Final Cut Pro X and Motion 5 users can NOW apply 3D LUTs or Look Up Tables to their footage! LUT Utility allows you to apply LUTs to LOG exposed images from: Arri Log C, Blackmagic Camera Film, Canon C-Log, RED Filmlog, Sony S-Log, Technicolor Cinestyle and any other “flat” Log picture profile from cameras including Nikon and Panasonic!
You can do advanced color grading within Final Cut Pro and Motion using the Color Curves, Color Wheels, and Hue/Saturation Curves. In Final Cut Pro, you can do additional color grading with the Color Board. In Motion, you can also add custom look up table (LUT) filters.
With these tools, you can adjust the color balance, shadow levels, mid-tone levels, highlight levels, and more of each clip or still image in your project. These tools can help you create a consistent look across all the clips in your project.
Get Started with manual color correction
In Final Cut Pro, apply and adjust the color correction tools in the inspector. In Motion, apply color correction filters to groups or layers in your project, then adjust the filters in the inspector or the heads-up display (HUD).
Apply the color correction tools in Final Cut Pro
The overall look of your project begins with how your scenes are lit and shot during production. Then, while editing in Final Cut Pro, pick a master shot of a scene to use as the basis for color correction in the other clips. This way, you can create a consistent look across the shots in your project.
In Final Cut Pro, apply correction using the inspector. You can apply multiple color corrections to a clip to target specific issues.
After you add color corrections, you can save a clip’s color correction settings as a preset. You can also use color corrections tools to apply a color mask to a clip.
Apply color correction filters in Motion
In Motion, you apply color correction filters to a layer or group, then adjust them in the inspector or the HUD. You can apply multiple color correction filters to clips, images, and generators.
Adjust the tint, chroma level, and luminance (luma) of a clip in Final Cut Pro
To precisely adjust the tint, chroma level, and luma of a clip in Final Cut Pro, use the Color Board.
At the top of the Color Board in the inspector, click the button for the adjustment you want to make:
Then, drag a control up in the Color pane to add color to the image, or to increase the chroma or luma level in the Saturation or Exposure panes. Drag a control down to remove color, or reduce the chroma or luma level.
In the Color pane, drag the control left or right to choose the color to add or subtract. Any changes you make immediately appear in the viewer. To reset the values in each pane, click the reset button in the top-right corner. You can also affect specific areas of a clip using masks.
If you want to apply the same color correction effect the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to quickly move the playhead to the next or previous clip and select it.
Adjust the mix of the red, green, and blue color components of a clip in Final Cut Pro or Motion
In Final Cut Pro and Motion, you can use the Color Wheels to create an overall color balance using controls for the shadows, midtones, or highlights of a clip. To add Color Wheels, select a clip in the timeline, and position the playhead so the clip appears in the viewer.
For each Color Wheel adjustment (Master, Shadows, Midtones, and Highlights), drag the slider on the right of the wheel to adjust the brightness level of the clip, and the slider on the left of the wheel to adjust the saturation level. You can also adjust the hue of the clip by dragging the control in the center of the wheel.
Change the color temperature and tint
The Color Wheel effect includes color temperature and tint controls. To make the selected clip appear more natural, drag the Temperature control slider left or right.
To fine-tune the white balance of a clip, drag the Tint slider to the left to add a green tint to the image, and drag the slider to the right to add a magenta tint.
Amazon.com: Mac Tool Boxes. Combo Deal - Magnetic Toolbox Labels plus our best'Master' Set of Socket Labels (green series) for Metric, Torx & SAE tools, fits all Craftsman, Snap On, Mac Tools and Tool Chest. By Steellabels. $19.95 $ 19 95 Prime. FREE Shipping on eligible orders. The Expert® line is designed to meet the rigorous needs of the professional and starting mechanics. Includes a variety of sockets, ratchets, wrenches, screwdrivers, hex keys, and storage. In most cases, AutoFill is smart enough to figure out how to fill out the series for you when you drag the fill handle to the right (to take the series across columns to the right) or down (to extend the series. By Geetesh Bajaj, James Gordon. In Office 2011 for Mac, Excel is pretty smart, because it can automatically fill in a series of either numbers or dates. Excel for Mac 2011 can even make intelligent guesses about a series of numbers. Fill series in excel. Feb 18, 2015 But what if I had a number in Cell A1 and another number in cell A85 and I wanted to fill the numbers between (basically, I could go subtract the cell in A1 from A85 to get the difference then divide it by the date, but in Excel, I can just go Edit--> fill --> Series.
