You now have two versions of that clip in perfect sync with each other. To start, option-drag a clip above itself to create a duplicate as a connected clip. Blend modes (also called composite and transfer modes) are commonly used by graphic artists and designers, but they are also useful in creating special looks for video. The default is the normal mode, which can easily be changed to screen, overlay, soft light, and so on. Timeline clips include blend mode attributes. Once you’ve completed the match, delete the reference image from your timeline. Obviously it won’t make a sunny daytime shot look exactly like a moody night shot from Bladerunner, but it will adopt the overall tonality as closely as possible. Now use match color for a selected clip and skim to that reference film image on your timeline. Import the image file and edit it to the end of your timeline. A great resource for film reference frames is the Shotdeck website (free if you register as a beta user).įind and download a reference frame. For example, let’s say you want your clips to match the tonality of shots from a particular movie. Match color can be used creatively, as well. A common application might be to match A and B cameras to each other. Park on the clip, select match color, skim to the clip used for the match, click on that frame for a preview, and then click Apply Match if you like the preview results. Match color is different in that it corrects the tonality of a selected clip to match another clip in the timeline. The balance color results are not adjustable (other than to select between automatic or white balance), so consider it a first step to be further enhanced by the other color correction tools. In that case, you’d want to retain the orange/yellow qualities of the shot. The exception is when there’s no clear white reference in the shot, like a close-up on fire. Most of the time, automatic will result in a pleasing enhancement of the image. You can select all of the clips in your timeline and balance them in a single command. This is typically a “best guess,” based on either an automatic overall adjustment or one focusing on white balance. Balance color analyzes a shot and corrects it to a neutral tonality. Balance Color / Match Colorįinal Cut has offered the ability to auto balance the color of a shot and to match two shots to each other since the early days. Here are five simple tricks you can use to enhance the look of your videos. There are also a number of features and techniques that often get overlooked. Test them out on your footage and see how to use them with your own workflows.Color correction plug-ins are certainly fun to use, but Final Cut Pro X has plenty of horsepower on its own. They are merely a beginning guide to achieve quick and attractive grading using Final Cut Pro X. These five steps are not the end-all/be-all of color correction/grading. Move the amount slider to the right for more clipping when you need to meet more restrictive specs. At its default, video will be clipped at 0 and 100 on the scopes. Make sure it’s set to the color space that matches your project (sequence) setting (typically Rec 709 for HD and 4K SDR videos). Final Cut Pro X does not come with an adjustment layer Motion template title, but there are plenty available for download.Īpply the Broadcast Safe effect to that adjustment layer clip. This is best applied to an adjustment layer added as a connected clip at the topmost level above the entire sequence. To be safe, limit your luminance and chrominance levels by applying a Broadcast Safe effect. Different outlets have differing standards – some looser or stricter than others. If you deliver for broadcast TV or a streaming channel, your video must be legal.
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