And, no having to deal with the native FCPX Color Correction tools. Use the brightness and Base Value sliders to balance the image.
For instance, to create a Sepia tone: set Base Saturation to 0 and move the system color picker center puck to the orange/red area of the color wheel. Using Video Scopes > Luma is a great way to manage the fine tuning.īase Saturation can be used to remove or enhance the original clip’s saturation settings and you can “apply” any hue to the scene you like. Both sliders are used together to control the luma balance of the image. Use the SC Color Grade > Base Value slider for the highlights section. Use the Brightness slider of the system color picker to increase shadows (going toward black) increasing contrast, or lighten shadows (going toward white) and decrease contrast. Use the color wheel panel.ĭetermine the hue of the color cast and move the center “puck” diametrically away from that color. So a Hue vs Luma curve means that you select certain hues, and change their luma (brightness).For a color grade, use SC Color Grade to apply any mood coloring, contrast, brightness levels you want, but the most common use for this plugin will likely be color correction.Ĭlick on the color swatch to activate it and call up the System Color Picker. With these “A vs B” curves, you will select particular values in A and change the B property of that selection. Each curve allows you to sample an image by using an eyedropper, and each allows you to alter the image in a different way. There are several curves to choose from: Hue vs Hue, Hue vs Sat, Hue vs Luma, Luma vs Sat, Sat vs Sat, and Orange vs Sat. In the color inspector, we’ll add a Hue/Saturation curve. In the below image, we’ll change the color and saturation of the women’s shirt. Hue and Saturation curves are great for adjusting specific Hues as well as Saturation values in an image. The next new color effect is all about secondary correction-Hue and Saturation Curves. When we use FCP X masks in color correction, we perform secondary color corrections that affect a part of the image, rather than the whole. You can also use FCP X to add shape or color masks. While the color board is not a bad way to interact with a color, it didn’t follow the established color grading paradigms.
There were pucks assigned to Highlights, Midtones, and Shadows that you could move up or down to adjust color, saturation, or exposure as needed. Instead of the traditional color wheels, the color board represented the same information in a flat, horizontal field. A big problem with the color board was if you came from Final Cut Pro 7, had a background in photo editing software, or were familiar with professional color correction applications, the color board was quite foreign to you. The color board was initially built into a video clip, and by moving through various panes you could adjust the exposure, saturation and color of an image. Foundational knowledge of colour theory and its application in Hollywood. A solid understanding of the tools and scopes featured in Final Cut Pro. Since its inception, Final Cut allowed you to color correct using a tool called the color board. In this downloadable course, youll get: Step-by-step workflow giving you a structured approach to get pro results. ORANGE vs SAT (or any color you want vs SAT)įinal Cut Pro X has not been a stranger to color grading.