Adjust the hue of a clip
Once you’ve made all your Color Wheel adjustments, you might want to change the overall hue of the clip. Drag the Hue control to the left or right. You can make fine numerical adjustments in the Color wheel by clicking a value and entering a new value, or by dragging up or down.
Adjust the red, green, and blue components of a clip individually
You can use Color Curves to adjust the luminance, red, green, and blue components of a clip individually. This is different from using the Color Wheels, which simultaneously adjust the balance of a clip’s color components. You can also use the luminance curve to set the black and white points of a clip.
The default diagonal line for each curve shows the original state of the image. The shadows, mid-tones, and highlights are distributed along the curve from left to right.
Set the black and white points in Final Cut Pro
Before you adjust the red, green, and blue components of a clip, make sure the black and white points of the clip fall within the allowable range for broadcast. You can use the waveform monitor to help.
Choose View > Show in Viewer > Video Scopes. If necessary, click the Scope menu, then choose Waveform. In the Luma curve, use the left control point to set the black point. Use the right control point to set the white point.
You can also create control points to adjust any area between the black and white points. Click on the curve, then drag to make adjustments. To reset the curve, click .
Adjust the intensity of a color channel
To adjust a color channel, drag a control point, or you can click in the curve to create additional control points. To narrow the tonal range of your adjustment, create multiple control points.
For example, you might want to only change the mid-tones and highlights of a clip. Add a control point to the left part of the curve (the shadows area). Add another control point to the right of that control point. When you adjust the rightmost control point, the shadows area remains unaffected.
Select a custom color to adjust
Defrag for mac free. If you want to select a custom color to adjust, click at the top of a color curve. Then, click or drag in the viewer to select a specific color. The color curve changes to reflect the selected color. Any changes you make in that curve affect that color in the image.
Adjust the hue, saturation, and brightness of a color
For maximum control and precision for color correcting your project, use the Hue/Saturation Curves. With the Hue/Saturation Curves, you can adjust the hue, saturation, and brightness of any color in your project using the eyedropper. You can also adjust the saturation for a range of brightness or a range of saturation in a clip.
To get started, select a clip in the timeline, and position the playhead so the clip appears in the viewer. Click the pop-up menu at the top of the Color inspector, then choose Hue/Saturation Curves. To see a full height inspector and display all the Hue/Saturation curve controls, double-click the top bar of the inspector.
Adjust the hue, saturation, and brightness of a color
To adjust the hue of a color, click in the Hue vs. Hue curve, then click or drag in the viewer to select a specific color. Three points appear on the curve in the Hue vs. Hue curve. Drag the middle control point to adjust the color you selected. The outer points can be adjusted to make the selection a narrower or wider range. To change the range of the hues, drag the two outer control points to the left or right, or delete them.
To make fine adjustments, hold Option as you drag. To constrain the control point to vertical or horizontal movement only, hold Shift while you drag.
To adjust the saturation, click in the Hue vs. Sat curve, then click or drag in the viewer to select a specific color. Three points appear on the curve in the Hue vs. Sat curve. Select the middle control point curve to increase or decrease the saturation of the selected color.
To adjust the brightness, use the Hue vs. Luma curve.
Adjust the saturation for a range of brightness or saturation in a clip
Save and apply a color correction in Final Cut Pro
You can save a clip’s color correction settings as a preset, making it easy to apply those settings to other clips in the same project or a different project. Final Cut Pro includes several presets you can use in addition to any that you create.
To save a color correction setting, click Save Effects Preset at the bottom of the Color inspector. Choose an existing category, or create a new one. Enter a name for the effect, then choose any of the attributes you want to include in the preset. Click Save.
To apply a preset to a clip, choose Window > Show in Workspace > Effects (or press Command-5). Drag the effect from the Effects browser to the clip in the timeline. Or, select a clip in the timeline, then double-click the effect in the Effects browser.
Color correction presets save the current Color, Saturation, and Exposure settings only. They do not save mask settings, including the setting that determines whether the area inside or outside the mask is affected.
Add a color mask in Final Cut Pro
You can use a color mask with any of the color correction tools in Final Cut Pro to target a specific color in an image or clip. For example, you could mute a brightly colored shirt in the background that distracts attention from a clip’s main subject.
