COLOR CORRECTION FINAL CUT PRO 7 SKIN
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Objective вЂ“ End up with an вЂњorange & tealвЂќ tonality, without fluorescent reds in the scarf as a byproduct.Д«. Color board 3 вЂ“ HSL key to isolate scarf and reduce intensity Color board 2 вЂ“ HSL key to isolate face and make it more normal Д®. Color board 1 вЂ“ orange and teal tonal style Д¬.

COLOR CORRECTION FINAL CUT PRO 7 SKIN

Objective вЂ“ Brighten the shot and get a more natural skin tone. Color board 2 вЂ“ mask to create vignette вЂ“ darken outside of mask Д®. Color board 1 вЂ“ bright and more normal flesh tone Д. Tokyo ShadowsHighlights filter for overall tonal adjustment Д¬. Feel free to click on any of the images in this post and at the links within the steps to see a more detailed view.Д«.

COLOR CORRECTION FINAL CUT PRO 7 PLUS

These are merely an assortment of directions you can go in using the color board, plus a few other filters. These are not meant to be consistent nor necessarily how I would actually grade this short film. The point is to focus the viewerвЂ™s attention where you want it to be and to reduce or eliminate distractions. Often this verges into вЂњrelightingвЂќ a shot by brightening some portions and darkening others вЂ“ much like burning and dodging in photography. The second part of grading is to add a subjective look. Or in some cases, push further in that direction as a choice. A lot of my correction was simply to create a punchier image and to reduce the green cast. Since these clips are ungraded images straight from the camera, the starting point for each shot will look a bit flat and somewhat green. For the technical, you want to make sure balance, exposure and contrast are right and that shots are consistent within a scene. Since thatвЂ™s a lot of compression and recompression, youвЂ™ll have to excuse some of the images if thereвЂ™s a bit of crunchiness to them.Д¬olor correction вЂ“ aka color grading вЂ“ has two objectives вЂ“ technical and aesthetic. As before, I downloaded the H.264 file, converted it to ProResLT and used that inside FCP X.

COLOR CORRECTION FINAL CUT PRO 7 DOWNLOAD

Director Martin Scanlan and DoP Steve Lawes shot it with a pre-release Sony F3 and posted the ungraded version at Vimeo, inviting users to download it and to play with. When I wrote вЂњDemystifying Color Grading II,вЂќ I used the short film Convergence as an example. In addition, check FCP.co, Alex GollnerвЂ™s site and Ripple Training for more options. IвЂ™ve previously written about the FCP X color correction tools, as well as some of the filters and filter suites available for X. Since color board settings are clip modifiers, they arenвЂ™t very taxing on real-time playback.

COLOR CORRECTION FINAL CUT PRO 7 FULL

As youвЂ™ll see in the examples that follow, you can stack several full screen corrections along with several masked corrections for elaborate grading of footage. Corrections may be applied to the inside or outside of a mask. You can apply full screen corrections or have a selection restricted by an HSL key or a shape mask. The power of the color board comes into play when you start to use more than one instance of the correction. Move a puck up or down and over a specific color to add or subtract that colorвЂ™s intensity from one of the four ranges. This tab uses a split-toning approach, rather than the customary hue offset/color wheel model. The color (tint) tab has pucks that can be moved over the entire color swatch range. The exposure and saturation tabs only allow the pucks to go up or down to increase or decrease each value. The color board tabs each have four pucks or sliders for global, shadow, midtone and highlight range controls. If you wish to expand your color board preset options, check out the Lustre Grade Presets from Color Grading Central. A number of useful color-oriented filters can also be found in the Looks and Stylize effects categories. You can also save your own presets from this menu. These provide a quick starting point for the editor who isnвЂ™t experienced with color correction. ThereвЂ™s a submenu accessed from the gear icon for various presets. The color board offers three tabs for exposure, saturation and color (tint). The color correction tools center on the tabbed color board section of the inspector pane.

COLOR CORRECTION FINAL CUT PRO 7 PRO

If you can live with the current limitations, you can definitely do quality work within the Final Cut Pro X interface. The way grading affects the image is cleaner and the final results are an improvement over FCP 7. That being said, rest assured that Apple definitely improved the color processing pipeline inside FCP X. Furthermore, X has no real color correction workflow as youвЂ™d find in any grading tool, FCP 7 or other NLEвЂ™s like Avid Symphony. Some features from Color have counterparts in X, but the two applications are completely different and the number of tools at your disposal in Color greatly exceeds the toolset in X. A lot of FCP X fans like to say that Apple rolled Color into FCP X, but thatвЂ™s pretty far from the truth. ItвЂ™s time to dive in deeper and see how Final Cut Pro X can solve your color grading issues.

Color correction final cut pro 7