents saturation, and so
with a lot of trace sort of clumped here in
| | 01:12 | the center of the scope I can verify
that this clip is rather de-saturated, but
| | 01:17 | we can actually fix this making
a correction on the Color Board.
| | 01:20 | So to activate the Color Board I'm
going to use the keyboard shortcut Command+6
| | 01:24 | to jump directly to the Color Board.
| | 01:26 | Once on the Color Board, of course, I can
click between these different panes but I
| | 01:29 | can also access the panes
by using keyboard shortcuts.
| | 01:32 | So to activate the Saturation Pane
what I'm going to do is use the keyboard
| | 01:35 | shortcut, Ctrl+Command+S, S for Saturation.
| | 01:39 | For this shot, I'm going to fix it by
using the Global or a Master Saturation
| | 01:43 | Control, this guy right here.
| | 01:45 | What I'm going to do is click and
drag up to saturate the shot, and notice
| | 01:50 | on the Vectorscope that the trace now
extends further towards the edges of the shot.
| | 01:55 | If I were to drag down I'd de-saturate
the shot and the trace would be clumped
| | 01:59 | up towards the center of the scope. But for
this shot we want to saturate it quite a bit.
| | 02:04 | Okay, that's looking pretty good.
| | 02:05 | Let me press Command+7 and then Command+
7 again to totally clear the scopes, and
| | 02:10 | then on the Color Board here let me
click the Back button to go back to the main
| | 02:13 | level of the Inspector.
| | 02:15 | And right here where it says
Correction 1--remember every shot has a default
| | 02:19 | correction, Correction 1--I'm going
to toggle this correction on and off.
| | 02:23 | So here's the shot before the correction.
| | 02:25 | The shot looks kind of flat, kind of
dull and de-saturated, and here's the shot
| | 02:29 | after the correction. It's much better.
| | 02:31 | Okay, let's go down to the
next clip in this Timeline.
| | 02:34 | And here I have a shot that looks okay
but one of the things that's bothering me
| | 02:37 | about it is if you look closely, you'll
notice through the windows here and then
| | 02:40 | on the table right here, we appear to
have sort of a pinky red color cast, but
| | 02:45 | again let's use the scopes to verify that.
| | 02:47 | So I'll press Command+7 to open up the
scopes and then in the Settings menu I'll
| | 02:51 | choose to display the Waveform scope.
And then I want to choose to display the
| | 02:55 | Waveform scope using the RGB Parade option.
| | 02:57 | So let me go ahead and select the
clip again down here in the Timeline.
| | 03:02 | And here on the RGB Parade I can see
the overall color balance in the clip
| | 03:05 | between the red, green, and blue channels.
| | 03:07 | And remember that the Waveform scope
with any of the options uses a scale that
| | 03:11 | goes from 0 or black up to 100% or white.
| | 03:15 | Values over 100% or below 0% indicate
values that are illegal for broadcast, and
| | 03:21 | even if you're not doing a broadcast
workflow it's a good idea to keep trace on
| | 03:24 | the Waveform scope between 0 and 100%.
| | 03:28 | Because the scale goes from 0 or dark
or black to white or 100% up here, it
| | 03:33 | mimics the tonal range.
| | 03:35 | And by taking a look at the trace
here I can see that the red trace is
| | 03:37 | elevated over the green and blue
traces, but particularly at the top portion,
| | 03:41 | indicating that I have a color cast in
the highlights. And this is an easy fix,
| | 03:46 | making a saturation
correction on the Color Board.
| | 03:49 | So I'm going to press Command+6
to get back to the Color Board.
| | 03:52 | And then here on the Saturation Pane,
let's come in and use this target or puck
| | 03:56 | for highlight or white saturation.
| | 03:58 | What I'm going to do is drag down quite a
bit to de-saturate the highlights in this clip.
| | 04:04 | If you take a look at the RGB Parade
here you'll now notice that the traces
| | 04:08 | are all relatively equal, indicating
that I sort of neutralized the highlight
| | 04:12 | color cast in this shot.
| | 04:13 | Let's go ahead and hide the RGB
Parade by pressing Command+7 and Command+7
| | 04:17 | again to totally clear it out, and then we'll
go back to the main level of the Inspector.
| | 04:22 | Let me toggle this Correction on and off.
| | 04:25 | Here's the original shot, and you can
notice the red or sort of pinkish color
| | 04:28 | cast on the windows and on the table,
and then here's the corrected shot.
| | 04:31 | Notice now that I have pure white
light coming through the windows.
| | 04:35 | Now, I'm the type of colorist that
likes to have pure light coming through
| | 04:38 | windows unless I know that something is
filtering the shot. And most of the time,
| | 04:43 | especially these days, windows are
pretty clear and pretty transparent.
| | 04:47 | So I want to have true white light.
| | 04:49 | Alright, let's navigate down to
the next clip in the Timeline here.
| | 04:52 | And this shot looks okay but I notice a
little bit of a color cast going on in
| | 04:57 | the shadows with the
darkest portions of this clip.
| | 04:59 | So once again we'll select the clip and
press Command+7 to open up the scopes.
| | 05:03 | Then we'll go into the Settings window
and choose to display the Waveform, and
| | 05:07 | once again, let's choose to display the RGB
Parade. And then let me just select this shot.
| | 05:12 | Okay, this time the problem is sort of the
same, but on the opposite end of the tonal range.
| | 05:17 | Notice that the red trace is elevated
over the green and blue traces, but just at
| | 05:21 | the bottom of the scale, indicating
that we have a color cast in the shadows.
| | 05:26 | Again, this is an easy fix
to make using the Color Board.
| | 05:29 | So what I'll do is press Command+6 to
activate the Color Board and this time
| | 05:34 | let's come into the shadows or black
saturation control, this guy right here.
| | 05:38 | And I'm going to drag down quite a bit
something like this to neutralize that
| | 05:42 | color cast that's going on in the
shadows. And you'll notice that the bottom of
| | 05:45 | the traces are now relatively equal.
| | 05:47 | Let's press Command+7 twice to get rid
of the scopes and then let's go back to
| | 05:52 | the main level of the Inspector here.
| | 05:54 | And if I toggle this Correction on and
off, you can see the original shot kind of
| | 05:57 | has a color cast going on in the
darkest portions of the clip. Then here's the
| | 06:01 | corrected shot neutralized quite a bit.
| | 06:04 | So one thing you might notice about
this shot is now the whole thing looks to
| | 06:07 | be a little de-saturated. That's because of
the overlapping nature of the tonal range.
| | 06:12 | When I made the saturation correction
with the shadows or black saturation
| | 06:16 | control, it overlaps slightly with the
mid-tone saturation control. That's why
| | 06:21 | the subject's skin tone looks
a little de-saturated as well.
| | 06:24 | But that's actually okay. Talking to
the DP and the Director, they wanted a sort
| | 06:29 | of flat, de-saturated look on this shot.
| | 06:32 | Finally, let's navigate down to the
last clip in this Timeline, and you can see
| | 06:36 | that this shot looks pretty good but
one of the things that's bothering me about it
| | 06:39 | is that this woman's skin tone seems to
be pretty yellow, and this piece of wood
| | 06:43 | back here is a little too bold.
| | 06:45 | Later in this title, we'll talk
about making targeted corrections using
| | 06:48 | secondary corrections in Final Cut
Pro X, but for right now I can fix the
| | 06:53 | overall saturation of her skin tone and
this piece of wood in the background by
| | 06:56 | making a mid-tone saturation
correction. Why mid-tones?
| | 07:00 | Well, most skin tone exists in
the mid-tones of the tonal range.
| | 07:05 | So let's press Command+6 to activate
the Color Board, and then make sure we're
| | 07:08 | on the Saturation Pane. Then let's use this
control right here for mid-tone saturation.
| | 07:13 | I'm going to drag down just a touch to
make this shot a little less saturated, a
| | 07:19 | little flatter looking.
| | 07:20 | Something like that works just fine.
| | 07:21 | So you can see making saturation
corrections in Final Cut Pro X is pretty
| | 07:25 | straightforward using the
Saturation Pane of the Color Board.
| | 07:29 | I have to say that the flexibility that
the Saturation Pane of the Color Board
| | 07:32 | gives you in affecting saturation in
different parts of the tonal range is one
| | 07:36 | of my favorite features of color
correcting and grading in Final Cut Pro X.
| | Collapse this transcript |
| Using primary corrections to protect for Broadcast Safe| 00:00 | If you're on a broadcast workflow, or
even if you're just trying to make your
| | 00:03 | footage look its best, broadcast
legality should be a big concern of yours.
| | 00:06 | What Broadcast Safe really means is that
the video signal, both Luma, Chroma, and
| | 00:10 | other measurements, meet a
broadcaster's specific requirements.
| | 00:13 | The first line of defense in creating
a broadcast-legal shot is by using a
| | 00:16 | primary correction, or a
correction that affects the entire shot.
| | 00:20 | That's what we're going to
talk about in this movie.
| | 00:22 | But, we'll also take a look at using the
Broadcast Safe effect here in Final Cut Pro X.
| | 00:26 | Let's take a look at this
first shot here in the Timeline.
| | 00:27 | I'll skim through it and you
can tell that it looks all right.
| | 00:30 | Let's verify what's going on with the
video signal by opening up the Videoscopes.
| | 00:33 | To open up the scopes, I'll use
the keyboard shortcut Command+7.
| | 00:36 | Then up here in the Scopes window,
let me click into the Settings menu and
| | 00:39 | choose to display the Waveform scope.
| | 00:40 | I'll click back into the Settings menu
and make sure that I have the Luma option
| | 00:44 | selected for the Waveform scope, which I do.
| | 00:47 | So let me just select the shot down here
in the Timeline and now we can see some
| | 00:50 | trace in the Waveform scope set to Luma.
| | 00:52 | Let me skim through the shot.
| | 00:54 | Everything looks all right,
but I notice a little problem.
| | 00:58 | Notice this bit of trace
right here that's over 100%.
| | 01:00 | Well, generally speaking, trace that's over
100% or below 0% is illegal for broadcast.
| | 01:06 | Fortunately, we can make a quick
exposure correction on the Color Board here in
| | 01:10 | Final Cut Pro X to fix this problem.
| | 01:12 | So let me go ahead and use the keyboard
shortcut Command+6 to open up the Color
| | 01:15 | Board, and then I'm going to use the
keyboard shortcut Ctrl+Command+E to
| | 01:18 | activate the Exposure pane.
| | 01:20 | Then I'm going to come in to the
Highlights exposure control, this guy right
| | 01:24 | here, and drag down just a touch.
| | 01:26 | As I do that, what you should notice
over on the Waveform scope set to Luma is
| | 01:29 | that the top of the trace is now
inside of 100%, indicating that I have a legal
| | 01:34 | clip for broadcast.
| | 01:35 | Now, because I've darkened the highlights,
what I'll often do is come into the
| | 01:38 | Midtones, this control right here,
select it, and nudge the midtones up just a
| | 01:43 | touch, something like that.
| | 01:45 | Because I've taken away brightness
from the highlights, I want to add it back
| | 01:48 | in to the midtones.
| | 01:49 | If you take a look at the Waveform
scope set to Luma here, you can see that the
| | 01:52 | clip is still legal. We have
trace between 0 and 100%. All right.
| | 01:56 | Let's navigate down to the
second shot in this Timeline.
| | 01:59 | Let me go ahead and hide the scopes by
pressing Command+7 and Command+7 again.
| | 02:03 | The first thing you should notice
about this clip is that it appears to be
| | 02:06 | really, really saturated, not in
a specific place, but all over.
| | 02:11 | Now, for the sake of transparency,
the shooting on this film was actually
| | 02:13 | really, really good.
| | 02:15 | So I actually engineered
the shot to be oversaturated.
| | 02:18 | But, that's okay, we can still fix it.
| | 02:19 | So when you're faced with naturally
oversaturated clips in your own work, you
| | 02:23 | know how to fix them.
| | 02:24 | So let's go ahead and select the shot
and then once again open up the scopes
| | 02:27 | by pressing Command+7.
| | 02:28 | Then, let's come up here to the Settings
menu, then choose to show the Vectorscope.
| | 02:33 | Once again, we need to make sure that the
shot is selected down here in the Timeline.
| | 02:37 | With the shot selected, I can see a
whole bunch of trace here on the Vectorscope
| | 02:40 | pointed out between the yellow and red targets.
| | 02:43 | Remember that the distance out from
center to the outside edges of the
| | 02:45 | vectorscope represents saturation.
| | 02:48 | So I can tell that this clip is
actually really, really saturated.
| | 02:51 | Now, most broadcasters, when they're
looking at Vectorscopes on their own
| | 02:54 | equipment, would like you to have
trace inside of the outside targets.
| | 02:58 | That's generally what most broadcasters
consider to be legal or safe saturation.
| | 03:03 | In this shot you can see that the
outside of the trace is about equal with the
| | 03:06 | yellow and red targets.
| | 03:08 | But I take a little bit
more of a conservative approach.
| | 03:10 | I would like to have the trace
inside of the yellow and red targets.
| | 03:14 | Furthermore, if you just take a look at the
clip, you can tell that it's too saturated.
| | 03:18 | So what we want to do is make a
saturation correction over here on the Color
| | 03:20 | Board to fix the
oversaturated nature of this clip.
| | 03:24 | So with the shot selected, let me come
over and click on the Saturation pane
| | 03:27 | here on the Color Board.
| | 03:28 | Then I'm going to use the Global or
Master Saturation Control, this one right
| | 03:32 | here, and drag down to desaturate the shot.
| | 03:35 | Okay, that's looking much better.
| | 03:36 | Let me go ahead and hide the scope by
pressing Command+7 and Command+7 again
| | 03:40 | to close it entirely.
| | 03:42 | Then, here in the Color Board, let me
click the Back button right here to go
| | 03:44 | back to the main level of the Inspector,
and then right here on Correction 1,
| | 03:48 | the default correction that every
shot has in Final Cut Pro X, let me click
| | 03:52 | this blue button to toggle
the correction On and Off.
| | 03:54 | So here's the original shot.
| | 03:55 | You can tell that it's definitely
oversaturated, and then here's the corrected shot.
| | 03:59 | It looks much better.
| | 04:00 | Let's navigate down to the third
shot in this timeline. All right,
| | 04:03 | this shot looks pretty cool.
| | 04:04 | Obviously, it's a dark shot. Kind of
has a silhouette thing going on with it.
| | 04:08 | Let's verify what's going on with the
video signal by selecting the shot, and
| | 04:10 | then pressing Command+7 to open up the scopes.
| | 04:13 | Here in the Settings menu, let's go
ahead and choose the Waveform scope.
| | 04:15 | We'll click back into the Settings menu,
make sure that we're using the Luma
| | 04:19 | option, which we are.
| | 04:21 | So let me go ahead and select this
shot here in the Timeline to see trace up
| | 04:23 | here in the Waveform scope set to Luma.
