Select the Saturation pane in the Color Board. Once you are happy with the exposure, a good next step is to evaluate the saturation, which refers to how rich the colors are. The highlights are already as bright as possible. Note that I’ve also raised the midtones slightly to brighten the shot. Simply drag the controls up and down, using the Waveform as a guide, to create more contrast for the shot.Ĭreating darker shadows by dragging down the Shadows control. The Color Board has a master slider on the left that lets you adjust the overall (global) exposure, and it also has three controls for adjusting the shadows (black circle), midtones (grey circle) and highlights (white circle) independently. As you can see by examining the Waveform and by looking at the image itself, our example shot doesn’t have many dark areas. The Waveform is the scope that tells you how bright and dark the pixels are as you move across the image from left to right, with 0 being darkest and 100 being brightest. In Final Cut Pro X, you adjust brightness values in the Exposure pane of the Color Board. However, the basic idea is that a good starting point is to work on the overall brightness or luminance of a shot first, and then adjust its color components, which consist of hue and saturation. To really understand color correction, you need some knowledge of color theory, which is beyond the scope of this article. The Waveform illustrates the brightness values of the image from left to right. Setting up the Waveform scope to appear beneath the image. You are now all set to start correcting the image. Then click it again and select the Vertical Layout option, which places the Waveform beneath the image in the Viewer. Click the Settings menu at the top right of the window, and select the Waveform. The Scopes provide brightness and color information about the current frame of video, and you have many options for configuring them. The Video Scopes window appears next to the Viewer. As you can see, Final Cut Pro X often gives you several ways to accomplish tasks. Click the tiny light-switch icon at the top right of the Viewer and choose Show Video Scopes, choose Window > Viewer Display > Show Video Scopes, or press Command-7. Note how the uncorrected shot of the grapes looks washed out.īefore you get to work in the Color Board, it can be helpful to have the Video Scopes open. The Color Board, with the Exposure pane selected. To do so, click the right-facing Show Correction arrow to reveal the Color Board. It’s enabled by default (as the blue box indicates), but it has no impact on the image until we adjust it. The third tool, Correction, is what we are interested in, as it gives us the most creative control.
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