![]() ![]() Can’t fix the scope? Fix the picture instead Color charts are designed for use with a vectorscope with a x2 setting, which every proper vectorscope has (am I implying that the vectorscope in FCPX is not a proper vectorscope? You might very well think that I couldn’t possibly comment). If you’re using the Color Board, set Global Saturation to 100%: Quick fix: use an Adjustment Layer, and set its saturation to x2. Yes, that may push saturated colors into clipping, but it’ll also push the half-saturation chart colors towards their ‘scope targets. You can also set up a crop in your Adjustment Layer to mask out everything except your test chart, simplifying the ‘scope’s display so you can focus on calibrated corrections: I found this essential when compiling the CML 2021 RAW tests so I could match and white-balance my clips, and compare the ‘scopes for ProRes RAW in FCPX to the ‘scopes for Blackmagic RAW in Resolve (Resolve, of course, has a proper x2-capable vectorscope). With the adjustment layer disabled, the whole image is visible. ‘Scopes are cluttered, and the vectorscope’s gain isn’t useful for chart matching. With the Adjustment Layer active, the scene is masked to the DSC Labs chart, and saturation is doubled to emulate a ‘scope with x2 gain. Just don’t forget to turn the Adjustment Layer off when you’re done with the ‘scopes! The decluttered WFM and vectorscope displays become useful for measurements. I hope it’s of use to you all and saves you some time in the edit! If you enjoy it, please feel free to share it on social media, YouTube, forums, or anywhere else.In this case, the chroma hexagon is still pretty far from the targets: the Panasonic S1H RAW file is decoded using Panasonic’s recommended VLog-RAWGamut-to-VLog-VGamut camera LUT plus the VLog-to-V709 custom LUT, which yields a desaturated, low-contrast image. This is where I publish all of my color grading tools and post-production assets.Ĭlick here to download the free Cinecolor adjustment layer now. I’ve made the adjustment layer available for free download through my Cinecolor platform. ![]() ![]() Final Cut Pro Adjustment Layer: Free Download It will be called: Cinecolor – Adjustment Layer.ĭrag it on top of your footage and make any adjustments as you see fit. To use the adjustment layer, simply locate it in your Titles browser inside of FCP. Once you’ve copied the entire folder structure into the Titles subfolder, you can now open Final Cut Pro, and it will be available for use. It can be located at: Users > Username > Movies > Motion Templates > Titles Drag the main folder into your Motion Templates subfolder. Once you’ve downloaded your package (linked to below), follow these steps to install the adjustment layer: But I’ve saved you the step and made my adjustment layer available for free download below.īut first, here’s how to set it up – Installing The Adjustment Layer If you have Apple Motion on your computer, it’s possible to manually create an adjustment layer there, and then publish it to Final Cut. Then, simply drag the layer over as much of the edit as you need. Rather than applying a LUT to every shot individually, you could apply it once to an adjustment layer. It allows you to make global changes to anything from color grading to visual effects, which can speed up your workflow significantly.įor example, you might want to give an entire scene a warm color wash. But you can download my free adjustment layer here, which will have you up and running in FCP within minutes.įor anyone new to video or photo editing – An adjustment layer is an invisible clip (technically a title in FCP) that you can drop on top of your entire edit, or just a small sequence of shots. Final Cut Pro does not come with a built in adjustment layer, like you might find with Premiere Pro or other Adobe editing software.
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