| | 04:25 | Looking at the trace,
everything appears to be good.
| | 04:28 | I've traced between 0 and 100% with no
part of the trace going over 100% or below 0.
| | 04:33 | I'll just verify that by
skimming through the shot. Yup!
| | 04:37 | Everything looks pretty good.
| | 04:37 | Let me click back in the Settings menu
and change my View to the Vectorscope.
| | 04:42 | Once again, I need to make sure
that I have the shot selected.
| | 04:44 | Everything looks good here too.
| | 04:46 | I have a bit of trace pointed out
towards the blue and cyan targets, and you can
| | 04:49 | look at the shot and it looks blue,
but it's not overly saturated.
| | 04:52 | Let's come back into the Settings
menu and once again, choose the Waveform
| | 04:56 | scope, then click back in the Settings menu,
and choose this time to display the RGB Parade.
| | 05:00 | Ahh...
| | 05:01 | Here I have a problem.
| | 05:03 | You notice I have this bit
of trace right here over 100%.
| | 05:06 | Just like with the Waveform set to Luma,
any trace that's over 100% or below 0%
| | 05:11 | is generally considered illegal for broadcast.
| | 05:13 | Because this trace is over 100%, I know
that I have a little bit of a color cast
| | 05:18 | in the highlights of this shot. And I
could fix this in two different ways.
| | 05:22 | I like the blue nature of this clip.
| | 05:23 | So I'm not actually going
to do a color correction.
| | 05:25 | So the first way I have to fix it
is I could actually darken the shot.
| | 05:28 | But, I don't actually want to darken
the shot because it's already pretty dark.
| | 05:32 | So the other way that I have to fix
this shot is by making a saturation
| | 05:35 | correction to the highlights of the shot.
| | 05:38 | So with the shot selected down here in
the Timeline, let me go ahead and open up
| | 05:41 | the Color Board for the
shot by pressing Command+6.
| | 05:43 | Then in Saturation pane here, let's
come to the Highlights saturation control,
| | 05:47 | this guy right here, and drag down.
| | 05:49 | As I drag down, what you should notice
over in the RGB Parade is that the trace
| | 05:53 | is now inside of 100%
indicating that I now have a legal clip.
| | 05:57 | This is a common occurrence.
| | 05:59 | You might have legal Luma levels.
| | 06:00 | And if you look at the vectorscope,
you might have legal saturation levels.
| | 06:03 | But if you look at the RGB Parade,
you might have illegal levels there.
| | 06:06 | So it's always a good idea to double-
check the RGB Parade for illegal RGB values.
| | 06:11 | Finally, let's come down to
the last shot in this Timeline.
| | 06:14 | And just by taking a quick peek at the
shot on the scopes, you can tell here on
| | 06:17 | the RGB Parade that the shot is too
bright; we have trace that's over 100%.
| | 06:20 | Let me click into the Settings menu and
change the Waveform to the Luma option.
| | 06:25 | Once again, I have trace that's over 100%,
indicating that I have an illegal clip.
| | 06:30 | So instead of actually manually
correcting the shot, what I want to do is use
| | 06:34 | an effect called the Broadcast Safe
effect here in Final Cut Pro X. But for
| | 06:38 | the Broadcast Safe effect to work
properly, I actually need to create what is
| | 06:41 | called a compound clip.
| | 06:43 | If you're coming from previous
versions of Final Cut Pro, a compound clip is
| | 06:47 | best thought of as a nested clip.
| | 06:49 | And generally speaking, in most workflows,
you would actually nest or create a
| | 06:53 | compound clip out of a few shots,
or maybe even an entire timeline.
| | 06:56 | But for this movie, I'm going to create
a compound clip out of a single shot,
| | 06:59 | this last shot right here.
| | 07:01 | So let me go ahead and select the shot
and then right-click on it, and then I'm
| | 07:04 | going to choose New Compound Clip.
| | 07:06 | I can also use the keyboard shortcut Option+G.
Okay, so I've created the compound clip.
| | 07:11 | Next, I need to find the Broadcast Safe effect.
| | 07:13 | I'm going to find that by clicking
on this button right here to launch
| | 07:16 | the Effects Browser.
| | 07:17 | I can also use the keyboard shortcut Command+5.
| | 07:21 | Here in the Effects Browser, let's come
into the Basics category right here, and
| | 07:24 | then let's choose this effect
right here labeled Broadcast Safe.
| | 07:27 | I'm simply going to take that effect
and drag it onto the compound clip.
| | 07:30 | When I do that, you can now notice up
here in the Waveform scope set to Luma
| | 07:34 | that my trace is inside 100%,
indicating that I have a legal clip.
| | 07:39 | As I said before, in most workflows,
what you'd normally do is manually color
| | 07:43 | correct and make contrast
adjustments on your footage.
| | 07:46 | Then when you're done, you'd create a
compound clip of your entire timeline,
| | 07:50 | and then apply the Broadcast Safe
effect to make sure that you haven't missed
| | 07:54 | any stray pixels.
| | 07:56 | Okay, so that's using primary
corrections to ensure broadcast legality, as well
| | 07:59 | as using the Broadcast Safe effect.
| | 08:01 | Now, you might be thinking to yourself,
how are those corrections different from,
| | 08:04 | say, fixing under or overexposed clips or
expanding the contrast ratio of a clip?
| | 08:08 | Well, they're really not.
| | 08:10 | In the course of normal corrections,
simply use the concept of Broadcast Safe to
| | 08:14 | inform your primary corrections.
| | Collapse this transcript |
| Copying and saving corrections| 00:00 | In this movie, I want to show you how
you can quickly copy corrections from one
| | 00:03 | shot to another shot.
| | 00:04 | I also want to show you how you can
create your own custom color correction
| | 00:07 | preset on the color board and how you can
then apply that preset to another shot.
| | 00:11 | Let's go ahead and take a look
at this first shot in the timeline.
| | 00:14 | This shot looks pretty good and I
have actually already corrected it.
| | 00:17 | Let me go ahead and select the shot and
then use the keyboard shortcut Command+4 to
| | 00:21 | open up the Inspector.
| | 00:22 | And here on the Color section of
the inspector, you can see I have a
| | 00:24 | Correction number 1.
| | 00:26 | This of course is a default correction
that every shot has in Final Cut Pro X.
| | 00:28 | Now, I have used this correction to
do some basic balancing of the shot.
| | 00:32 | Let me go ahead and toggle this
correction On and Off by using this little
| | 00:35 | blue square right here.
| | 00:36 | Here is the original shot and
then here is the corrected shot.
| | 00:39 | I like the look of the corrected shot better.
| | 00:42 | Okay, let me come back down to the
timeline, and let's navigate down to the third
| | 00:45 | shot in this timeline.
| | 00:46 | You can see that this is
actually the same exact shot.
| | 00:49 | But this version of the shot
has not yet been corrected.
| | 00:52 | Now it doesn't make a lot of sense to
reinvent the wheel and to manually correct
| | 00:56 | the shot when I have the same shot
already corrected earlier in the timeline.
| | 01:02 | So what I am going to do is go ahead
and copy this first instance of the shot,
| | 01:05 | by pressing Command+C to copy it.
| | 01:08 | Then what I am going to do is come down
and select the third shot here, and come
| | 01:11 | up to the Edit menu and choose
this option right here, Paste Effects.
| | 01:16 | I can also use the keyboard
shortcut Option+Command+V. Let me go ahead
| | 01:20 | and choose this option.
| | 01:21 | In just a second you can see that the
correction has been applied to this third shot.
| | 01:25 | Now there are a couple
caveats to be concerned about.
| | 01:28 | First, even though the first instance
of the shot only had one correction on
| | 01:32 | it, it could have had 4, 5, 6, 7,
8 corrections. It doesn't matter.
| | 01:36 | And those corrections could have
been both primary corrections as well as
| | 01:39 | secondary corrections.
| | 01:40 | And the secondary corrections
could have used color masks or shade masks.
| | 01:44 | And we will of course talk about
secondary color corrections a little bit
| | 01:46 | later in this title.
| | 01:48 | The other thing I want you to
understand is that Final Cut Pro X considers
| | 01:51 | not only color corrections to be effects, but
other effects like Tints and Blurs and so on.
| | 01:56 | And you can't actually be selective
about what you copy and what you paste.
| | 02:01 | All the effects from one shot are copied and
all of the effects are pasted onto a new shot.
| | 02:08 | And lastly, while I only pasted the
effects from the first shot onto this third
| | 02:11 | shot, I could have selected
multiple shots and then pasted the effects.
| | 02:17 | And the effects would have been
applied to those multiple shots.
| | 02:20 | Let's go ahead and take a look at
the second shot in the timeline.
| | 02:23 | This shot also looks pretty good.
| | 02:25 | Let me go ahead and select it, and
I've also already corrected this shot.
| | 02:28 | Let me come up here to the Inspector
and toggle this correction On and Off by
| | 02:32 | using this little blue square here.
| | 02:33 | Here is the original shot and
then here is the corrected shot.
| | 02:36 | Now, I really like this correction.
| | 02:38 | I think it makes the shot
like a whole lot better.
| | 02:39 | Well, what I want to do with this
correction is actually save it as a color
| | 02:43 | correction preset on the Color Board.
| | 02:45 | And to do that, I am going to
activate the Color Board by clicking on
| | 02:48 | this button right here.
| | 02:49 | And then at the bottom of the Color
Board, notice that I have this little
| | 02:52 | pull-down menu right here--
| | 02:53 | this menu that has a little cog icon on it.
| | 02:55 | And if I click in there, I can see
a bunch of Color Board presets that
| | 02:58 | were created by Apple.
| | 03:00 | But notice right here, I can
actually save my own preset.
| | 03:03 | Let me go ahead and choose this option.
| | 03:05 | And in just a second, Final Cut Pro X
will prompt me to name this New Preset.
| | 03:09 | Let me click into this window; let's call
this Indoor Look, and then I will click OK.
| | 03:16 | If I click back into the menu, you can now see
at the bottom of the list, I have that preset.
| | 03:22 | Now, I also want point out that these
presets that you create are actually saved
| | 03:27 | in your Final Cut Events folder.
| | 03:29 | Because they are saved there, you can
actually copy them from one machine to
| | 03:33 | another machine, if you have
multiple seeds of Final Cut Pro going.
| | 03:37 | Let's go ahead and navigate down
to the last shot in this timeline.
| | 03:41 | And this is the reverse of the second
shot that we saw, this guy down here.
| | 03:45 | So I want to apply the same
type of look to this last shot.
| | 03:49 | And what I am going to do is simply
have the shot selected, and come back up to
| | 03:53 | the color board here, and then click
into this little cog icon menu right here,
| | 03:57 | and then come down and choose the
Indoor Look preset we previously created.
| | 04:02 | And now that look has been applied to this shot.
| | 04:05 | Now there is one caveat to saving
your own custom color correction presets
| | 04:10 | here on the color board.
| | 04:11 | Currently, according to Apple, presets
only save the current color, saturation
| | 04:16 | and exposure settings.
| | 04:18 | They don't save any mask settings,
including whether you have the inside mask or
| | 04:23 | outside mask option selected for
a particular shape or color mask.
| | 04:28 | Basically, what that means is that you
can't really use color correction presets
| | 04:32 | here on the color board to save
secondary color corrections here in Final Cut
| | 04:36 | Pro X, because the mask settings are not saved.
| | 04:40 | Okay, so while not entirely
perfect, I think you can see that copying
| | 04:43 | and pasting corrections, as well as
saving presets on the color board, can
| | 04:47 | make correcting a scene or maybe even
an entire film with similar shots a
| | 04:51 | quick process.
| | Collapse this transcript |
|
|
3. Creating Looks with Primary CorrectionsCreating a high-contrast look| 00:00 | In the previous chapter, we talked about
expanding contrast to add a little more
| | 00:03 | pop or punch to a shot.
| | 00:05 | In this movie, I want to talk about
using some contrast or exposure corrections
| | 00:08 | to create a very high contrast look.
| | 00:10 | And the technique of creating a high
contrast look is actually pretty similar to
| | 00:14 | that of expanding contrast.
| | 00:15 | But we are going to take it a step further.
| | 00:16 | In my mind, there are two things
that really define a high contrast look.
| | 00:21 | Deep or crushed blacks or
shadows and blown out highlights.
| | 00:23 | And this project contains a clip
that actually has a great deal of
| | 00:27 | natural contrast in it.
| | 00:28 | And I can see that with the highlights
on the shirt than the darker areas back
| | 00:31 | here against the wall.
| | 00:32 | What I actually want to do is
actually expand upon this natural contrast to
| | 00:36 | create a super stylized, high contrast look.
| | 00:38 | And we are going to do that by
accessing the Exposure pane of the Color Board.
| | 00:42 | So with the clip selected, let's go
ahead and use the keyboard shortcut
| | 00:45 | Command+6 to open up the Color Board.
| | 00:46 | Then I am going to use the keyboard
shortcut Ctrl+Command+E to access the
| | 00:50 | Exposure pane of the Color Board.
| | 00:52 | Remember, E for exposure.
| | 00:53 | Instead of using the global or master
exposure control, what I am going to do is
| | 00:58 | use these three controls for the
different parts of the tonal range.
| | 01:01 | This one for shadows or blacks, this
one for midtowns, and then this one for
| | 01:05 | highlights or whites.
| | 01:07 | Let's go ahead and start out with
the blacks or shadows exposure control.
| | 01:10 | And what I am going to do is select it
and then drag down quite a bit to crush
| | 01:13 | the blacks in this shot. Something like that.
| | 01:15 | And you can see I have definitely
crushed the blacks in this shot.
| | 01:18 | The shadows don't have a
whole lot of detail in them.
| | 01:21 | Next, let's come over to the
highlights or whites exposure control, select it,
| | 01:25 | and then drag up quite a bit to
blow out the highlights in this shot.
| | 01:27 | Alright, I like that.
| | 01:30 | Finally, let's go ahead and select the
midtones exposure control, but instead of
| | 01:34 | dragging, I am simply going to select
it and then use the up arrow to nudge it
| | 01:37 | up ever so slightly.
| | 01:38 | Alright, something like that works.
| | 01:42 | Next let's go ahead and click back to
the main level Inspector by clicking the
| | 01:45 | back button here in the Color Board.
| | 01:46 | You will notice in the Color section of
the video pane of the Inspector, we have
| | 01:51 | a correction, Correction 1.
| | 01:53 | Every shot in Final Cut Pro X has
this correction; it's the default
| | 01:57 | correction on every shot.
| | 01:58 | And we can toggle this correction on and off
by using this little blue square right here.
| | 02:02 | Here's the original shot and
then here's the corrected shot.
| | 02:05 | I think you can see that the
corrected shot is definitely a super stylized,
| | 02:09 | high contrast look.
