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Here's our gears again. They are predominantly a rusty red, watermelon sort of tone. Here is the lighting layer I want to use on top. It has a vertical orientation. It has nice motion to it but it has far too many colors. So if I was to go into something like Overlay mode, it's just shifting the colors way too much. Kind of blues and purples in addition to these oranges and reds and too much is going on. So let's reduce the colors available in my lighting clip. I'll put it back to Normal so you can see what's going on. I'll select it and go Effects > Video Filters > Image Control > Desaturate. And now you see I've got a grayscale version of this clip.
Now when I apply it in Overlay mode, hit home and play, now I have got just shadow play going across the whole scene, lights and shadows, no strange purples and blues going across the whole scene. If I find that that's too strong, I can do a couple of things. I can go to the Motion tab and I can reduce the Opacity of this clip. Or I can go to its Filters tab and reduce the amount of Desaturate, and actually get some of those colors back if I want them. But I prefer having just that lighting effect play across my layer. There we go.
Now in this case, we removed the color from the lighting clip altogether. Let's say that we like color; we just need to change the color. Back to our gears again and here we have an interesting clip that we want to be our lighting clip. It has a nice motion going through it but it's predominantly blue while our underlying layer is predominantly rust. I will turn it back on and apply Effect > Video Filters > Image Control > HSV, Hue Saturation Value Adjust. I'll double click it, make sure its Filter tab is open and now I'll start playing with the Hue to get it into the color range that's more appropriate for my underlying gears.
I can do this blindly or even better, let's go ahead and set up the composite mode that I want such as Overlay. I can see the results and now when I bend my Hue, I can see my changes in context. So I might pick a color range right in there. Again, this sort of pinks and reds. I'll go ahead and pull Saturation down if it's too much of an effect, maybe somewhere there in the middle. And now I have got a more interesting lighting effect. Home, play, and now you'll see I have some fun shadow play and highlights traveling across the scene which enhances the underlying gear footage. You'll see the result shot had no shadow play going on.
Now there is other ways of playing around with color rather than just doing a simple hue shift. Let's open this example. Here is our woman working out again. We have predominantly warm colors with these oranges going on. And I have chosen this layer to be my lighting layer. It's vertical. It has fun motion but has way too many colors going on. I'll go ahead and choose Composite Mode > Overlay and you'll see the result is more like a rainbow sherbet sort of thing going on. I could try Hue shifting it but I have a lot of colors that are going to be shifting all at once. What I want to do is reduce this layer to have just a certain range of colors instead of a variety of colors. Well, in Final Cut Pro, the effect for this is Effects > Video Filters > Image Control > Sepia, double- click, open the Filters tab. What Final Cut calls Sepia is actually much more of a tri-tone sort of effect where you get to pick the middle color that's applied to this layer.
The beginning color is not bad but let's go ahead and match it to the footage. I'll turn off my lighting layer so that I can see the underlying footage. I'll go to my Eyedropper for my Sepia effect and I'll select a color from this underlying footage. Such as say this skin tone right in through here. Turn that back on, my footage is now been tinted to match my underlying shot. I'll select my Overlay mode again and now I have got a really nice hot, rich, saturated, orange color that is appropriate and constant across the whole shot.
I will go ahead and tweak Sepia a bit further to get more highlights in or go ahead and maybe pull down a little bit. Well, if I want some of those colors that were in my lighting clip, I may just go ahead and back off the amount and get some of that rainbow sherbet back in there. Let's go ahead and keep it strong for now. And now you see that I have got nice consistent colors that match the footage going across the entire shot.
This course was created and produced by Chris Meyer. We are honored to host his material in the lynda.com Online Training Library®.
Final Cut Pro: Adding Lighting Effects in Post demonstrates how to use any version of Final Cut Pro to easily add animated lighting effects to existing footage. Going beyond basic techniques, Chris Meyer shares his personal experience and uses many examples to teach the best way to select and fine-tune lighting clips to enhance a variety of underlying shots. He presents techniques for subtle enhancements that will help hold the viewer's attention while adding production value to virtually any shot.
- Selecting the right footage for the right lighting effects
- Transforming images with lighting and color correction
- Using vignetting to set the scene
- Adjusting blur for a subtle change