When I wrote “Demystifying Color Grading II,” I used the short film Convergence as an example. In addition, check FCP.co, Alex Gollner’s site and Ripple Training for more options. I’ve previously written about the FCP X color correction tools, as well as some of the filters and filter suites available for X. Since color board settings are clip modifiers, they aren’t very taxing on real-time playback. As you’ll see in the examples that follow, you can stack several full screen corrections along with several masked corrections for elaborate grading of footage. Corrections may be applied to the inside or outside of a mask. You can apply full screen corrections or have a selection restricted by an HSL key or a shape mask. The power of the color board comes into play when you start to use more than one instance of the correction. Move a puck up or down and over a specific color to add or subtract that color’s intensity from one of the four ranges. This tab uses a split-toning approach, rather than the customary hue offset/color wheel model. The color (tint) tab has pucks that can be moved over the entire color swatch range. The exposure and saturation tabs only allow the pucks to go up or down to increase or decrease each value. The color board tabs each have four pucks or sliders for global, shadow, midtone and highlight range controls. If you wish to expand your color board preset options, check out the Lustre Grade Presets from Color Grading Central. A number of useful color-oriented filters can also be found in the Looks and Stylize effects categories. You can also save your own presets from this menu. These provide a quick starting point for the editor who isn’t experienced with color correction. There’s a submenu accessed from the gear icon for various presets. The color board offers three tabs for exposure, saturation and color (tint). The color correction tools center on the tabbed color board section of the inspector pane. If you can live with the current limitations, you can definitely do quality work within the Final Cut Pro X interface. The way grading affects the image is cleaner and the final results are an improvement over FCP 7. That being said, rest assured that Apple definitely improved the color processing pipeline inside FCP X. Furthermore, X has no real color correction workflow as you’d find in any grading tool, FCP 7 or other NLE’s like Avid Symphony. Some features from Color have counterparts in X, but the two applications are completely different and the number of tools at your disposal in Color greatly exceeds the toolset in X. A lot of FCP X fans like to say that Apple rolled Color into FCP X, but that’s pretty far from the truth. It’s time to dive in deeper and see how Final Cut Pro X can solve your color grading issues.
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