| | 02:10 | Let me hide the Inspector.
| | 02:12 | I am going to that by using
the keyboard shortcut Command+4.
| | 02:14 | Then what I want to do
is access my Video Scopes.
| | 02:17 | And I am going to do that by
using the keyboard shortcut Command+7.
| | 02:20 | Once the scopes window opens up, let's
click into the Settings here and choose
| | 02:23 | to display the Waveform scope.
| | 02:25 | Then let's click again and make sure
that we are choosing to display the Waveform
| | 02:28 | using the Luma option, which I am.
| | 02:30 | So let me go ahead and select a shot
down here in the timeline, and now I can
| | 02:34 | see trace for this clip here in
the Waveform scope set to Luma.
| | 02:37 | But Houston, we have a problem.
| | 02:39 | You'll notice on the Waveform scope
set to Luma here that we actually trace
| | 02:43 | above 100% and below 0%.
| | 02:47 | And for all intents and purposes, when I
have trace above 100% and below 0%, this
| | 02:51 | indicates that this clip
is illegal for broadcast.
| | 02:53 | And even if you are not doing the
broadcast workflow, it's a good idea to keep
| | 02:57 | your trace between 0 and
100% on the Waveform scope.
| | 03:01 | Fortunately, Final Cut Pro X has an
effect that can help us legalize this clip.
| | 03:05 | It's called the Broadcast Safe
effect, and to access the Broadcast Safe
| | 03:09 | effect, what we are going to do is come down
to this button right here on the interface.
| | 03:12 | We can also use the keyboard shortcut Command+5.
| | 03:14 | And this will access our Effects
browser in Final Cut Pro X. Next, what I am
| | 03:19 | going to do is come into this
category right here labeled Basics.
| | 03:22 | And here's the effect that I am
looking for, called Broadcast Safe.
| | 03:24 | Let me go ahead and select the
Broadcast Safe effect and drag it onto the
| | 03:28 | shot in the timeline.
| | 03:30 | It doesn't look like anything really happened.
| | 03:33 | Well, nothing really did.
| | 03:34 | For the Broadcast Safe effect to work
properly, you need to apply it to what is
| | 03:38 | called a compound clip.
| | 03:40 | And if you're coming from the previous
version of Final Cut Pro, the best way to
| | 03:44 | think about a compound clip is as a nested clip.
| | 03:46 | Now, one thing I should say. While I am
going to create a compound clip out of
| | 03:50 | this single clip, generally speaking
you create a compound clip out of multiple
| | 03:54 | clips or even an entire timeline and
then apply the Broadcast Safe effect.
| | 03:59 | But for this movie, I am going to create
a compound clip out of this single clip
| | 04:02 | and then apply the Broadcast Safe effect.
| | 04:04 | Alright, so let me go ahead and use the
keyboard shortcut Command+Z to undo the
| | 04:08 | application of the
Broadcast Safe effect to this shot.
| | 04:10 | Then what I am going to do is right-
click on the shot and then choose to create
| | 04:14 | a New Compound Clip.
| | 04:16 | You can also use the keyboard shortcut Option+G.
Alright, so now I've created a Compound Clip.
| | 04:22 | And what I am going to do is double-
click on the Broadcast Safe Filter here to
| | 04:25 | apply it to the Compound Clip.
| | 04:27 | And up here in the Scopes window, with
my Waveform scope set to Luma, you can
| | 04:30 | now see that I have trace inside of
100% and 0%, indicating at the shot is now
| | 04:36 | legal for broadcast purposes.
| | 04:38 | Okay, so that's creating a high-contrast look.
| | 04:40 | I think you can see that's really pretty
easy using the Exposure pane of the Color Board.
| | 04:44 | And by creating a Compound Clip and
using the Broadcast Safe effect, we can keep
| | 04:48 | the clip legal for broadcast purposes.
| | Collapse this transcript |
| Creating a warm look| 00:00 | You'll get asked by clients all the
time to create a wide variety of different
| | 00:03 | types of looks, but probably the most
requested, at least in my experience, is the warm look.
| | 00:07 | And to be clear, warm generally describes
a shot with yellow or red dominant tones.
| | 00:12 | A warm look evokes feelings of
happiness and lushness but it can also, if used
| | 00:16 | in the right context,
illicit a feeling of anger.
| | 00:18 | Regardless of the motivation behind
creating a warm look, it's easy to do using
| | 00:22 | the Color Board in Final Cut Pro X. This
project actually contains a shot that's
| | 00:25 | pretty neutral and I want
to warm it up quite a bit.
| | 00:27 | This shot comes from a film that I
graded called the Funeral, and the filmmakers
| | 00:31 | actually requested that the shot be
nice and warm, because it was going to be
| | 00:34 | inter-cut with cooler flashback shots.
| | 00:36 | They wanted to make sure that the
shots were different from one another.
| | 00:39 | So let's go ahead and select this
clip and then use the keyboard shortcut
| | 00:43 | Command+6 to open up the Color Board.
| | 00:45 | Here on the Color Board, let's access
the Exposure pane, and the way that I'm
| | 00:48 | going to do that is by using the keyboard
shortcut Ctrl+Command+E. Remember, E for Exposure.
| | 00:53 | Now prior to actually making some
corrections here on the Exposure Pane, it's
| | 00:56 | probably a good idea to open up my
Video scopes so I can see what's happening
| | 00:59 | with the video signal as I make a correction.
| | 01:01 | So to access the Video scopes, I'm going
to use the keyboard shortcut Command+7.
| | 01:05 | And once the Video scopes window is
opened up, let me come to the Settings menu
| | 01:08 | and then down to this option right
here to choose the Waveform scope.
| | 01:11 | Let's click back into the Settings menu
and then make sure that we are choosing
| | 01:14 | to display the Luma option for
the Waveform scope, which I am.
| | 01:17 | So let me just select the clip down
here in the Timeline and now I can see the
| | 01:21 | trace for this clip here in the Luma waveform.
| | 01:24 | In my experience, warm shots
have expansive contrast ratios.
| | 01:27 | What I mean by that is that
they tend to pop quite a bit.
| | 01:30 | So what I want to do on this shot is
expand its Contrast ratio so we get a
| | 01:34 | little more deep or poppier type look.
| | 01:36 | So to do that I'm going to come over
to the Exposure Pane, and then first use
| | 01:39 | the Blacks or Shadows Exposure control.
Select that and drag down quite a bit
| | 01:44 | until the bottom of the
trace is just touching 0%.
| | 01:46 | And then I'm going to come over to the
Highlights or Whites Exposure control and
| | 01:50 | select that and instead of dragging,
I'm going to use the Up Arrow to nudge the
| | 01:54 | trace and the highlights
up the scope just a touch.
| | 01:57 | Just be sure that you don't go over 100%.
| | 02:00 | Remember, trace over 100% is
generally considered illegal for broadcast.
| | 02:05 | Okay, finally let's go ahead and
select the Midtones Exposure Control, this
| | 02:08 | guy right here, and I'll also use the Up
Arrow to lighten up the midtones just a bit.
| | 02:12 | All right.
| | 02:13 | That's looking better.
| | 02:14 | Let me go ahead and hide the scope by
using the keyboard shortcut Command+7 and
| | 02:18 | Command+7 again to clear the scopes completely.
| | 02:20 | Then in the Color Board here, let's use
the Back Arrow to get back to the main
| | 02:23 | level of the Inspector.
| | 02:25 | Then right here in the Color section
of course I have my default correction,
| | 02:28 | Correction 1.
| | 02:29 | Remember, every shot has a default correction.
| | 02:32 | And I can toggle this correction On and Off
by using this little blue square right here.
| | 02:36 | So here's the original shot and then
here's the corrected shot. The original
| | 02:39 | and then the corrected.
| | 02:41 | You can see that the blacks are quite
a bit deeper and I'm liking this look.
| | 02:44 | What I still want to do on the shot is
warm up the overall color temperature in it.
| | 02:48 | To do that, I'm going to come back
to the Color Board for this shot.
| | 02:50 | Let's click on this button right here
to once again access the Color Board,
| | 02:54 | and then I'll use the keyboard
shortcut Ctrl+Command+C to access the Color
| | 02:58 | Pane of the Color Board.
| | 02:59 | Of course, here in the Color
Pane, I have four controls.
| | 03:02 | With this big one right here, I can
control my overall color in the clip.
| | 03:06 | Then with these three controls right
here, I can control color in the different
| | 03:09 | parts of the tonal range.
| | 03:10 | What I actually want to do is get this
Master or Global Color Control out of the
| | 03:13 | way, so I'm going to select it and
then move it over to the edges here.
| | 03:17 | But notice right now, it's
actually made a correction.
| | 03:19 | I have a little bit of a red tint here.
| | 03:21 | And you can see that down here
underneath the main part of the Color Board, we
| | 03:23 | have a +5% positive correction.
| | 03:25 | I'll just use the Down Arrow and
nudge that back down till we have a 0%
| | 03:30 | correction, meaning that it's not
going to affect the shot at all.
| | 03:33 | Remember, warm looks are generally
described as having yellow or red dominant tones.
| | 03:38 | So what I'm going to do is use the
Midtones control, this guy right here,
| | 03:42 | and drag over into the positive yellow red
section, somewhere right in this area right here.
| | 03:46 | So let me go ahead and select that
Midtones control and drag over to yellow red,
| | 03:49 | somewhere in this area right about there.
| | 03:52 | That's looking pretty good. Yeah, I like that.
| | 03:55 | Of course, if we drag into the
positive section, we can also drag into
| | 03:59 | the negative section.
| | 04:00 | Let me go ahead and select the
Highlights or Whites Control, this guy right here
| | 04:04 | and drag down into the negative
blue section, right down here.
| | 04:07 | Remember, negative blue is actually yellow.
| | 04:09 | So let me drag down just a touch to warm
up the highlights in this shot. All right.
| | 04:13 | That's working.
| | 04:14 | For this shot, I'm not going
to do anything with the blacks.
| | 04:17 | I like where they are right now. All right.
| | 04:19 | Let's go back to the main level of the
Inspector and go ahead and toggle this
| | 04:23 | correction On and Off once again.
| | 04:25 | So here's the original shot--sort of a
poor contrast ratio and kind of cool.
| | 04:29 | Then here's the corrected shot.
| | 04:30 | And you can see that it's much
warmer and the contrast is much better.
| | 04:34 | Let's come down here to the Timeline
and skim though this clip, and you can see
| | 04:39 | that it's definitely a warmer shot.
| | 04:42 | After making corrections though, it's
always a good idea to double-check your
| | 04:46 | videoscopes to make sure that you
haven't pushed any part of the video signal
| | 04:49 | and made it illegal for broadcast.
| | 04:51 | Even if you're not in a broadcast
workflow, it's important to make sure that
| | 04:55 | your signal is not illegal for
broadcast, because it can make your shots
| | 04:58 | actually look better.
| | 05:00 | So what I'm going to do is use the
keyboard shortcut Command+7 to open up the
| | 05:03 | scopes and then in the Settings menu, I'm
going to come down and choose to show the Waveform.
| | 05:06 | And let me click back into Settings
menu and make sure that we are showing the
| | 05:09 | Luma option, and then I'll select
a clip down here in the Timeline.
| | 05:12 | You will notice that I've actually
created a portion of the signal that's illegal.
| | 05:16 | I have trace that's over 100%.
| | 05:19 | To fix this, we actually have two options.
| | 05:21 | I can come back to the Color Board
and make a correction, or I could create
| | 05:25 | a compound clip and then apply the
Broadcast Safe Effect in Final Cut Pro X
| | 05:29 | to that compound clip.
| | 05:31 | And we did that back in the first movie
of this chapter, but I think an easier
| | 05:33 | solution for this particular clip is
to simply come back into the Color Board
| | 05:37 | for that correction and click back
over onto the Exposure Pane and select my
| | 05:41 | Highlights or my Whites Exposure Control.
Then use the Down Arrow to make sure
| | 05:45 | that the trace is back inside 100% here on
the Waveform scope set to Luma. All right.
| | 05:50 | Let me click over to the RGB Parade and
my trace looks pretty legal here. Then
| | 05:54 | let me click over to the Vectorscope, select
the shot again, and my trace looks legal here.
| | 05:59 | So you can see that's it's actually
pretty easy to create a nice, warm stylized
| | 06:03 | look using the Color Board here Final Cut Pro X.
| | Collapse this transcript |
| Creating a cool look| 00:00 | In this movie, we're going to talk
about creating a cool look, and no,
| | 00:03 | I'm not that egotistical. By cool, I
don't mean like an awesome look; I mean
| | 00:07 | cool as in color temperature.
| | 00:09 | Cool color temperatures tend to be more blue.
| | 00:11 | Cool looks are often used to show
seriousness or sadness, but they can also be
| | 00:15 | used to show time of day.
| | 00:16 | Whatever the case is, a cool look is
simple to create using the Color Board in
| | 00:20 | Final Cut Pro X. This project contains
a clip that actually has a great deal of
| | 00:23 | natural coolness to it.
| | 00:24 | But, I want to accentuate this
natural coolness for several reasons.
| | 00:28 | First, the shot is supposed to be
taking place in the middle of the night, and
| | 00:32 | shots that take place at
night tend to be a bit more cool.
| | 00:34 | Also, this shot comes from a scene
that's supposed to be pretty sad, and to
| | 00:38 | accentuate that feeling of sadness, I
want to create a stylized cool look.
| | 00:42 | So with the clip selected, let me go
ahead and use the keyboard shortcut
| | 00:44 | Command+6 to access the Color Board.
| | 00:46 | Then, I'm going to use the keyboard
shortcut Ctrl+Command+E to access the
| | 00:49 | Exposure pane of the Color Board.
| | 00:51 | Now, before we actually make some
corrections here on the Exposure pane of the
| | 00:54 | Color Board, it's probably a good idea
to open up my videoscope, so I can see
| | 00:57 | what the video signal is
doing as I make some corrections.
| | 01:00 | So to access the videoscopes, I'm going
to use the keyboard shortcut Command+7.
| | 01:04 | Once the Scopes window opens up, let's
click into the Settings menu right here,
| | 01:07 | and choose to display the Waveform scope.
| | 01:09 | Then, let's click back into the
Settings menu, and make sure that we have the
| | 01:12 | Luma option selected for the
Waveform scope, which I do.
| | 01:15 | So let me just go ahead and select this
clip down here in the Timeline and now I
| | 01:19 | can see trace for this clip here in the
Waveform scope set to Luma. All right!
| | 01:22 | Let's come back over to the
Exposure pane here on the Color Board.
| | 01:25 | What I'm going to do is first use the
Blacks or Shadows exposure control, this
| | 01:28 | one right here, and drag down just a
bit until the bottom of the trace and the
| | 01:32 | Waveform scope set to Luma is just touching 0%.
