Working in this mode allows you to move from one clip to another, up and down the timeline, and immediately apply new filters or see which have already been applied. This loads the timeline into the viewer, so when you click on the viewer’s filter tab you will see the filters applied to the timeline clip where your cursor/playhead is parked. Once I’ve consolidated the clips to V1, then I change the playhead sync mode (located in the canvas pulldown menu) to Open. Open playhead sync – a “color correction mode” Be sure you move the clip only vertically and don’t accidentally slide the clip a few frames out of its intended position. When you do this, be careful to check the edit points to make sure you maintain the correct cuts. The exception would be multi-track composites, which require several tracks. Before I start grading, I will move all clips down to V1. The typical one I encounter (if someone else edited the project) is that video clips are spread across a number of vertical video tracks. My first step is to go through the timeline and fix any problems. I’ve developed a recipe of go-to plug-ins and a grading workflow that help me to create the ideal look. Many clients don’t budget the necessary pre-flight time nor the rendering at the back end, so for these reasons, I find myself still doing advanced color correction/grading inside FCP – even for feature length indie films. This pre-flight time is necessary with feature-length projects, multi-clip timelines, as well as sequences with speed effects and other issues. Working with Color requires some prep time inside FCP in order to correctly set up the timeline for a successful roundtrip. There are many projects for which it is one of the best grading options however, I also find that for quite a few projects, it’s still better to work inside of FCP and not use the roundtrip between Final Cut and Color. I’ve written about Apple Color before and like the application. The Color Inspector is located on the right-hand side of the screen and contains a few different submenus ( Color Board, Color Wheels, Color Curves, and Hue/Saturation Curves).As an editor/colorist, I’m comfortable with grading inside a number of NLEs, ranging from Avid Media Composer and Symphony to Apple Final Cut Pro. These color grading tools can also be accessed by going to Window > Workspaces > Color and Effects to view all of your color settings. The Color Inspector in Final Cut Pro is where you’ll find all of your color grading and color correction tools. Note: With Simon Says, you can simplify your workflow even more with native subtitles and captions for 100 languages in Final Cut Pro. This step-by-step Final Cut Pro tutorial will go over coloring for video production inside the software, perfect for those looking to up their coloring workflow. While programs such as Adobe Premiere Pro and DaVinci Resolve offer incredible color grading options, no program is quite as popular for video editors as Apple’s Final Cut Pro X.įinal Cut Pro offers a wonderful array of features for colorists and dynamic syncing with a slew of different amazing color grading presets. Now, color correction and color grading can be done entirely within your video editing software of choice in post-production. Color used to be based entirely on the lighting and film stock during production. The introduction of NLEs has helped to simplify video editing techniques that were once incredibly complicated. Different colors can convey a certain feeling or can draw the audience’s attention to a specific point on the screen. Color is not only an integral part of how we see the world but how we see film and video as well.
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