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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.
In this movie we'll take a look at how to color correct a specific area of the frame by applying Shape Masks. I'm going to enter 10.7, and I have got the shot of BD carrying some flowers, but let's just save that on video these flowers showed up much whiter than they are in real life, in actuality they're very pink, and we want to show that. Well, how do we do that, we already know about Secondary color correction so maybe that'll work. I'll just park on a frame here and then open up the Inspector, Cmd+4.
Now I have already got a base correction applied right here the before and after. So let's go ahead and apply another correction, and I'll go ahead and get my Color Mask tool here, and try to get just the flowers but yeah BD's hair is getting included, if I come in here and go to Color and bring up the pink. Yeah that's not going to work, he has pink here, and I don't like it. So let me just Cmd+Z undo that. A Color Mask alone is not going to work we're also going to need a Shape Mask.
So let's go ahead and click on this button here, this is the Shape Mask, I can apply it to the same correction. So on Correction 2, I want to get a Shape Mask, and I'm just going to position this shape around the part of the frame that I want to affect. The inside shape is going to be what I affect and the outside shape is going to determine the fall off, the sort of fading between the inside shape and the outside shape. So if it's in like it will be will be very harsh, and if its out like this it will be very soft, so probably something in between.
If I want it to be more of a rectangular shape I can drag on this control right here, so I think probably a little bit rectangular and just around these flowers. Okay, so BD hair is no longer in that at all. And now well we have got the Color Mask, we have got the Shape Mask. Let's go ahead and get our pink flowers and it's looking good, BD's hair no longer pink.
All right, and maybe I want it to be a little bit more saturated, and we'll just drag this out a little bit more so that we include these on the very edges, and we also have the ability to up this softness just a little bit. You can see that I'm also catching it right, so I can also try to eliminate that from my shape, okay, and get that looking just so. Okay, so that's looking a little bit more like how I want it, and I have eliminated the other problematic area that was very similar in hue to my flowers.
So that's a really good use for a Shape Mask. And just so you know you can apply as many Shape Masks as you want to an image when you're correcting it. Let's go to this image here, and I have BD working at the market place, and let's say, I want to put him in sort of a vignette. Okay, I already have a base correction applied to him. So again I'm going to click on this Plus sign, and we'll go ahead and draw a shape around him, like so. Make it circle, and not that much of a fall of but maybe like that.
Okay now if I go into this Correction, Correction 2, if you take a look down here I have mask, and then I have inside and outside. Now first of all if I wanted to adjust anything about the way that he looks inside the mask I could so. I don't want to in this case I have already done that, so I'm going to go to outside, and let's just go to Exposure and dial it way down, okay? And I can also take my Saturation down. Okay, and that's looking good.
And again I can control the fall off, like so. I think I'll stick to right there. Okay. Now just to demonstrate if I came back to inside and said, I want this to be a black and white image, no problem, we're on Saturation, dial this down and maybe give myself a little bit more contrast, and you can continue tweaking. But as you can see, I'm basically treating two separate areas of my frame in different ways.
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