| | 01:34 | Then, I'm going to come into the
Highlights or Whites exposure control, this one
| | 01:39 | right here, and drag down quite a bit
to darken the highlights in the shot.
| | 01:42 | Something like that is working just fine.
| | 01:45 | Now, what you might have noticed after I
made that last correction is that trace
| | 01:48 | over here on the Waveform scope
set to Luma is now dipping below 0%.
| | 01:52 | This is generally
considered illegal for broadcast.
| | 01:55 | So what I want to do is come back over
to my Exposure pane here on the Color
| | 01:58 | Board and simply select the Blacks or
Shadows exposure control, and then use the
| | 02:02 | Up Arrow to nudge this
control up ever so slightly.
| | 02:05 | Something like that works.
| | 02:06 | Let's go ahead and hide the scopes by
using the keyboard shortcut Command+7 and
| | 02:09 | then Command+7 again to clear them completely.
| | 02:12 | Then, over on the Color Board here,
let me click the Back arrow to access the
| | 02:15 | main level of the Inspector.
| | 02:17 | Here on the Color section of the
Inspector, you can see that I have a
| | 02:20 | correction, Correction number 1.
| | 02:22 | Every shot in Final Cut Pro X
has this default correction,
| | 02:25 | Correction 1.
| | 02:27 | I can toggle this correction on and off by
using this little blue square right here.
| | 02:30 | So here's the original shot, and then
here's the darkened shot. The original and
| | 02:35 | then the darkened shot. Okay.
| | 02:37 | So the shot feels like it's happening
in the middle of the night now because
| | 02:40 | we've darkened it up quite a bit.
| | 02:41 | But, what I actually want to do is go
back to the Color Board and add a little
| | 02:44 | more coolness to the shot.
| | 02:46 | Remember, coolness refers to blue tones.
| | 02:49 | So let's click this button right here
to access the Color Board once again.
| | 02:52 | Then let's use the keyboard shortcut Ctrl+Command
+C to access the Color pane of the Color Board.
| | 02:58 | What I want to do is use the Midtones control,
| | 03:00 | this one right here, and drag up into the
positive blue section right around here.
| | 03:04 | So let me go ahead and do that.
| | 03:08 | Something like that works.
| | 03:09 | Then, let me select the Highlights or
Whites control, this one right here, and
| | 03:13 | also drag up into the
positive blue section. All right!
| | 03:16 | Something like that is working pretty well.
| | 03:19 | I like this look, but I think
it's overall a little too saturated.
| | 03:22 | So let me click on the Saturation pane
here on the Color Board and then using
| | 03:25 | the Overall or Master Saturation
control, let me drag down just a touch to
| | 03:30 | desaturate the clip.
| | 03:31 | Okay, I'm liking that look a lot.
| | 03:32 | Let's click back to the main level of
the Inspector and then let's toggle this
| | 03:37 | correction on and off.
| | 03:39 | Here's the original shot and
then here's the corrected shot.
| | 03:42 | Down here on the Timeline,
let me skim through this clip.
| | 03:44 | So you can see that we've
definitely created a stylized, cool look.
| | 03:51 | But after making any correction,
it's always a good idea to check your
| | 03:55 | Video scopes to make sure that you
haven't created any illegal signal.
| | 03:58 | So let's go ahead and open up the
Video scopes once again by pressing Command+7.
| | 04:01 | Then, I'm going to click on
the Settings menu right here.
| | 04:04 | Let's make sure that we're showing the
Waveform scope, and then let's make sure
| | 04:07 | we're showing the Luma option and of
course, we need to select the clip down
| | 04:10 | here in the Timeline. Okay.
| | 04:12 | Everything looks pretty
good here on the Luma waveform.
| | 04:14 | Let's click back up into the
Settings menu and choose the RGB Parade for
| | 04:18 | the Waveform scope. Yup!
| | 04:20 | Once again, everything looks pretty good.
| | 04:22 | Then finally, let's click
over to the vectorscope.
| | 04:25 | Let's select the shot once again. Yup!
| | 04:27 | And everything looks pretty good and legal here.
| | 04:29 | Now, if your corrections actually made
this clip illegal, you'd have two options.
| | 04:34 | You could go back and adjust your
corrections, or as we did in the first movie
| | 04:37 | in this chapter when we created a
high-contrast look, you could create a
| | 04:40 | compound clip and then apply the
Broadcast Safe effect to that compound clip to
| | 04:45 | make it broadcast-safe and to make it legal.
| | 04:48 | Okay, so that's creating a cool,
as in cool temperature type, look.
| | 04:51 | I think you can see that it's pretty
easy to do with the Color Board inside
| | 04:54 | of Final Cut Pro X.
| | Collapse this transcript |
| Creating a wash look| 00:00 | One look that clients ask me
to create all the time is what I refer to
| | 00:03 | as the wash look, and what I mean by
that is that the entire clip looks like
| | 00:06 | it's been washed in a particular color.
| | 00:08 | Another way of saying that is it looks
like the entire clip has been tinted.
| | 00:11 | An example of this is the popular
sepia look, and while we have the Sepia and
| | 00:15 | Tint effects, which can be found in the
Basics category of the Effects Browser
| | 00:18 | here in Final Cut Pro X, in this movie,
I wanted to show you how you could
| | 00:21 | create your own custom wash
look using the Color Board.
| | 00:24 | Now, we are not going to be as heavy-
handed as creating, say, a sepia look, but
| | 00:27 | what I am going to do is create a nice warm
subtle wash in a couple of clips in this project.
| | 00:32 | All right,
| | 00:32 | let's take a look at this first shot.
| | 00:33 | It looks okay, but what I want to
do is create a nice warm wash on it.
| | 00:37 | To do that, I am going
to access the Color Board.
| | 00:39 | So with the clip selected, I'll use
the keyboard shortcut Command+6 to open
| | 00:42 | up the Color Board.
| | 00:43 | It's always a good idea to make
exposure or contrast corrections prior to
| | 00:47 | making color corrections.
| | 00:48 | So to access the Exposure pane, I will
use the keyboard shortcut Ctrl+Command+E,
| | 00:53 | and then so I can actually see
what I'm doing as I am making Exposure
| | 00:55 | Correction, I am going to go
ahead and open up the scopes.
| | 00:58 | I will do that by using the
keyboard shortcut Command+7.
| | 01:01 | Then here in the Scopes window, let me
click into the Settings menu and choose
| | 01:04 | to display the Waveform Scope.
| | 01:05 | I will click back in the Settings menu
and make sure that I have the Luma option
| | 01:08 | selected, which I do.
| | 01:09 | Of course, right now I am not actually
seeing any trace or information about
| | 01:13 | the shot, so what I need to do is come down
to the timeline and select the shot itself.
| | 01:17 | Now, I can see some trace.
| | 01:19 | All I am going to do right now on this
shot is expand its contrast a little bit
| | 01:22 | by making a simple Exposure Correction.
| | 01:24 | Let's come back over to the Exposure
pane on the Color Board here for the shot,
| | 01:27 | and first, I am going to use the
Blacks or Shadows control, this guy right
| | 01:30 | here, and drag down just a touch, so
that the bottom of the trace is just
| | 01:34 | touching 0% like that.
| | 01:36 | Then, what I am going to do is come
into the Highlights or Whites Exposure
| | 01:39 | Control, this guy right here, and drag
up just a touch. Something like that.
| | 01:43 | Okay, let's switch over to the Color
Pane here on the Color Board, and I will do
| | 01:47 | that simply by clicking on
the Color Pane right here.
| | 01:49 | Then let's come into the Waveform
scope here and change the Waveform scope by
| | 01:53 | clicking in the Settings
menu to view the Vectorscope.
| | 01:55 | Let me select the shot down here in
the timeline, so I can see trace up here
| | 02:00 | in the Vectorscope.
| | 02:01 | You will notice most of the trace is pointed
out here towards the cyan and blue targets.
| | 02:05 | What I want to do is create
a nice warm wash in the shot.
| | 02:08 | Remember, warm refers to tones
that are sort of yellow and red.
| | 02:12 | So we can see the shot a little bit bigger,
| | 02:13 | let's go ahead and hide the scope for right now.
| | 02:15 | I will press Command+7 to hide the
vectorscope, and Command+7 again to clear the scopes.
| | 02:19 | Over here on the Color Pane of the
Color Board, you will notice that I
| | 02:22 | actually have four controls--
| | 02:23 | a Master or Global control, and then three
controls for the various parts of the
| | 02:27 | tonal range: Shadows, Midtones, and Highlights.
| | 02:30 | For this shot, I am going to
use the Global or Master control.
| | 02:33 | This guy right here.
| | 02:35 | What I am going to do is drag over into
the yellow red area, something like this.
| | 02:39 | Now remember, you don't actually need to drag.
| | 02:42 | You can use the left and right-
arrow keys to make the correction.
| | 02:47 | So for example, let me go up here to
dial in the shot, something like that is
| | 02:51 | looking pretty good. Yeah!
| | 02:52 | I am liking that look.
| | 02:54 | I have a nice warm wash on the shot now.
| | 02:57 | Let me open the Vectorscope once again.
| | 03:00 | Click into the Settings menu
here and choose Vectorscope.
| | 03:02 | Let me come down to the
timeline and select the shot.
| | 03:06 | Now you will notice most of the trace
is pointed over here towards the yellow
| | 03:09 | red targets indicating that we
have a nice warm wash in the shot.
| | 03:14 | Let's come down to the second shot in
this timeline, and this is just a wide shot
| | 03:18 | of the first shot in this timeline.
| | 03:19 | Now, I want to create a similar wash on
this shot, and just like we did with the
| | 03:24 | first shot, we will first make an
exposure correction and then we will come into
| | 03:27 | the Color Pane of the Color Board.
| | 03:28 | But, this time we will use the three
controls for the different parts of the
| | 03:31 | tonal range to actually
make the Color Correction.
| | 03:33 | So let me go ahead and select the shot.
| | 03:36 | Up here in the Scopes window, let me
click on Settings and choose to display
| | 03:39 | the Waveform scope.
| | 03:40 | Then I will come back down and
make sure that the Luma option is
| | 03:44 | selected, which it is.
| | 03:46 | Let's come down in the
Timeline and select this shot.
| | 03:47 | Then, over here in the Color Board for
this shot, let's click on the Exposure pane.
| | 03:52 | And just like we did with the first shot,
I am going to make a simple contrast
| | 03:55 | or Exposure correction.
| | 03:56 | Let's come into the Shadows or Blacks
Exposure Control, this guy right here, and
| | 04:01 | drag down just a touch.
| | 04:02 | Something like that works.
| | 04:05 | My highlights are actually okay in the
shot, so I am going to use the Midtones
| | 04:07 | Exposure Control and drag up to
lighten up the midtones. All right!
| | 04:12 | That's working pretty well.
| | 04:14 | Next, let's come back into the
Scopes window and change our View from the
| | 04:17 | Waveform to the Vectorscope.
| | 04:20 | Once again on this shot, you will
notice that most of the trace is pointed out
| | 04:23 | towards the Cyan and Blue targets.
| | 04:25 | And just like we did on the first shot,
we are going to create a nice warm wash.
| | 04:29 | So we can see what we are doing a little easier,
| | 04:30 | let's go ahead and hide the
Vectorscope by pressing Command+7 and Command+7
| | 04:34 | again to hide the scopes completely.
| | 04:35 | Then, over here on the Color Board,
let's click on the Color Pane.
| | 04:40 | On the first shot, we used the
Global or Master control right here, but I
| | 04:43 | actually want to use the three
different controls for the various parts of the
| | 04:46 | tonal range on this shot.
| | 04:47 | Well, what I want to do is get
this Master control out of the way.
| | 04:50 | So I am going to select it, and move it
over here to the edge of the Color Board.
| | 04:54 | Now, just make sure that it's
actually not making a correction.
| | 04:57 | You can see right now, if I come down to
this part underneath of the Color Board,
| | 05:00 | that we are making a correction.
| | 05:02 | I want to make sure that
these values are zeroed out.
| | 05:03 | So I will just use the Arrow keys
to zero them out, just like that.
| | 05:06 | Next, what I want to do is first
start with the Midtones control.
| | 05:09 | I am going to take that and drag over
here into the yellow-red section of the shot.
| | 05:14 | Something like this is working just fine.
| | 05:17 | Maybe I will boost the color a little bit more;
| | 05:19 | something like that. All right!
| | 05:21 | I am liking that.
| | 05:22 | Next, let's come into the Shadows
control, this guy right here, and also
| | 05:26 | drag over to yellow-red.
| | 05:28 | Something like that is working pretty
well as well. Maybe I will boost the
| | 05:31 | color just a touch.
| | 05:32 | Then finally, I am actually going to
use the Highlights control and not drag
| | 05:35 | over towards yellow-red but actually drag
up into the positive blue area right here.
| | 05:40 | This will keep my
highlights a little less yellow-red.
| | 05:43 | So I will drag up just a touch.
| | 05:45 | Something like that is working really nice.
| | 05:47 | Now, the main advantage of creating a
wash in this way is that you have control
| | 05:52 | over the three parts of the tonal range--
| | 05:54 | Shadows, Midtones, and Highlights--as
compared to the first shot where we only
| | 05:59 | had one control to create the wash.
| | 06:01 | Let's go down here to the
timeline and scrub through these shots.
| | 06:04 | Here is the second shot. It looks
pretty good. And here's the first shot, and if
| | 06:10 | I scrub between them, they
look like they match together.
| | 06:14 | So that's creating a wash look, and it's
something that you will be asked to do
| | 06:17 | from time to time and something
that's actually really straightforward and
| | 06:20 | simple to do on the Color
Board here in Final Cut Pro X.
| | Collapse this transcript |
|
|
4. Making Secondary CorrectionsUsing a color mask to isolate a correction| 00:00 | In this movie let's start our
exploration of secondary corrections. That is,
| | 00:04 | corrections that only affect part of the shot.
| | 00:07 | One of the most tried and true ways of
making a secondary correction, even in
| | 00:10 | very high-end dedicated color
correction applications, is a key.
| | 00:14 | By keying or selecting a portion of a
clip, you can isolate that portion of the
| | 00:18 | shot, and once you've isolated a
portion of the shot, you can adjust its color,
| | 00:22 | saturation, or exposure.
| | 00:24 | And in Final Cut Pro X this type of
keying is referred to as a Color Mask, and
| | 00:29 | that's what I want to show you in this movie.
| | 00:30 | This shot looks pretty good, but what
if I actually want to go ahead and do is
| | 00:35 | amp up the saturation of this red rug,
and the way that I'm going to do that is
| | 00:38 | by using a Color Mask to
select the red in the rug.
| | 00:42 | With the shot selected, let's go ahead
and use the keyboard shortcut Command+4 to
| | 00:45 | open up the Inspector, and here in the
Color section of the Inspector you'll
| | 00:49 | notice I have Correction 1. This of
course is the default correction that every
| | 00:52 | shot in Final Cut Pro X has, and I've
used this correction to do some basic
| | 00:56 | balancing of this shot.
| | 00:57 | Well, to isolate the rug, what I want to
do is go ahead and add a new correction,
| | 01:02 | and I'll do that by clicking
this plus button right here.
| | 01:04 | Now you can see I have Correction 2.
