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Learn how to build and refine your story with the redesigned editing toolset in Final Cut Pro X. In this course, author Ashley Kennedy focuses on getting you comfortable with each aspect of the editing process in Final Cut—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.
NOTE: This course and its exercise files are not compatible with Final Cut Pro X v. 10.1 or later. If you are running v. 10.1 or later, please watch Final Cut Pro X 10.1.1 Essential Training instead.
Color Correction is an essential part of the postproduction process. Now in order to effectively color correct a scene, taking it through all of the steps, you need two main things in order to do it right. First, you need your eyes to determine what you need to do. Second, you need a series of video scopes in order to measure the Luma or light and dark values of an image, as well as the Chroma or color values of the image. In this movie we'll take a look at the first part of this process, where we analyze footage with our eyes.
So I'm going to go into 10.1. Okay, so in order to get an idea of the process I'm going to take a look at a couple of images from Farm to Table, and we're going to focus on the first part of the color correction process, which is correcting individual images in regard to contrast, color balance, and saturation. So this image of BD certainly has some issues, let's just go through a list of basic questions and get an idea for what might be wrong with it. First, what part of the image is the brightest and should be white? Well, his white shirt, as well as some of the highlights in the background are the brightest part of the image, and we'll definitely need to bring those up.
Next, which part of the image is supposed to be black? Well, the shadows around his face and neck, as well as maybe some of the shadows in the background are the darkest part of the image. Everything is way too bright, so we'll have to darken that. Next how are the Brightness and Contrast? Well, again this is a very muddy, very flat image, so we'll need to increase the contrast significantly, which means we'll have to brighten the light parts and then darken the dark parts of the image. Next how are the colors? Is there a color cast? There seems to be a yellowish color cast to the entire image.
So we'll probably have to remove yellow hues to correct this. Finally, how is the saturation level? Well, this image is pretty de-saturated, we could certainly increase the saturation to give the entire image a little bit more vibrance. I think we have a pretty good idea on where we're going with this shot. Now let's come to the second shot in our sequence and go through the exact same process. Now this shot of Owen also has some issues. First of all, what part of the image is supposed to be white? Well, his white shirt, as well as some of the highlights around his face probably are the lightest part of the image, maybe some in the background as well.
Every thing is certainly too dark, so we need to lighten things up. Next which part of the image is supposed to be black? Well, the shadows in the background are the darkest part of the image, but I think they're actually too dark the blacks are crunching, and we're definitely losing some detail in the shadows, so we'll probably have to lighten those up a bit. Next, how are the brightness and contrast? Well, the entire image is too dark. We're going to have to brighten the darkest part of the image a little bit, and we'll have to brighten the lightest part of the image a lot more than that.
Next, how are the colors is there a color cast? There seems to be a slight reddish color cast in the midtones, not too bad, but we may need to remove some red from the midtones in this image. Finally, how is the saturation level? Well, with our brightness problem, our eyes maybe deceiving us, but in regard to the saturation, it seems that it's a little too saturated, we might have to dial it back just a bit. But there's also the chance that once we brighten things up the color structure will improve, so we'll have to see.
And then here I have an image of Justin that also has some issues, we won't go through this right now, but you should feel free to take it through the exact same analysis that we just performed on the prior two images. So again, even before we start looking at how to measure the video signal of these images, we already have a pretty good idea of where we want to go in correcting them. Now soon you'll get so skilled at this part of the process that you can perform the analysis in a matter of seconds, before you dive into correction.
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