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In this course, author Robbie Carman details the principles of color grading in Final Cut Pro X, while explaining how to enhance and stylize footage. The course spells out the differences between primary and secondary corrections and demonstrates fixing problematic footage with contrast corrections and neutralizing color casts. The course also discusses secondary corrections with shape and color masks and explains how to make projects broadcast safe. Additional topics include evaluating clips using the video scopes, and how to create stylized looks.
Earlier in this chapter, we took a look at using a shape mask to make a secondary correction. In that movie, we applied a shape mask, but the portion of the clip we were isolating did something that objects and shots don't do all the time-- it stayed relatively still. Of course, in the real world, objects move. And in this movie, I'm going to show you how you can easily animate the position of a shape mask using keyframes. And this project contains a clip that I have actually already applied a couple of corrections to. To show you those corrections, let me go ahead and select this shot. Then I'll use the keyboard shortcut Command+4 to open up the Inspector. Here in the Color section of the Inspector, you'll notice I have two corrections: Correction 1 I used to do some basic balancing of this shot, but then I went ahead and added Correction 2 and on Correction 2, I added a shape mask.
So why did I add a shape mask? Well, let me go ahead and click on this button right here to show you the outline of the shape mask. The reason I added the shape mask is because the actor's face, especially on the right hand side of the frame here opposite this window, was being lost in shadow. So after adding a shape mask and positioning it, I went into the color board and onto the Exposure pane and made some exposure corrections to brighten up or to lighten up this actor's face. But we have a problem with this shot. The actor actually moves. He moves in and out of the shape mask that I created, and I don't want that to happen.
I want the shape masks to actually follow the actor's face as he moves. So to make this possible, we need to animate or keyframe the position of the shape mask and that's pretty easy to do. Let's come back up here to the Inspector, and right here where it says Shape Mask 1, let's go over to the right hand side here, and you will notice that there's a little icon that looks like a diamond with a plus sign in it. By clicking on this button, we can add a keyframe for the position of our shape mask. We can also click into this menu right here and choose to add a keyframe. So right around 3 seconds and 11 frames in this clip, right before actor starts to move, let's go ahead and click the Keyframe button right here, and you'll notice when you click the button that the actual icon for the keyframe button lights up sort of this yellow orangey kind of color.
This indicates that you've added a keyframe. Then, down here on the timeline, let's scroll a little forward in time, somewhere right around 4:09, 4:10, something like that. And then let me go ahead and add an additional keyframe. It's important that you add a keyframe before you reposition the actual shape mask itself. I will position the shape mask around the actor's face like that, and then let's come down a little further in time, right around 6 seconds or so. Yeah, right about there, right before the actor starts moving again. And I am going to add another keyframe by clicking the Keyframe button up here in the Inspector.
But I am not actually going to reposition the shape mask this time. What I want to have happen is the shape mask remained in the same position between in this keyframe and the previous keyframe. So let's keep going forward. Right around 7:08, 7:09, somewhere in there, let's go ahead and add a new keyframe. And then I will reposition the shape mask up here. And then let's go forward a little bit. For the rest of the shot, the actor pretty much remains inside of the shape mask itself. Let's go back to the beginning of the shot and skim through it.
Now, you can see the shape mask actually animates with the actor's movement and it looks pretty good. If you've made a mistake with the timing of your keyframes, don't worry about it; you can control that pretty easily. If you come down to the actual shot here and click on this little menu, you'll have several items that you can choose from. But the one you'll want to choose is Show Video Animation. You can also use the keyboard shortcut Ctrl+V. When you select that option, you have several little blocks here above the actual shot itself. Let me scroll up to show you those.
You notice one of the items that I have is Color, Correction 2, and Shape Mask. And guess what. You can actually see the keyframes that we've created. If you click on one of these keyframes, you can reposition it in time, left and right, but actually I don't want to do that. So let me go ahead and undo that movement. With a keyframe selected, you can, of course, also delete it. This keyframes editor gives you a lot of flexibility to go back and forth between keyframes as well. And to do that, you can simply come back up to the Inspector here and then click this little arrow button to go to the next keyframe and click this one to go to the previous keyframe.
If you wanted to remove a keyframe, not from the keyframe editor down here but actually up here in the Inspector, simply click the Keyframe button again to delete the keyframe. But, as I said, I am actually pretty happy with the animation of this shape mask. Let's go ahead and look at it one more time. It does a pretty good job staying with the actor's face. The last thing I will say about animating a shape mask is that you don't need to actually worry about being super precise about the keyframed movement. And the reason that is is because most of the time when you add a shape mask, you're going to go ahead and add a little bit of softness to the mask and that will make some sort of awkward movement look a little less obvious.
But what you do want to do is make sure that you have the movement basically set up correctly. So there you go-- animating a shape mask using keyframes here in Final Cut Pro X. It's pretty straightforward and pretty easy to do when you have movement that you want to follow with a shape mask.
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