You can add as many corrections as
| | 01:09 | you want on a shot.
| | 01:11 | Right here in Correction 2, what I want to
do is click this button right here that
| | 01:14 | looks like a little eyedropper in a square.
| | 01:16 | This button will allow me
to add a new Color Mask.
| | 01:20 | By using a Color Mask I can
isolate the red in this shot.
| | 01:22 | All right, so let me go ahead and
click this button. Then over here in the
| | 01:26 | viewer, you'll notice that my
cursor has changed to an eyedropper.
| | 01:30 | By clicking in this shot and using the
eyedropper, I can select a portion of the
| | 01:34 | shot that I want to isolate.
| | 01:35 | So what I want to do is click on the red
here in rug. I'm going to click but not let go.
| | 01:41 | Once I've clicked you'll notice that a
part of the rug is selected. If I drag
| | 01:45 | out, I can actually add more of the rug,
and as the circles get larger, you're
| | 01:50 | adding similar contrast and color
values to your selection, and you'll notice
| | 01:55 | when I've dragged out really big like
this and the circles are large, I've
| | 01:58 | selected almost all of the shot.
| | 02:00 | So what I want to do is drag back down
to make a much smaller, tighter selection.
| | 02:05 | Something like that works.
| | 02:07 | Let me go ahead and let go.
| | 02:09 | Now you'll notice that I didn't actually
select this part of the shot over here.
| | 02:13 | It was in grayscale.
| | 02:15 | The way that this works is when you
have a portion of the shot selected, it's in
| | 02:19 | color, and a portion of the shot
that is not selected is in grayscale.
| | 02:23 | And portions that are in color will
take part in the correction that you'll
| | 02:26 | make, and portions that are in
grayscale will not take part in the
| | 02:30 | correction that you'll make.
| | 02:31 | So what I want to do of course is add
more of the rug, and the way that I'm
| | 02:35 | going to do that is by
holding down the Shift key.
| | 02:37 | By holding down the Shift key you can
add to your selection when you click
| | 02:40 | with the eyedropper.
| | 02:41 | So let me go ahead and
click to add more of this rug.
| | 02:46 | I'll click again and drag out ever
so slightly; something like that.
| | 02:50 | Okay, now you'll notice that I have most
of the rug targeted, but take a look at
| | 02:53 | the floor over there in the upper-
left hand corner. I have the floor also
| | 02:57 | targeted, and I don't want that
portion of the clip to be selected.
| | 03:00 | So what I'm going to do this time is
hold down the Option key to subtract a
| | 03:05 | portion of the shot from my selection,
so I'll click over here on the wood floor
| | 03:09 | and drag out a little bit to
remove that portion from my selection.
| | 03:14 | That's looking pretty good.
| | 03:16 | Back over here on Correction #2 where
it says Color Mask. I have a control that
| | 03:20 | allows me to adjust the
softness of my selection.
| | 03:23 | Every Color Mask has a little built-in
softness, but it's always a good idea to
| | 03:28 | add more softness to your shot. That
way you won't have any ringing edges or
| | 03:32 | artifacting on the edges of your selection.
| | 03:35 | So I want to drag this control up a
little bit to soften my selection.
| | 03:40 | Okay, so we've made a selection, but
we haven't actually made a correction,
| | 03:43 | meaning we haven't actually amped up
the saturation in this rug. So to do
| | 03:47 | that I'm going to click on this button right
here to access the Color Board for Correction 2.
| | 03:51 | And then let me click
over to the Saturation pane.
| | 03:54 | Remember you can always use the
keyboard shortcut Ctrl+Command+S, S for
| | 03:58 | Saturation. Then using the Global
saturation control, this guy right here, I'll
| | 04:03 | drag up a little bit to add
some more saturation into that rug.
| | 04:08 | That's looking way better to me.
| | 04:09 | Now one little note. You might have
noticed these two buttons here down at
| | 04:13 | the bottom of the Color Board that say Inside
Mask, which is the default, and Outside Mask.
| | 04:18 | With set to Inside Mask, any correction
you make will affect your selection that
| | 04:22 | you've made with a Color Mask.
| | 04:24 | With set to Outside Mask, any
correction you make will affect the outside or
| | 04:28 | inverse of your selection.
| | 04:31 | For this movie I don't need to make
an outside correction, but it's nice to
| | 04:34 | have that flexibility.
| | 04:36 | Let's go back to the main level of the
Inspector by clicking this Back button
| | 04:38 | right here, and then what I want to do
is toggle this correction on and off.
| | 04:42 | So here's the original shot, and then a
little bit more saturation in the rug.
| | 04:47 | Now you'll notice a couple of
things. This red book back here in this
| | 04:50 | bookshelf was also selected. That's
because it had similar contrast and color
| | 04:55 | values to the red rug.
| | 04:57 | You might have also noticed right here
that this bookcase was slightly selected.
| | 05:00 | And that's the same problem. It has
similar color and contrast values to the rug.
| | 05:05 | Having both of these items be a little bit
more saturated doesn't bother me in this shot.
| | 05:09 | Later in this chapter, I'll show you
how you can actually combine a Shape Mask
| | 05:14 | with a Color Mask to limit a selection
that you made with a Color Mask, but for
| | 05:19 | right now this shot looks pretty good.
| | 05:21 | Let's go ahead and drag through the shot,
and you can now see that the rug is a
| | 05:25 | little bit more vibrant.
| | 05:27 | So that's using Color Masks here in
Final Cut Pro X. Color Masks are a great way
| | 05:31 | to isolate a portion of the
shot for further correction.
| | Collapse this transcript |
| Using a shape mask to isolate a correction| 00:00 | Earlier in this chapter we talked about
using a Color Mask, or what essentially
| | 00:03 | amounts to a key to make a secondary correction.
| | 00:06 | While Color Masks work very well in
a variety of situations, they have a
| | 00:09 | couple of downsides.
| | 00:10 | First, if you have a lot of similar Hue,
Saturation, and Lightness values in a
| | 00:13 | shot, it can be hard to isolate what you want.
| | 00:16 | Second, if there is a lot of subtle
gradation in what you're trying to select,
| | 00:19 | it can be hard to get a
solid or clean selection.
| | 00:21 | Well, to adjust these problems we have
another way of making a secondary color
| | 00:25 | correction in Final Cut Pro X. That
way is known as using a Shape Mask.
| | 00:29 | Known as Windows or Vignettes in
other dedicated color correction
| | 00:32 | applications, Shape Masks will allow
you to use a geometric shape to make a
| | 00:36 | secondary correction.
| | 00:37 | And in this movie I want to show you
how we can use a Shape Mask to make a
| | 00:40 | secondary color correction.
| | 00:41 | And this project has a shot that looks
pretty good. Let me go ahead and select
| | 00:45 | it and then press Command+4
to open up the Inspector.
| | 00:49 | Here in the Color area of the
Inspector you'll notice that I have the default
| | 00:51 | correction, Correction 1, and I've
actually already gone ahead and used this
| | 00:55 | correction to perform a
primary color correction.
| | 00:57 | I can toggle this correction on and off
by using this blue box right here. Here
| | 01:01 | is the original shot, and
here's the corrected shot.
| | 01:03 | All I did was perform a simple exposure
correction on this shot to improve its contrast.
| | 01:08 | But one thing is so bothering about the
shot--these bright windows right here.
| | 01:12 | Now if I come into this correction, the
primary correction that is, and over to
| | 01:16 | the Exposure pane, and use the highlight
or white exposure control and drag down
| | 01:22 | to darken the highlights of this shot,
I'd have darkened the highlights in the
| | 01:25 | entire shot, not just in the windows,
and that's not what I want to do.
| | 01:29 | So what I want to do is come back to the
main level of the Inspector by clicking
| | 01:32 | the Back button here, and then what
I want to do is add a new correction.
| | 01:36 | To Add a New Correction I'm going to
click on this plus button right
| | 01:38 | here, and we can add as many corrections as we
want to a shot. And now I have a new correction,
| | 01:43 | Correction 2. Let me go
ahead and select that correction.
| | 01:46 | Next to where it says
Correction 2, I have two icons.
| | 01:49 | Earlier in this chapter we
took a look at this icon.
| | 01:51 | This is the icon to create a Color Mask,
but this icon right here allows us to
| | 01:55 | add a Shape Mask, so let me go
ahead and click on that icon.
| | 01:58 | When I do, over in the viewer,
I have some on-screen controls.
| | 02:02 | Let's take a look at how these controls work.
| | 02:05 | First, by using the green controls
right here, I can resize and adjust the
| | 02:09 | Aspect Ratio of the shape itself.
| | 02:11 | By using this translucent control
right here, I can change the shape from a
| | 02:15 | circle to a square or back to a circle.
| | 02:19 | Using the center control right here
I can position the shape around the
| | 02:22 | screen just like this, and then by using
this control right here I can rotate the shape.
| | 02:28 | Let me go ahead and position the
shape over the window just like this.
| | 02:32 | All right, that's working pretty well.
| | 02:36 | Go ahead and rotate that
just a touch. That's working.
| | 02:40 | Now it's always important before you
actually make a correction with a shape
| | 02:43 | that you add a bit of softness to the
shape, and how I do that is with this
| | 02:47 | outside line right here.
| | 02:48 | If I click on the line and drag
out, I can soften up the shape.
| | 02:52 | By softening the shape after we make
the correction, we won't see any hard
| | 02:56 | edges on the shape.
| | 02:58 | Now that we've placed the shape, let's
come back over here to Correction 2 and
| | 03:02 | click on this button right here to
access the Color Board for this correction.
| | 03:06 | Here on the Exposure pane what I want
to do is use my highlights or whites
| | 03:10 | exposure control and drag down just
touch to darken up those windows and return
| | 03:15 | some highlight detail to them.
That's looking way better.
| | 03:18 | One thing you should notice though is
at the bottom of the Color Board I have
| | 03:21 | two buttons right here,
Inside Mask and Outside Mask.
| | 03:24 | Inside Mask is the default option and
what this means is that when I make a
| | 03:28 | correction here on the Color Board, the
correction that I perform will affect the
| | 03:31 | inside of the shape.
| | 03:33 | If I switch to Outside Mask, any
correction that I make will affect the
| | 03:37 | outside of the shape.
| | 03:39 | Inside and Outside corrections
can live together at the same time.
| | 03:42 | So I've already made an
inside correction on the shape.
| | 03:45 | What I'm going to do is switch to
the outside as I already have, and then
| | 03:47 | I'm going to use the highlights
control right here in the Exposure pane and
| | 03:50 | drag down just a touch.
| | 03:53 | And you'll notice that the
highlights outside of the shape darkened up.
| | 03:57 | Now for this shot I actually don't want
to make that correction, so I'm going to
| | 04:00 | go ahead and reset the Outside Mask
Exposure correction that I just did.
| | 04:04 | Let's go back to Inside Mask.
| | 04:06 | If we go back to the main level of
the Inspector by clicking the Back button
| | 04:10 | here on the Color Board, I
want to show you something else.
| | 04:12 | When you're making a correction it can
be kind of annoying to have the outline
| | 04:15 | of the shape itself here on screen.
| | 04:17 | So if you click on this button right
here, this little blue icon, you can hide
| | 04:21 | the actual shape itself.
| | 04:22 | Of course, you can always come back
into the Correction and keep adjusting the
| | 04:27 | correction, just like that. But you're
just not seeing the outline of the shape
| | 04:33 | itself, which is nice to not to have
in view when you're doing subtle color
| | 04:36 | corrections using a shape.
| | 04:38 | Let's come back to the main level of
the Inspector here. Let's toggle this
| | 04:42 | correction on and off.
| | 04:43 | So there is before and there's after
the correction. It looks pretty good.
| | 04:49 | So you can see that Shape Masks can be a
powerful way of making a secondary color
| | 04:53 | correction and even more powerful when
you factor in the fact that you can
| | 04:56 | make corrections inside
and outside of the shape.
| | 04:59 | Now I know what you're thinking, what
happens if the object you're isolating
| | 05:02 | with the Shape Mask moves?
| | 05:03 | Because in this shot as I scrub
through, you notice that the windows, well,
| | 05:07 | they're obviously not moving.
| | 05:08 | That's a great question, and we'll talk
about keyframing shape masks a bit later
| | 05:12 | in this chapter, but for now, hopefully
you're more comfortable using Shape Masks
| | 05:16 | to make secondary color corrections.
| | Collapse this transcript |
| Combining color and shape masks| 00:00 | Earlier in this chapter, we took a look at
using color masks as well as shape masks.
| | 00:05 | In this movie, I want to show you how
you can combine the two types of masks.
| | 00:08 | By combining a color mask with a
shape mask, you can essentially limit the
| | 00:12 | selection that you've made with the color mask.
| | 00:14 | Let's go ahead and take a look at this shot.
| | 00:17 | This shot looks pretty good, but what
I actually want to go ahead and do is
| | 00:20 | lighten up this actress' skin tone a touch.
| | 00:22 | And the way that I am going to isolate
her skin tone is by using a color mask,
| | 00:25 | but I think I am going to have a problem.
| | 00:27 | The actress' skin tone here is very
similar to the color of this door, and I am
| | 00:31 | willing to bet when I use a color mask
to isolate her skin tone, I am also going
| | 00:35 | to select a part of the door over
here, but I don't want that to happen.
| | 00:38 | But by combining the color mask with
a shape mask, I can limit the selection
| | 00:43 | that I make with a color mask.
| | 00:44 | Let me show you how this works.
| | 00:46 | With the shot selected here in the
timeline, let me go ahead and use the keyboard
| | 00:48 | shortcut Command+4 to open up the Inspector.
| | 00:51 | Here in the color section of the Inspector,
I, of course, have Correction 1.
| | 00:55 | This is the default correction that
every shot has inside of Final Cut Pro X and
| | 00:58 | I have used this correction to do
some basic balancing of this shot.
| | 01:01 | But now, what I want to do is go ahead
and add a new correction and I will do
| | 01:04 | that by clicking this
Plus button right here.
| | 01:07 | On correction number 2, let me click
this button right here to add a new color
| | 01:10 | mask. And then over here in the viewer,
with the eyedropper, I will click on the
| | 01:14 | actress' face and then drag out a
little bit to select her skin tone.
| | 01:17 | Something like that works.
| | 01:19 | Actually, what I just noticed is that I
missed this part of her ear right here.
| | 01:22 | So I am going to hold down the Shift
key to get the positive eye dropper and I
| | 01:25 | will click on her ear to
add that to my selection.
| | 01:29 | But I am not actually going to let go yet.
| | 01:30 | What I want you to notice is that
we've selected the actresses' skin tone and
| | 01:34 | we've isolated it, but take a look at the door;
| | 01:36 | we've also selected part of the door,
and in the upper right hand corner of the
| | 01:39 | door, you notice that gray area?
