8/28/2023 0 Comments Color grading fcp![]() In this particular case, Daniel uses the vector color tool to make yellow under-glow below the counter appear warmer than it initially looked on-camera.Ĭurves, on the other hand, can be utilized as a more detailed way to adjust the highlights, midtones, and shadow areas of your shot. This is especially helpful when there is a specific color that you want to emphasize on. Vectors allow you to select a particular color and individual adjust its hue, saturation, and luminosity. You could leave your video as it is but if you want to add some creative flair to your work, you can try playing around with vectors and curves. The higher the value, the more saturated your image will be so it will depend on your preference as to how much saturation you’d want to apply.Īt this point, you should be able to get a shot that is much more balanced and aesthetically pleasing than before the adjustments were made. In order to restore the vibrance of the colors in your shot, adjust the saturation slider. For instance, if the image looks too blue/cool, drag the gain slightly into the yellow/orange area to give it a warmer tone. On the Gain/Highlights color wheel, move the center target of the wheel to a color that will counter the dominant color in your shot. The next step is to fix your white balance. You should see a significant improvement in the exposure of the shot just after this initial adjustment. After that, move the Gain/Highlights slider upwards slightly until the waveform barely gets to the 100 value. Next, add the color wheels effect to your clip and drag the Lift/Shadows downward until the waveform on the scope almost reaches the 0 value. Set the scope to Waveform and then to the Luma Channel. To aid you in setting your exposure, activate your scopes by pressing “Command + 7”. Drag the effect onto your clip and then click on Open Controls. ![]() Once you’ve added your clip to the timeline, you’ll need to use the “Color Finale Pro” effect to adjust the exposure of your shot. While he may be working specifically with S-Log 3 in the tutorial below, keep in mind that these techniques can be used when shooting with virtually any other log profile available out there. Thankfully, Daniel Schiffer has created a well-made guide on how to grade S-Log 3 footage in Final Cut Pro X. While the image may appear unpleasingly bland, this is necessary since a lot of data is preserved in the shot, making it easier to dial in the exact look you’re aiming to achieve. While the profile definitely has certain advantages, its main difficulty is that it may be tricky to actually work with, especially for those who have just started shooting and editing with S-Log, or any other log profile for that matter. Despite its flat color and contrast aesthetic, Sony’s proprietary picture profile S-Log 3 is well known for its flexibility when it comes to color grading.
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