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The layout is divided into a positive and negative range, so you add or subtract values by moving the slider (button control) above or below the default middle line. Each tab has four sliders (or button controls) for a global, as well as shadow/midtone/highlight changes. It’s divided into three tabs for Exposure (brightness, contrast, gamma) Saturation and Color (hue, tint, balance, phase).
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The Color Board Color Adjustment slide-out panel is where you make manual color correction/grading changes. That is, correcting a clip and then trying to match an identical duplicate of the clip to that correction.
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Unfortunately, in most of my tests, Match Color didn’t do a very good match at all and generally could not achieve a perfect match of the exact same footage to itself. An interesting aspect to this is that if have graded a clip with the Color Board and then you match another clip to that graded clip, the changes in the second clip are made in the profile and not by making comparable adjustments in its Color Board settings. Like Balance, this change is made in the color profile, so you don’t really know what was adjusted to achieve the results you see. Select the clip to change, pick a frame on another clip to match it to, which then alters the first clip accordingly. Match Color is another automatic correction tool, which is designed to alter the grading of one clip based on the color of another. Not to mention that support for REDCODE raw files (or any other raw motion format) is nonexistent to date. If you are working with ALEXA Log-C footage, none of the LUTs or filters designed for LogC-to-709 correction work in FCP X. But, when I increase saturation using the global slider PLUS the low/mid/high sliders, then I have a lot of range. In the Log-C example, if I automatically correct the image using Balance, then I don’t have nearly the range of saturation available on the global slider (Color Board Saturation tab) as I do if I corrected the image manually. On the other hand, when I use this feature to automatically balance Log-C images from an ARRI ALEXA, the contrast is corrected, but I’m usually not happy with the balance changes to the picture.Īnother aspect of this correction is that the Color Board controls behave differently.
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Here, the Balance feature often does a nice job. In the case of HDSLR footage, like from a Canon 5D, the normal camera settings frequently yield images than are high-contrast, very saturated and somewhat orange. This is no eye dropper control that lets you pick the color you’d like to use for determining a white standard. However, the image frequently looks too cool or blue than would be the case if I had simply done the balance manually. I’m sure the derived color balance is mathematically correct, because I see an off-center vectorscope image become more zeroed on the display. In actual practice, I’m generally not happy with the results of Balance. So, you still have additional correction/grading control on top of the changes caused by Balance or Match Color. The image and waveform/vector/parade displays change, but no slider positions have been altered in the Color Board controls. When you select a clip and click Balance or Match Color, the changes are made in the color profile of the file, which means that the actual parameters that were adjusted are invisible to the user. Enter the Color Board.Ĭolor correction takes three forms in Final Cut Pro X : automatic Balance, Match Color and manual adjustments in the Color Board tabs. Unfortunately, Apple never put much effort into developing and marketing Color and simply used it as a carrot to attract new FCP users (“you get this $25K color corrector for FREE”). Color continues to be viable as an advanced grading tool, but for most FCP editors it was merely a source of confusion. If you are a fan and user of Color, then that’s a great disappointment. This tool is a mash-up between the two color correctors and some of the image adjustment filters in previous versions of Final Cut.Īpple did not roll the functionality of Color into FCP X. Instead of a familiar color-wheel or curves-based grading tool, FCP X features the tabbed Color Board. One of the many new things to get used to in Apple Final Cut Pro X is the new way of handling color correction.