That's a part of the door that we haven't
| | 01:42 | really selected and it's
going to be problematic.
| | 01:44 | Let me go ahead and let go.
| | 01:46 | Over here on Correction 2 and
right here with the color mask, I have this
| | 01:50 | parameter right here to adjust
my softness of the color mask.
| | 01:53 | Every color mask has some built-in
softness, but I want to use this parameter
| | 01:56 | and drag up a little bit to
soften out my selection even more.
| | 02:00 | Then for Correction 2, let's go ahead
and click this button to access the color board.
| | 02:04 | I will come over to the
Exposure pane right here.
| | 02:06 | Remember, you can also use the keyboard shortcut
Ctrl+Command+E to access the Exposure pane.
| | 02:11 | Using the Highlights control, this
guy right here, I will drag up a bit to
| | 02:15 | lighten up the actresses' skin tone.
| | 02:17 | She is looking pretty good but
what's not is this door right here.
| | 02:21 | You'll notice this bit of the door is
kind of blown out and I have some weird
| | 02:23 | looking artifacts up here.
| | 02:25 | I don't want this in my final shot, of course.
| | 02:27 | So to fix this, what I am going to
do is go back to the main level of the
| | 02:30 | Inspector by clicking the Back
button right here on the color board.
| | 02:34 | Here on Correction 2, let me
go ahead and actually add a shape mask.
| | 02:38 | You can add a shape mask on the same
correction with the color mask, and what
| | 02:42 | this essentially does is it limits the
selection that you've made with a color mask.
| | 02:47 | Here in the viewer, you'll notice that
I have some on screen controls for the
| | 02:50 | shape mask that we just added and if I
drag this around, you'll notice that the
| | 02:53 | shot is being lightened
but only inside of the shape.
| | 02:57 | So what I want to do is position
the shape over the actress' face,
| | 03:01 | something like this.
| | 03:02 | I will rotate it a little bit, maybe
make it a little bit bigger, and then I
| | 03:09 | will add a bit of softness to the shape
by dragging this line out, just a touch,
| | 03:13 | something like that works.
| | 03:14 | Let's go ahead back down into the
timeline and scrub to this clip. Oops!
| | 03:17 | Right there she actually moves out of
the shape, so I will just position it over
| | 03:21 | a little bit, maybe make it a touch bigger.
| | 03:26 | That's working really well.
| | 03:29 | Take a look at the door though.
| | 03:30 | You'll notice that it's no longer
affected and that's because we've limited the
| | 03:34 | selection that we made with the
color mask by using the shape mask.
| | 03:38 | Let's go back over here to the
Inspector and toggle this correction on and off.
| | 03:43 | That looks much better.
| | 03:44 | Now, you might have noticed that I
selected a little bit of the doorframe here,
| | 03:47 | but that's actually okay.
| | 03:49 | This doorframe was part of my
original color mask selection and because I
| | 03:52 | positioned the shape mask around
the actress' face, this door frame was
| | 03:56 | inside of the shape mask.
| | 03:57 | But, you know what, it doesn't
actually bother me in this shot.
| | 03:59 | So you can see it's pretty easy to
limit a selection made with a color mask
| | 04:04 | by using a shape mask.
| | 04:06 | This technique is very useful in
situations where you want to isolate a part of
| | 04:09 | a shot, but you don't want another
part of the shot with similar color and
| | 04:13 | contrast values to be part of your selection.
| | Collapse this transcript |
| Keyframing shape mask position| 00:00 | Earlier in this chapter, we took a
look at using a shape mask to make a
| | 00:03 | secondary correction.
| | 00:04 | In that movie, we applied a shape
mask, but the portion of the clip we were
| | 00:07 | isolating did something that
objects and shots don't do all the time--
| | 00:10 | it stayed relatively still.
| | 00:11 | Of course, in the real world, objects
move. And in this movie, I'm going to show
| | 00:15 | you how you can easily animate the
position of a shape mask using keyframes. And
| | 00:20 | this project contains a clip that I have
actually already applied a couple of corrections to.
| | 00:24 | To show you those corrections, let
me go ahead and select this shot.
| | 00:25 | Then I'll use the keyboard shortcut
Command+4 to open up the Inspector.
| | 00:30 | Here in the Color section of the
Inspector, you'll notice I have two corrections:
| | 00:33 | Correction 1 I used to do
some basic balancing of this shot,
| | 00:36 | but then I went ahead and added
Correction 2 and on Correction 2,
| | 00:39 | I added a shape mask.
| | 00:41 | So why did I add a shape mask?
| | 00:42 | Well, let me go ahead and click on
this button right here to show you the
| | 00:45 | outline of the shape mask.
| | 00:46 | The reason I added the shape mask is
because the actor's face, especially on the
| | 00:50 | right hand side of the frame here
opposite this window, was being lost in shadow.
| | 00:54 | So after adding a shape mask and
positioning it, I went into the color board
| | 00:58 | and onto the Exposure pane and made
some exposure corrections to brighten up or
| | 01:02 | to lighten up this actor's face.
| | 01:04 | But we have a problem with this shot.
| | 01:07 | The actor actually moves.
| | 01:09 | He moves in and out of the shape mask that
I created, and I don't want that to happen.
| | 01:13 | I want the shape masks to actually
follow the actor's face as he moves.
| | 01:17 | So to make this possible, we need to
animate or keyframe the position of the
| | 01:22 | shape mask and that's pretty easy to do.
| | 01:24 | Let's come back up here to the Inspector,
and right here where it says Shape Mask 1,
| | 01:27 | let's go over to the right hand side
here, and you will notice that there's a
| | 01:30 | little icon that looks like a
diamond with a plus sign in it.
| | 01:33 | By clicking on this button, we can add a
keyframe for the position of our shape mask.
| | 01:37 | We can also click into this menu
right here and choose to add a keyframe.
| | 01:42 | So right around 3 seconds and 11 frames
in this clip, right before actor starts
| | 01:46 | to move, let's go ahead and click the
Keyframe button right here, and you'll
| | 01:50 | notice when you click the button that
the actual icon for the keyframe button
| | 01:53 | lights up sort of this
yellow orangey kind of color.
| | 01:56 | This indicates that you've added a keyframe.
| | 01:58 | Then, down here on the timeline,
let's scroll a little forward in time,
| | 02:02 | somewhere right around 4:09, 4:10,
something like that. And then let me go ahead
| | 02:06 | and add an additional keyframe.
| | 02:08 | It's important that you add a keyframe before
you reposition the actual shape mask itself.
| | 02:12 | I will position the shape mask around
the actor's face like that, and then let's
| | 02:16 | come down a little further in time,
right around 6 seconds or so. Yeah, right
| | 02:21 | about there, right before the actor
starts moving again. And I am going to add
| | 02:24 | another keyframe by clicking the
Keyframe button up here in the Inspector.
| | 02:28 | But I am not actually going to
reposition the shape mask this time.
| | 02:31 | What I want to have happen is the
shape mask remained in the same position
| | 02:34 | between in this keyframe
and the previous keyframe.
| | 02:37 | So let's keep going forward.
| | 02:40 | Right around 7:08, 7:09, somewhere in
there, let's go ahead and add a new
| | 02:45 | keyframe. And then I will reposition
the shape mask up here. And then let's go
| | 02:51 | forward a little bit.
| | 02:53 | For the rest of the shot, the actor pretty
much remains inside of the shape mask itself.
| | 02:58 | Let's go back to the beginning
of the shot and skim through it.
| | 03:02 | Now, you can see the shape mask
actually animates with the actor's movement and
| | 03:06 | it looks pretty good.
| | 03:10 | If you've made a mistake with the
timing of your keyframes, don't worry about
| | 03:14 | it; you can control that pretty easily.
| | 03:16 | If you come down to the actual shot
here and click on this little menu, you'll
| | 03:19 | have several items that you can choose from.
| | 03:21 | But the one you'll want to
choose is Show Video Animation.
| | 03:24 | You can also use the keyboard shortcut
Ctrl+V. When you select that option, you
| | 03:29 | have several little blocks
here above the actual shot itself.
| | 03:31 | Let me scroll up to show you those.
| | 03:34 | You notice one of the items that I have
is Color, Correction 2, and Shape Mask.
| | 03:38 | And guess what. You can actually
see the keyframes that we've created.
| | 03:42 | If you click on one of these keyframes,
you can reposition it in time, left and
| | 03:46 | right, but actually I don't want to do that.
| | 03:48 | So let me go ahead and undo that movement.
| | 03:50 | With a keyframe selected, you
can, of course, also delete it.
| | 03:54 | This keyframes editor gives you a
lot of flexibility to go back and forth
| | 03:57 | between keyframes as well.
| | 03:58 | And to do that, you can simply come back
up to the Inspector here and then click
| | 04:02 | this little arrow button to go to the
next keyframe and click this one to go to
| | 04:05 | the previous keyframe.
| | 04:07 | If you wanted to remove a keyframe, not
from the keyframe editor down here but
| | 04:11 | actually up here in the Inspector,
simply click the Keyframe button again to
| | 04:14 | delete the keyframe.
| | 04:15 | But, as I said, I am actually pretty
happy with the animation of this shape mask.
| | 04:19 | Let's go ahead and look at it one more time.
| | 04:23 | It does a pretty good job
staying with the actor's face.
| | 04:27 | The last thing I will say about
animating a shape mask is that you don't need to
| | 04:31 | actually worry about being super
precise about the keyframed movement. And the
| | 04:36 | reason that is is because most of the
time when you add a shape mask, you're
| | 04:39 | going to go ahead and add a little bit
of softness to the mask and that will
| | 04:43 | make some sort of awkward
movement look a little less obvious.
| | 04:47 | But what you do want to do is make sure that
you have the movement basically set up correctly.
| | 04:51 | So there you go--
| | 04:53 | animating a shape mask using
keyframes here in Final Cut Pro X. It's pretty
| | 04:56 | straightforward and pretty easy to do
when you have movement that you want to
| | 05:00 | follow with a shape mask.
| | Collapse this transcript |
| Using secondary corrections to protect for Broadcast Safe| 00:00 | I would love to tell you that color
correction is all glitz and glamor.
| | 00:03 | Well, maybe it is if you are working
on huge budget Hollywood film, but for
| | 00:06 | most of us, the color correction that we do
day in, day out is all about fixing problems.
| | 00:10 | And one of those problems is
making sure that footage adheres to
| | 00:13 | broadcast standards.
| | 00:14 | Broadcast-safe or Broadcast-legal
standards are standards published by
| | 00:17 | broadcasters and govern things like how
bright or how dark things can be on screen.
| | 00:21 | And in this movie I want to talk about
using secondary color corrections to help
| | 00:25 | us ensure broadcast legality.
| | 00:26 | Why secondary? Well, sometimes you
can't fix broadcast legality issues with
| | 00:30 | primary color corrections without
making the shot look, well, not so good.
| | 00:34 | This project contains a couple of shots
that have already been balanced with a
| | 00:37 | primary color correction but need some
help with a secondary color correction
| | 00:40 | to make them broadcast legal.
| | 00:42 | Let's go ahead and take a
look at this first shot.
| | 00:44 | It looks okay, but obviously the thing
that pops out at you is this red folder,
| | 00:47 | and to my eyes this red
folder looks too saturated.
| | 00:50 | But let's verify that on the Vectorscope.
| | 00:52 | I'll press Command+7 to open up the
Scopes window and then click into the
| | 00:55 | Settings menu and choose
to display the Vectorscope.
| | 00:57 | I just need to make sure that the shot
is selected down here in the Timeline.
| | 01:01 | Here on the Vectorscope I have a
great deal of trace that's pointed out
| | 01:03 | towards the red target.
| | 01:04 | That's obviously this red folder.
| | 01:06 | And remember, the distance out from the
center of the Vectorscope to the outside
| | 01:09 | edge represents saturation, and we can
tell that this folder is actually really,
| | 01:13 | really saturated; it's actually too saturated.
| | 01:16 | I have a bit of trace here that
extends beyond the red target.
| | 01:19 | Most broadcasters will consider any
trace that extends beyond the outside
| | 01:23 | targets here on the Vectorscope to be
too saturated and illegal for broadcast.
| | 01:27 | So what I want to do is use a secondary
color correction to isolate this folder
| | 01:31 | and then reduce its saturation.
| | 01:32 | Let me go ahead and hide the
Vectorscope by pressing Command+7. I need to press
| | 01:36 | it twice to clear the scopes out completely.
| | 01:38 | And then with the shot still selected
down here in the Timeline, I'll press
| | 01:41 | Command+4 to open up the Inspector.
| | 01:44 | Here in the Inspector, obviously in
the Color section I have a default
| | 01:46 | correction, Correction 1, and I
have used this correction to do some basic
| | 01:50 | balancing of this shot.
| | 01:51 | But to isolate this folder what I need
to do is add a new correction, and I'll do
| | 01:54 | that by clicking this Plus button right here.
| | 01:57 | Here for Correction 2, let me
click on this button to add a new color
| | 02:00 | mask, and then I'll come over to the Viewer.
| | 02:02 | You'll notice that my cursor changes
from the regular cursor to an eyedropper.
| | 02:05 | And what I am going to do is
click and drag but not let go.
| | 02:08 | As I drag you'll notice that I
starts selecting part of that folder.
| | 02:12 | As I drag further out, I can actually
select most of the shot and you need to
| | 02:15 | be careful about this.
| | 02:17 | The further out that you drag and the
larger that you make these circles, the
| | 02:20 | more similar exposure and color
values you'll be adding to your selection.
| | 02:24 | So what I am a big fan of doing is
making a smaller initial selection, something
| | 02:28 | like this, and then with the eyedropper
still active, adding the Shift key and
| | 02:32 | clicking again to add additional
parts of the folder to my selection.
| | 02:36 | I'll click again and drag out ever
so slightly; something like that.
| | 02:41 | Over here in Correction 2, where it says
Color Mask, you'll notice that I have a slider.
| | 02:46 | Every time that you use a color mask, you
have a bit of built-in softness to that mask.
| | 02:51 | But it's always a good idea to
add a little bit more softness.
| | 02:54 | So what I am going to do is adjust the
Softness for my selection up just a touch.
| | 02:57 | This will just ensure that I don't
have any ringing edges on the selection.
| | 03:01 | Okay, now that we've made the selection,
let's click this button right here to
| | 03:04 | jump to the Color board for Correction
number 2, and then let me click on the
| | 03:07 | Saturation Pane right here.
| | 03:09 | What I want to do is use the Global or
Master Saturation control and drag down a
| | 03:13 | touch to reduce the saturation of this folder.