When you add a color mask in Final Cut Pro, your pointer changes to an eyedropper. Position the eyedropper on a color in the clip that you want to isolate. Then, drag to change the range of color included in the color mask. The image in the viewer becomes monochrome, except for the color you’re selecting.
You can add or subtract color shades to the mask. To add a shade, hold Shift, then drag on a color in the viewer. To subtract a shade, hold Option while dragging on a color.
To check the area affected by the color mask, click View Masks. A greyscale version of the image appears in the viewer (the alpha channel). White indicates the area affected by the mask. Black indicates the area not affected by the mask. Grey indicates areas that might be affected by the mask.
Use LUTs in Motion
You can use third-party LUTs as filters in Motion. You can download stylized LUTs from a variety of third-party sources. You can also download and use Camera LUTs—used to convert 'flat' or 'log' footage from high-end cameras to standard color spaces—from many camera manufacturers and other sources.
You can also use Custom LUTs and Camera LUTs in Final Cut Pro.
Learn moreWork at a faster clip.
With its modern Metal engine, Final Cut Pro allows you to edit more complex projects and work with larger frame sizes, higher frame rates, and more effects — all at blazing speeds. And it’s built to harness the extreme power of the new Mac Pro for next-level performance.
Accelerated performance with Metal
Metal dramatically accelerates graphics tasks like rendering, compositing, real-time effects playback, exporting, and more. When you’re working on a system with an eGPU attached, you can select which GPU to use — internal or external — for peak performance.
Optimized for the all-new Mac Pro
For the ultimate editing experience, run Final Cut Pro on the world’s fastest Mac, the new Mac Pro. Final Cut Pro takes advantage of all the GPUs in Mac Pro and uses multithreading to spread tasks across up to 28 cores. And when equipped with the optional Afterburner card, Mac Pro delivers the fastest ProRes performance ever. So you can do things like edit video, create motion graphics, and color grade in groundbreaking 8K resolution. All at maximum velocity.
The tools you need. From start to finishing.
With innovative features and an intuitive design, Final Cut Pro accelerates post-production. So editors can create and deliver at the speed of thought.
The Magnetic Timeline allows you to easily experiment with story ideas by moving and trimming clips without collisions or sync problems. Use Compound Clips to bundle separate video and audio clips into a single movable package, create Auditions to try out multiple takes in the timeline, and use Synchronized Clips to align video with second-source audio automatically. Color coding makes it easy to identify different types of content, with the ability to customize the look of your timeline while you edit.
Final Cut Pro offers the most advanced organizing tools of any professional video editing application. Easily tag entire clips or clip ranges with metadata for searching, and create Smart Collections that automatically collect content according to a set of custom criteria. Skimming lets you efficiently browse hours of material in a more visual way, so you can identify what you want in seconds.
Create 2D and 3D titles right in Final Cut Pro, apply and modify filters, and use the built-in chroma key for high-quality green- and blue-screen effects. Expand on the built-in effects with thousands of third-party tools and templates. And for even more control, use Motion to create stunning titles, transitions, generators, and effects you can access from Final Cut Pro.
Final Cut Pro lets you edit multichannel audio using built-in tools for removing background noise and optimizing levels. Adjust multichannel audio files in the timeline or open the inspector for more information and options. Choose from dozens of bundled plug-ins for audio compression, EQ, and more — or send to a professional audio application like Logic Pro X for advanced audio mixing.
Quickly encode video using the power of multicore CPUs and high-performance GPUs. Take advantage of presets to deliver ultra-high-quality masters or files optimized for iPhone, iPad, Apple TV, and websites like YouTube and Vimeo. And batch exporting makes it fast to deliver multiple files or projects in multiple formats. You can also use Compressor to create custom export settings that appear right in Final Cut Pro.
Multicam
The industry’s most advanced multicam editing lets you automatically sync up to 64 angles of video with different formats, frame sizes, and frame rates. View up to 16 angles at once in the Angle Viewer. And open the Angle Editor timeline to move, sync, trim, add effects, or color grade individual clips.
Video noise reduction
Improve the look of archival and low-light images with powerful noise reduction tools that reduce or eliminate grain and video noise. Simple controls let you quickly adjust intensity, and it’s easy to change processing order by dragging the effect in the inspector.
Motion and Compressor
Create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro. Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. And because Final Cut Pro, Motion, and Compressor all share the same Metal architecture, you’ll experience blazing performance and consistent rendering across applications.
Compressor
Advanced color grading.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |