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Analyzing footage for problems

From: Final Cut Pro X Essential Training

Video: Analyzing footage for problems

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.

Analyzing footage for problems

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.

Show transcript

This video is part of

Image for Final Cut Pro X Essential Training
Final Cut Pro X Essential Training

78 video lessons · 36824 viewers

Ashley Kennedy
Author

 
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  1. 6m 16s
    1. Welcome
      1m 0s
    2. Using the exercise files
      5m 16s
  2. 23m 30s
    1. Understanding the world of nonlinear editing
      5m 2s
    2. Understanding how FCP X works: A new take on story creation
      1m 48s
    3. Taking a tour of the FCP X interface
      8m 59s
    4. Accessing additional tools
      6m 23s
    5. Getting to know the projects for this course
      1m 18s
  3. 24m 41s
    1. Creating and organizing events from scratch
      5m 20s
    2. Organizing footage with keywords and ratings
      8m 19s
    3. Performing searches and creating Smart Collections
      4m 59s
    4. Displaying event data
      6m 3s
  4. 42m 11s
    1. Playing and marking clips in preparation for editing
      7m 16s
    2. Understanding different types of editing tools
      6m 20s
    3. Making the first edits: Using Insert and Append edits
      7m 31s
    4. Changing shots: Using Overwrite and Replace edits
      5m 54s
    5. Performing video- and audio-only edits
      3m 45s
    6. Moving clips within the primary storyline: Swapping shots and creating gaps
      3m 28s
    7. Removing material from the primary storyline
      3m 44s
    8. Understanding timeline navigation: Snapping, skimming, zooming, and panning
      4m 13s
  5. 23m 58s
    1. Trimming clips: Using the Ripple tool
      9m 9s
    2. Manipulating transitions: Using the Roll tool
      5m 36s
    3. Changing clip content and position: Performing Slip and Slide edits
      5m 40s
    4. Using the Precision Editor for fine trimming control
      3m 33s
  6. 14m 2s
    1. Connecting clips to the primary storyline
      7m 0s
    2. Understanding the features and limitations of Connected Clips
      3m 40s
    3. Working with secondary storylines
      3m 22s
  7. 31m 23s
    1. Adjusting the audio level and channel configuration via the Inspector
      8m 47s
    2. Keyframing audio in the timeline
      4m 57s
    3. Repairing audio problems automatically
      5m 25s
    4. Adjusting audio EQ
      4m 46s
    5. Recording audio
      4m 4s
    6. Syncing audio from multiple sources
      3m 24s
  8. 25m 6s
    1. Nesting and breaking apart clips
      4m 1s
    2. Performing quick extractions using Top and Tail edits
      6m 16s
    3. Auditioning clips to try multiple editing options
      4m 9s
    4. Working with markers
      4m 57s
    5. Customizing the keyboard and workspace
      5m 43s
  9. 14m 28s
    1. Syncing your multicam group clips
      6m 47s
    2. Performing a multicam edit
      3m 53s
    3. Refining the multicam edit
      3m 48s
  10. 1h 26m
    1. Working with basic motion effects: Transform, Crop, and Distort
      10m 32s
    2. Using motion effects with still photos and graphics
      6m 25s
    3. Adding and adjusting transition effects
      7m 46s
    4. Adding and adjusting video effects
      6m 26s
    5. Adding and adjusting audio effects
      4m 30s
    6. Keyframing video and audio effects over time
      6m 18s
    7. Copying and pasting effect properties
      4m 15s
    8. Creating and adjusting titles
      7m 18s
    9. Working with generator effects
      6m 46s
    10. Adding animated themes
      4m 7s
    11. Creating freeze frames
      3m 51s
    12. Using speed effects to retime clips
      8m 2s
    13. Working with layered Photoshop files
      6m 19s
    14. Understanding rendering options and preferences
      4m 4s
  11. 36m 15s
    1. Analyzing footage for problems
      3m 49s
    2. Following a proper color correction workflow
      10m 29s
    3. Apply multiple color corrections to clips
      3m 41s
    4. Using color correction templates
      3m 11s
    5. Using automatic color correction tools
      6m 15s
    6. Performing secondary color correction with color masks
      4m 30s
    7. Performing color correction adjustments using shape masks
      4m 20s
  12. 18m 54s
    1. Taking a closer look at the import and analysis options
      5m 56s
    2. Importing from cards and file-based cameras
      4m 14s
    3. Importing iMovie projects and events
      1m 58s
    4. Capturing from tape
      3m 18s
    5. Making a tape archive
      3m 28s
  13. 16m 13s
    1. Managing events between different drives and destinations
      6m 13s
    2. Managing render files
      2m 56s
    3. Collaborating and archiving
      7m 4s
  14. 34m 38s
    1. Sharing projects using presets
      7m 41s
    2. Exporting a hi-res QuickTime movie
      3m 46s
    3. Using Compressor to export with custom settings
      7m 54s
    4. Exporting a still image
      1m 22s
    5. Exporting to DVD or Blu-ray with chapter markers
      5m 33s
    6. Exporting stems out of the timeline using roles
      8m 22s
  15. 14m 1s
    1. Solving offline media problems
      10m 29s
    2. Troubleshooting data and settings corruption problems
      3m 32s
  16. 3m 28s
    1. Next steps
      3m 28s

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