| | 03:16 | That's looking much better to me.
| | 03:18 | Let's go ahead and open up
the Vectorscope once again.
| | 03:19 | I'll press Command+7, and then here in
the Scopes window I'll click into the
| | 03:23 | Settings menu and choose
to display the Vectorscope.
| | 03:27 | And now you'll notice that the trace is inside
of the red target and I now have a legal shot.
| | 03:31 | All right, let's navigate down to the
second shot in this Timeline, and here on
| | 03:36 | the Vectorscope, you'll
notice that I have legal trace.
| | 03:39 | There is no part of the trace that
extends beyond the outside targets.
| | 03:41 | Let's click up into the Settings menu
here in the Scopes window, and let's
| | 03:45 | choose to display the Waveform scope,
and then let's choose to display the Luma
| | 03:49 | option for the Waveform
scope, which I already am.
| | 03:51 | Then I will select the shot
down here in the Timeline.
| | 03:53 | Looking at this, I actually have a bit
of trace here on the Waveform scope set
| | 03:56 | to Luma that's over 100%.
| | 03:57 | Let me click over to show the RGB
Parade option for the Waveform scope. And I
| | 04:03 | have a same problem over here. I have a
bit of trace in the blue, green, and red
| | 04:07 | channels that's extended over 100%.
| | 04:10 | Trace that's over 100% or below 0% is
generally considered illegal for broadcast.
| | 04:15 | So what I actually want to go ahead
and do is use a Shape Mask on this shot.
| | 04:18 | I am thinking what's actually illegal
in this shot is the highlights or the
| | 04:22 | reflections on this photo.
| | 04:23 | So I am going to use a Shape
Mask to sort of isolate the photo.
| | 04:27 | Let me go ahead and hide the RGB Parade
here by pressing Command+7 and Command+7
| | 04:31 | again to close the Scopes window.
| | 04:33 | Then, let me select this shot down here
in the Timeline and go back to the main
| | 04:36 | level of my Inspector.
| | 04:38 | Of course, I have the default
correction already on this shot, so I need to add
| | 04:42 | a new correction and I'll do that by
clicking the Plus button right here.
| | 04:45 | On Correction 2, let's click
this button to create a new Shape Mask.
| | 04:50 | With the on-screen controls here in the
Viewer, let's change this from a circle
| | 04:53 | to a square. And I'll do that by
grabbing this little translucent control right
| | 04:56 | here and making the shape into a square.
| | 04:58 | Then I am going to rotate the shape
something like this, and we'll position the
| | 05:02 | shape around the photograph.
| | 05:03 | Let's add a little softness to this
shape by dragging the Softness control out
| | 05:08 | just a touch, and then let me go
ahead and get my scopes back into view.
| | 05:11 | I'll press Command+7 to open up the
Scopes window again, and then let me go back
| | 05:15 | to the Waveform scope, and then to the
Luma option, which I already have selected,
| | 05:19 | and select the shot here down in the
Timeline. Let's find that bit of trace
| | 05:23 | that's illegal right about there.
| | 05:25 | Let's position the Shape
Mask back over the photo.
| | 05:27 | We actually might need to make it a
little bigger; something like that works.
| | 05:31 | Then I am going to come in to the Color
Board for Correction 2 here and
| | 05:35 | let me click over to the Exposure Pane,
this guy right here. And I am going to
| | 05:39 | drag my Highlights Exposure
Control down; something like that works.
| | 05:44 | Let's skim through the clip, and now you'll
notice that all my trace is inside of 100%.
| | 05:50 | Let's take a look at the
RGB Parade. Same deal there;
| | 05:54 | all the trace is inside 100%, indicating
that this clip is now legal for broadcast.
| | 05:59 | So that's a little bit more on using
Secondary Color Corrections to target a
| | 06:02 | portion of the clip to help
ensure broadcast legality.
| | Collapse this transcript |
|
|
5. Creating Looks with Secondary CorrectionsEnhancing skin tone with a color mask| 00:00 | So you have done some primary
correction on a shot and things are
| | 00:03 | looking pretty good.
| | 00:04 | But then you notice something. The skin
tone of an actor, or maybe of a subject,
| | 00:08 | kind of looks off. Maybe it's too red
or too yellow. Maybe there is too much
| | 00:11 | shadow on their face, or maybe
they have a hotspot on their head.
| | 00:14 | Whatever the case is, you can correct these
situations easily by using a color mask.
| | 00:18 | That's what I want to show you in this movie.
| | 00:20 | This project contains a shot that
looks okay, but the actor's skin tone
| | 00:23 | doesn't look that great.
| | 00:25 | Back in Chapter 4, we adjusted the
lightness of an actress' face using a color
| | 00:28 | mask, but in this movie we are going
to do the more common thing of color
| | 00:31 | correcting skin tone.
| | 00:32 | Let me go ahead and take a look at
this shot down here in the timeline.
| | 00:36 | And the shot looks all right, but to
me the actor's face looks a bit red.
| | 00:40 | So, let me go ahead and open
up the Scopes to verify this.
| | 00:42 | I will press Command+7 to access the Scopes.
| | 00:46 | And up here in the Scopes window, I
will click into the Settings menu and
| | 00:48 | choose to display the Vectorscope.
| | 00:50 | Again, I just need to make sure that
the clip is selected down here in the
| | 00:52 | timeline, and I can either select it or
use the left and right arrows to get the
| | 00:57 | Trace active here in the Vectorscope.
| | 00:59 | Looking at the Vectorscope, you can see
a large portion of the trace right here
| | 01:02 | is actually pointed towards the red
target, indicating that the subject's skin
| | 01:06 | tone is actually kind of red.
| | 01:08 | But the other thing that I want to
discuss that we haven't talked about yet is
| | 01:11 | this line right here.
| | 01:12 | This line is commonly referred to
as the skin tone or flesh tone line.
| | 01:16 | And you can actually
toggle this line on and off.
| | 01:19 | To do that, simply come into the Settings
menu and then down to this option right
| | 01:22 | here to Hide the Skin Tone Indicator.
| | 01:24 | And you will notice that that line
disappears. Click back to show it once again.
| | 01:29 | Skin tone, regardless of race,
generally falls somewhere on or near this line.
| | 01:34 | Now just note I said near this line.
| | 01:37 | It's not a hard and fast rule.
| | 01:39 | Some people are naturally a little more red,
some people are naturally little more
| | 01:41 | yellow, and so on and so forth.
| | 01:43 | But as a general guide, skin tone
should fall somewhere on or near this line.
| | 01:49 | So we determine that this
actor's face is a little bit too rosy.
| | 01:52 | So we want to fix this.
| | 01:53 | Let me hide the Scope by pressing Command+7
and Command+7 again to hide it completely.
| | 01:57 | Then when the shot is selected down
here in the timeline, I will use the
| | 01:59 | keyboard shortcut Command+
4 to open up the inspector.
| | 02:02 | Here in the color section of the
inspector, you can see that the shot already
| | 02:05 | has a Correction applied to it.
| | 02:06 | This of course is the default correction
that every clip in Final Cut Pro X has,
| | 02:09 | and I have used this correction to
do a very simple contrast adjustment.
| | 02:13 | And I have used this correction to
perform a very basic exposure correction.
| | 02:17 | What I want to actually do is add an
additional correction so we can isolate the
| | 02:20 | Skin Tone of the subject.
| | 02:22 | And to do that, I will click
on this plus button right here.
| | 02:25 | And on Correction #2, let me go
ahead and click this button right here to
| | 02:29 | create a new Color Mask.
| | 02:31 | Over here in the viewer, you notice
that my cursor changes into an eyedropper.
| | 02:35 | What I want to do is click to
isolate the actor's skin tone right here.
| | 02:38 | So I will click and then drag out a little bit.
| | 02:40 | And you notice as I drag,
these two circles become bigger.
| | 02:44 | Be careful that you don't
drag out too far, like this.
| | 02:47 | The larger these two circles are;
| | 02:49 | the more similar color and contrast values
that you will be adding to your selection.
| | 02:53 | So what I actually find more useful to
do is to make a small initial selection,
| | 02:57 | something like that.
| | 02:59 | And then with the eyedropper still
active, if I hold down the Shift key, I can
| | 03:02 | add a little bit of more to my selection,
something like that works just fine.
| | 03:07 | Now that we've isolated the actor's
skin tone, let's come in here to the Color
| | 03:10 | Mask control and soften
that selection up just a bit.
| | 03:14 | It's important to soften a selection out
quite a bit, especially with skin tone.
| | 03:19 | Next, for Correction 2 here, let's
come in and click this button right here to
| | 03:22 | access the Color Board for Correction 2.
| | 03:25 | And then let me click over to the Color pane.
| | 03:28 | Using the Midtones control, this guy
right here, I am going to drag down into
| | 03:31 | the negative blue area.
| | 03:32 | Remember, negative blue is actually
yellow. Something like that works just fine.
| | 03:37 | And I will do the same thing
for the highlights control.
| | 03:39 | All right, maybe I will back off that a touch.
| | 03:43 | So now the actor is looking nice and healthy.
| | 03:46 | He seems to be a little too saturated
to me though, so I am going to click over
| | 03:48 | to the Saturation pane, and then with the
midtones saturation control, I will drag
| | 03:53 | down just a touch.
Something like that works just fine.
| | 03:56 | Now, one important note. At the bottom
of the Color Board here, you will notice
| | 04:00 | that I have two buttons,
Inside Mask and Outside Mask.
| | 04:03 | The default is Inside Mask.
| | 04:05 | What this means is that any correction
that you make with this option selected
| | 04:08 | will affect the selection that you've
made, not its inverse, which would happen
| | 04:13 | if you selected the Outside Mask option.
| | 04:15 | So the actor is looking much better there.
| | 04:17 | But let's go ahead and verify that
by opening up the Vectorscope again.
| | 04:20 | So let me go ahead and hide my
inspector by pressing Command+4. Then I'll open
| | 04:24 | up the Scopes by using the keyboard
shortcut Command+7, and then I will click
| | 04:27 | back here into the Settings menu
and choose to display the Vectorscope.
| | 04:31 | Once again, I need to select a clip.
| | 04:33 | And now you can see most of the trace
is right on that skin tone or flesh tone
| | 04:38 | line indicator, right here,
and the actor looks much better.
| | 04:41 | Let's hide this scope by pressing
Command+7 twice. Then I will open up the
| | 04:45 | Inspector again, and let's
toggle that Correction on and off.
| | 04:49 | So here is the original shot where he
looks little rosy, and then here is the
| | 04:52 | corrected shot where he looks nice and healthy.
| | 04:54 | Of course, it's always a good idea to skim
through your shot in the timeline, just to
| | 04:58 | make sure that you didn't miss
anything. And yep, he looks good.
| | 05:01 | So you can see that it's actually a
quick process to fix skin tone using a Color
| | 05:05 | Mask here inside of Final Cut Pro X.
| | Collapse this transcript |
| Relighting with a shape mask| 00:00 | While it often pays to get your
lighting right on set or on location, even the
| | 00:03 | best DPs and gaffers
don't always get it perfect.
| | 00:06 | Sometimes during in the Color
Correction process, you'll need do things like
| | 00:09 | bring a bright window down so it's not as
distracting, and we did that back in Chapter 4.
| | 00:13 | But sometimes you'll also need to be
able to shift or re-light a scene, so
| | 00:16 | that viewer's attention can be more
focused on what you or your client
| | 00:19 | want them to pay attention to.
| | 00:21 | And in this movie we'll use a
Shape Mask to re-light a shot.
| | 00:24 | Let's take a look at this shot.
| | 00:25 | All right, this shot looks pretty good,
but what I'm noticing about it is that
| | 00:29 | the actor, who is out here in a hallway,
looks a little dark and the room that the
| | 00:33 | camera is in looks a little bright.
| | 00:35 | And I can tell that the room is a little
bright if I look at this edge of the frame.
| | 00:39 | So what I want to do is re-light
this shot so we can put a little bit
| | 00:41 | more light onto the actor, while at
the same time darkening up the room
| | 00:46 | that the camera is in.
| | 00:47 | The net result will be that our
eyes will be more focused on the actor.
| | 00:51 | So let's go ahead and select this shot
here in the timeline and then use the
| | 00:53 | keyboard shortcut Command+4
to open up the Inspector.
| | 00:56 | Here in the Color section of the
Inspector, you can see that this clip already
| | 00:59 | has a correction applied to it.
| | 01:01 | This of course is the default correction
that every clip has inside of Final Cut
| | 01:04 | Pro X, and I've used this correction
to reform a minor exposure adjustment.
| | 01:09 | But to re-light this shot what I need
to do is actually add a new correction,
| | 01:12 | and to do that I'll click
on this button right here.
| | 01:15 | Now on Correction 2, let me click
this button to create a new Shape Mask.
| | 01:19 | Over here in the viewer, you
can see some on-screen controls.
| | 01:22 | Let's go ahead and position the Shape
Mask around the actor, and I'll use these
| | 01:26 | green controls here to adjust the
size and Aspect Ratio of the shape.
| | 01:34 | Okay, that's looking pretty good. I could
of course change the shape into more of
| | 01:37 | a square, like this, but for people, I
find that circles work a little better.
| | 01:42 | The next thing I need to do with the
shape is actually soften it out quite a
| | 01:45 | bit, and the way I'm going to do that
is by using this control line right here
| | 01:48 | and then dragging out.
| | 01:50 | It's important that you soften up the
shape so you don't see any hard edges on it.
| | 01:53 | The added benefit of softening up the
shape when relighting a shot is that
| | 01:57 | you'll have natural light falloff.
| | 01:59 | So yeah, I think that will work right there.
| | 02:02 | Okay, over in the Inspector for
Correction 2, let's click this button to
| | 02:05 | access the Color Board for Correction 2. And
then let's navigate over to the Exposure pane.
| | 02:10 | You can click on it or you can also use
a keyboard shortcut Ctrl+Command+E. Here
| | 02:14 | in the Exposure pane and at the bottom
of the Color Board, you'll notice that I
| | 02:17 | have two buttons, Inside Mask and
Outside Mask. The default is Inside Mask.
| | 02:21 | With Inside Mask selected, any
correction that you do here on the Color Board
| | 02:24 | will affect the inside of the mask,
| | 02:26 | or in this case, the inside of the shape.
| | 02:29 | If you change this over to Outside Mask,
any correction that you perform will
| | 02:33 | affect the outside of the
mask or the outside of the shape.
| | 02:36 | Let's start with this control on Inside
Mask, and what I'm going to do is use my
| | 02:39 | Exposure highlights control, this guy
right here, and drag up a little bit to
| | 02:43 | add some more light onto the actor.
| | 02:45 | Alright, that's working pretty well.
| | 02:47 | Next, let's go ahead and switch to the
Outside Mask control by clicking this
| | 02:51 | button right here. Then using the
highlights Exposure control again, I'll drag
| | 02:55 | down to darken the outside of the
shape, something like that works.
| | 02:59 | Now let me come back over to the viewer
here and add a little bit more softness to
| | 03:03 | the shape. All right, I'm liking that.
| | 03:05 | Let's go back to main level of the
Inspector and then let's toggle this
| | 03:09 | Correction on and off. But before I do
that, let me click this button right here
| | 03:13 | to hide the outline of the shape.
| | 03:15 | Now with the outline hidden, let me go
ahead and click this button right here to
| | 03:19 | toggle the correction on and off.
| | 03:21 | So here's the original shot, and
then here's the corrected shot.
| | 03:23 | The original shot and the corrected
shot. And you can see your eyes are much
| | 03:27 | more focused now on the actor.
| | 03:30 | So that's the essentials of
relighting a shot with a Shape Mask.
| | 03:33 | I think that you'll find this technique
is one that you'll add to your toolkit
| | 03:36 | of corrections, as it
comes in handy all the time.
