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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.
Adjusting a single hue or a range of hues in a scene is called secondary color correction. Final Cut has a basic secondary color corrector which is what we'll explore in this movie. All right, so I'm going into 10.6, and let's take a look at what we have got here, we have got our opening shots of the orange grove, and we have our close-up image of the orange, and this really gorgeous shot of the orange grove with the solar flares, and then we have the shot here, and even though I have taken it through the appropriate color correction workflow to improve its contrast, color balance, and saturation it still doesn't contain nearly the same beautiful orange colors as the previous two images.
So if I go into this correction and say okay, well I'll just add some more orange to it-- let's open up the Inspector and go into Correction 1--and I have already added some. But as I keep adding orange you can see that it's not really working in the way that I want it to, even when I come over. And this is not working at all because it's applying it to the entire image and so on and so forth. So what I want to do is isolate these oranges and get everything looking a lot more vibrant.
Let's pop back out to the main Inspector window and take a look at how to do this. So rather than going into my Correction 1, which is what I have applied to improve the image from before to after, I'm going to click on the Plus sign to add another correction, and then I'm going to click on this button here Add Color Mask. I'll just come into my image here and then sample a color that I would like to change. So I'm going to get right here on an orange and drag out.
Notice that if I drag too far it's going to include everything, and that's not going to be good. I just want to make sure that I include these orange colors, and you can sort of see them isolate from the rest of the image, and I'll let go here. And you can see right here that it's sampled that color. And just like we suspected it's not a nice vibrant orange color. It's this sort of brown peachy color. So let's go ahead, in Correction 2, open up the Color Board and then under color we're going to just globally bring the orange way up, and as you can see here, it's a little bit too far, but may be up like that and then saturation bump that up as well.
And now the oranges are coming alive. Now if I come back to the Inspector window, let's just take a look at before and after, and things are looking good the oranges are coming alive, I'll just take a look at this slider here, this is the softness slider, and it let's me blend the correction into the background, and in this case I think bumping it up just a little bit looks nice. So let's say I also want to affect the color of the trees maybe made them more green and vibrant. Again, I'm going to come up to this Plus sign, and select Color Mask and then select the colors of the trees and again if I go too far, its going to get the background, I don't want that.
So may be about like that, so again here's the color mask, this is the color that's going to be affected. Again, I'm going to come into the Color Board with this arrow here. And let's go to Color and take my Global controls on green, go to sort of more of a yellow-green. And maybe I don't want the Global control actually maybe I just want the mid-tones. So, I think so I think we'll just kind of go in to the mid-tones and get that yellowish green and also the shadows, there we go, like so.
And I'm going to go back and take a look at my saturation a little bit, and let's go check the softness slider. So it'll need a little bit of tweaking, I probably I'm going to want to go and then apply a third Correction back here. It's a little bit dingy gray, and I think we'll probably want to make sure that that's nice and green as well. But if we take a look at here, versus here, and here we're getting closer. And it's certainly better than where we came from which was that. So we got our oranges looking, we got our trees looking good, and then we'll keep going, keep tweaking until it really looks like it belongs in this world, right here.
That's what secondary color correction is all about.
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