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| Treating skies| 00:00 | Skies are important to a colorist,
but they are also important to viewers,
| | 00:03 | whether they realize it or not.
| | 00:05 | Skies can make a scene feel like early
morning or have that golden afternoon feel.
| | 00:09 | In other words, they can set the mood of a shot.
| | 00:11 | Correcting skies is also really
important for situations where clients say, "Hey,
| | 00:15 | anything we can do with that flat, gray sky?"
| | 00:17 | In this movie, I want to show you a
couple of different ways that you can color
| | 00:19 | correct skies using secondary color
corrections here inside of Final Cut Pro X.
| | 00:23 | This project contains two separate
clips where the skies need some help.
| | 00:26 | Let's take a look at this first shot.
| | 00:28 | This is actually a time-lapse shot and
it looks pretty good, but what I am
| | 00:31 | noticing is that the sky
seems to be pretty flat.
| | 00:33 | And what I want to do is actually
add some saturation back into the sky.
| | 00:37 | So with the shot selected I am going to
use the keyboard shortcut Command+4 to
| | 00:40 | open up the Inspector.
| | 00:41 | Here in the Color section of the
Inspector you will notice that the shot already
| | 00:44 | has a correction applied to it.
| | 00:45 | This of course is the default
correction that every clip in Final Cut Pro X has,
| | 00:48 | and I have used this correction to
perform a basic primary color correction.
| | 00:52 | Actually, what I did was a
simple exposure correction.
| | 00:55 | But to isolate the sky, what I need to
do is add a new correction, and I will do
| | 00:58 | that by clicking this button right here.
| | 01:00 | And for Correction 2, let's click this
button right here to add a new Color Mask.
| | 01:05 | Then I will come over to the Viewer.
| | 01:07 | And you'll notice in the Viewer here
my cursor changes to an Eyedropper.
| | 01:09 | What I want to do is click and drag
out a little bit to isolate the sky.
| | 01:13 | So I will click and drag out.
| | 01:14 | And what you should notice is that part
of the sky is still in color while the
| | 01:18 | rest of the shot is desaturated.
| | 01:20 | The part of the sky that's in color
will take part in the correction that we
| | 01:23 | are about to make. The stuff that's
desaturated will not take part in that correction.
| | 01:28 | Just be careful you don't drag out
too far and select most of the shot.
| | 01:31 | Just remember, the larger that these
circles are the more similar color and
| | 01:34 | contrast values that you will
have added to your selection.
| | 01:37 | So what I actually find to be most
useful is to drag down and make these
| | 01:40 | circles smaller and make a small
initial selection, something like that.
| | 01:45 | And then with the Eyedropper still
active I can add the Shift key and click
| | 01:48 | again and add more to my selection.
| | 01:52 | I'll do this several times, adding
additional parts of the sky to my selection.
| | 01:57 | Alright, something like that works.
| | 02:00 | Now you might have noticed that I
actually selected the bit of this column and
| | 02:03 | the back of the truck down here, but
I actually think that's okay. For this
| | 02:06 | shot, I don't think we will notice.
| | 02:07 | Let's come back over to the Inspector
here and on Correction 2, let's click this
| | 02:12 | button to access the Color Board.
| | 02:14 | Then let's click over to the Saturation Pane.
| | 02:16 | Down at the bottom of the Color Board,
we have two options right here, Inside
| | 02:20 | Mask and Outside Mask.
| | 02:22 | We want to make sure that we are on Inside Mask.
| | 02:24 | With this option set to Inside Mask any
correction that I make will affect my selection,
| | 02:29 | instead of the inverse of my selection
which would happen if I chose Outside Mask.
| | 02:34 | So with Inside Mask selected, let me
come up here to the Global or Master
| | 02:37 | Saturation Control, this guy right here,
and drag up quite a bit to saturate the sky.
| | 02:42 | Alright, that's looking pretty good.
| | 02:43 | Let's go back to the
main level of the Inspector.
| | 02:47 | Then let me toggle this correction on and off.
| | 02:49 | So here is the original shot, and then
the corrected shot. The original and
| | 02:52 | the corrected shot.
| | 02:53 | That looks pretty good.
| | 02:54 | Let's skim through this shot.
Yeah, it looks pretty good to me.
| | 02:58 | Let's go down to the
second shot in this Timeline.
| | 03:00 | This shot is pretty nice; it has a nice
golden, sort of afternoon feel to it, but the
| | 03:05 | sky looks a little flat.
| | 03:07 | So what I want to do is actually use a
secondary color correction to treat this
| | 03:10 | flat sky, but instead of using a Color
Mask we are going to use a Shape Mask.
| | 03:13 | So let me select this shot, and just
like the first shot we can see that the
| | 03:17 | shot has a primary color correction
already applied to it here with Correction 1.
| | 03:20 | Toggle that on and off so you can
see, and again, I just did a simple
| | 03:24 | exposure correction.
| | 03:25 | And to isolate the sky what we need to
do is add a new correction, of course,
| | 03:28 | so I will click this Plus button.
And then down here for Correction 2,
| | 03:32 | instead of using a Color Mask, I want
to add a Shape Mask by clicking this
| | 03:36 | second button right here.
| | 03:38 | After I click that button here in the
Viewer, I have some on-screen controls.
| | 03:41 | Let's use this little translucent
controller here to change the shape from a
| | 03:45 | circle to more of a square, and then
let's use this control right here in the
| | 03:48 | middle to position up here. Then we
will use these green control points to
| | 03:53 | resize and change the
aspect ratio of the shape itself.
| | 03:56 | Alright, something like
that's working pretty well.
| | 04:03 | Remember, you always want to
add a bit of softness to a shape
| | 04:07 | so you don't see any hard edges on it.
| | 04:09 | And to do that, I'll just grab this
line right here. This outside line is my
| | 04:12 | softness control. Now I will drag out to add
a bit of softness; something like that works.
| | 04:18 | Back over here in the Inspector for
Correction 2 let's click on this button
| | 04:21 | right here to access the Color Board, and
then let's click over to the Color Pane.
| | 04:26 | Again I want to make sure
that I am set to Inside Mask.
| | 04:29 | In the case of a shape, what that
means is that any correction I do will be
| | 04:32 | applied to the inside of a shape
instead of the outside of a shape.
| | 04:36 | So with Inside Mask selected, let's
come in here to my Midtones Control
| | 04:41 | right here, this guy.
| | 04:42 | Let's actually drag down into negative blue.
| | 04:45 | Remember, negative blue is actually yellow.
| | 04:48 | And that adds a little bit
of warmth back to the shot.
| | 04:50 | Let me select the Highlights Control,
this guy right here, and I will also drag
| | 04:54 | down just a touch into negative blue.
| | 04:57 | And now I have a nice warm sky.
| | 04:59 | Let me skim through that, and
yeah, that looks pretty good.
| | 05:05 | So you can see that both Color Masks
and Shape Masks are good ways to correct
| | 05:10 | skies here inside of Final Cut Pro X.
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| Creating a leave-behind color look| 00:00 | Popularized by films like
Pleasantville and countless commercials and music
| | 00:03 | videos, the Leave Color Behind
look has become really popular.
| | 00:06 | In this movie, I am going to show you
how you can quickly create this look by
| | 00:09 | using a secondary color correction in
Final Cut Pro X. This project contains a
| | 00:12 | clip that I think would look pretty
cool if we were to keep the fire here in
| | 00:15 | color and desaturate the rest of the shot.
| | 00:19 | The Leave Color Behind look is a nice
one to choose when you have one bold
| | 00:22 | color in a shot that you want to isolate
and enhance, just like we do in this
| | 00:25 | shot with the red fire.
| | 00:26 | So what I'm going to do is come down
to the shot here, and select it in the
| | 00:29 | timeline, and then use the keyboard
shortcut Command+4 to open up the Inspector.
| | 00:34 | Here in the Inspector in the Color
section, you can see that the shot already
| | 00:37 | has a correction applied to it.
| | 00:38 | This of course is the default correction
that every shot in Final Cut Pro X has.
| | 00:41 | Now, I've used this correction to
perform a primary color correction.
| | 00:45 | Actually, what I did was I amped up
the saturation in this the shot to make
| | 00:48 | the fire nice and red.
| | 00:50 | Now, I'm not too worried about what
that saturation correction did to the rest
| | 00:53 | of the shot--the grass, and the
actress here--because we're going to actually
| | 00:56 | desaturate those portions of the shot.
| | 00:58 | So to isolate the fire, what I need to
do is come in and add a new correction,
| | 01:02 | and I'll do that by clicking this
button right here in the Color section of
| | 01:04 | the Inspector. And on Correction 2, let me
click this button to create a new Color Mask.
| | 01:09 | Then, I'll come out into the shot right here,
and you notice that I have an eyedropper.
| | 01:14 | What I am going to do is click
and drag to isolate that fire.
| | 01:17 | Now, just be careful that you
don't drag out too far like this.
| | 01:20 | Remember, the larger these circles are,
the more similar contrast and color
| | 01:24 | values that you'll be selecting.
| | 01:25 | So what I want to do is drag down to
select just the fire; something like
| | 01:29 | that works just fine.
| | 01:32 | Then, back over here on the Inspector
for Correction 2, let's click this button
| | 01:36 | to access the Color Board for this
correction, and then let's click on the
| | 01:39 | Saturation pane right here.
| | 01:41 | Down here at the bottom of the
Color Board, I have two controls:
| | 01:44 | Inside Mask and Outside Mask.
| | 01:46 | When this option is set to Inside Mask,
any correction that you do will affect
| | 01:50 | the selection that you've made with the
color mask, instead of its inverse which
| | 01:54 | would happen if you chose Outside Mask.
| | 01:57 | So using the Global or Master
Saturation control and this option down here set
| | 02:01 | to Inside Mask, let's drag up to
really amp up the saturation in the fire.
| | 02:05 | Something that like works
great. Looks really nice.
| | 02:10 | Okay, let's come back down into the bottom
of the Color Board here, and this time let's
| | 02:13 | click Outside Mask. And then once again,
let's come into the Global or Master
| | 02:17 | Saturation control and drag down.
| | 02:20 | This time, the rest of the shot
becomes desaturated because when this option
| | 02:24 | is set to Outside Mask, we're correcting
the outside or the inverse of our selection.
| | 02:28 | All right!
| | 02:30 | That's looking pretty cool!
| | 02:31 | Let's go over to the Exposure pane here,
and then using the Global or Master
| | 02:35 | Exposure Control and with this option still
set to Outside Mask, let's drag down a touch.
| | 02:41 | Something like that is really nice.
| | 02:43 | Let's come down to the timeline, and
drag through this clip. And that looks
| | 02:47 | really, really cool.
| | 02:48 | Now, you might notice that I have a
little bit of a reflection here on the
| | 02:51 | actress' shoulder, but
I'm actually okay with that.
| | 02:53 | This shot looks super stylized and really cool.
| | 02:57 | A couple of things to keep in mind
though about this look is that you may,
| | 03:00 | depending on your shot, need to use
several color mask corrections to really dial
| | 03:05 | out colors, or you may need to also
limit color masks with shape masks for the
| | 03:09 | effect to work completely.
| | 03:11 | But, for this shot, I think we got a
pretty cool look and we did it quickly
| | 03:14 | and easily by using the secondary
color correction here inside of Final Cut
| | 03:18 | Pro X.
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GoodbyeAdditional resources| 00:00 | Well, we've come to the end of this title.
| | 00:02 | Hopefully, at this point, you're more
comfortable with the Color Correction tools
| | 00:05 | in Final Cut Pro X and some of the
techniques to help you to get your footage to
| | 00:09 | look just the way you want.
| | 00:11 | Color Correction, like a lot of things in
life, is a never-ending learning process.
| | 00:15 | So I wanted to give you a few
resources to help you continue your journey in
| | 00:19 | learning more about Final
Cut Pro X and Color Correction.
| | 00:23 | First, if you're new to Final Cut Pro X,
please be sure to check out my friend
| | 00:26 | and colleague Abba Shapiro's excellent
Final Cut Pro X Essential Training Course
| | 00:30 | here on the lynda.com Online Training Library.
| | 00:33 | If you are a Final Cut Pro 7 user
making a transition to Final Cut Pro X, Abba
| | 00:37 | also has a very good title on Migrating
from Final Cut Pro 7 to Final Cut Pro X.
| | 00:43 | Next is an amazing book by my good
friend Alexis Van Hurkman called the Color
| | 00:47 | Correction Handbook:
| | 00:48 | Professional Techniques for Video and Cinema.
| | 00:50 | This book guides you through the basics
of color theory and progresses to a huge
| | 00:54 | variety of techniques for primary
and secondary color corrections.
| | 00:58 | The cool thing is that it's
essentially platform agnostic which makes the
| | 01:02 | knowledge that you will pick up from this
book portable to any Color Correction tool.
| | 01:06 | The other two resources I want to give
you are online forums, where when you run
| | 01:10 | into problems, you can quickly get
questions answered, both technical ones as
| | 01:14 | well as aesthetic ones.
| | 01:16 | First up is Apple's own Support Community
site for Final Cut Pro X, which you can find at
| | 01:21 | discussions.apple.com/community/
professional_applications/final_cut_pro_x.
| | 01:28 | The other place I would recommend is the
Final Cut Pro X Forum, specifically the
| | 01:32 | Apple Final Cut Pro X
Techniques forum on CreativeCOW.net.
| | 01:35 | CreativeCOW is one of the largest and
most visited online creative application
| | 01:39 | communities, and I think that you will
find it to be a great resource as you
| | 01:42 | delve further into color correction in
Final Cut Pro X. That's the end, and I
| | 01:47 | wanted to say thanks for watching.
| | 01:49 | I hope you had as much fun as I did.
| | 01:51 | Now, get out there and start color-
correcting and grading your footage
| | 01:54 | with Final Cut Pro X.
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