[ This is an excerpt from a recent on-line webinar: “Ask Larry Anything!” which is available as a download in our store, or as part of our Video Training Library. ]
EXCERPT DESCRIPTION
“Ask Larry Anything,” is a free-form conversation about subjects related to editing. In this short video tutorial, Larry Jordan illustrates the two key video scopes in Apple Final Cut Pro, how to read them and how to use them to fix color problems like color casts and dark exposure levels.
Introduction to Fixing Color Problems Using the Video Scopes in Final Cut Pro
TRT: 18:12 — MPEG-4 HD movie
SESSION DESCRIPTION
We restart our fall season with “Ask Larry Anything.” Presented by Larry Jordan, this is a free-form conversation about, well, anything you want to ask. This session is organized into two categories: LTO tape archiving for media and Apple Final Cut Pro. This session covers:
These sessions are always interesting because there is always new stuff to learn!
AUDIENCE LEVEL
These questions span the range from beginner to advanced. Every editor using Apple software can benefit from this session.
13 Responses to Introduction to Fixing Color Problems Using the Video Scopes in Final Cut Pro [v]
I learn something new every time I listen to Larry. Brilliant idea about cropping to adjust your color correctly. Thank you, Larry.
Mary:
Yup. My brain exploded when I discovered that.
Makes corrections so much easier.
Larry
Fantastic. I will use this immediately. One question. When removing the green cast, we wind up with a bit too much magenta. What might be a next step. Thanks!
Gregory:
Magenta and green are opposite colors. If you have too much green, add magenta. If you have too much magenta, add green.
So, don’t remove quite so much green and the magenta cast will disappear.
Larry
Thanks Larry for a great reminder of how to do this properly. I often wing it and correct by eye but it is probably even quicker (and more accurate) to do the scope correction because it takes out the guesswork – once you get the hang of moving the controls to centre the dot !
Thanks Larry this was a great refresher and a simple easy to follow process.
Superb. Normally I would have messed around using the white balance picker, say on the plane. This looks so much easier.
Larry continues to be my FCP X hero, 8 years and counting!
I watched the “Introduction to Fixing Color Problems Using the Video Scopes in Final Cut Pro video” and it was GREAT! I learned a lot from this tutorial. I just want to say Thank you for posting it. I try to catch your wabinars when I can. Please keep up the good work for us that uses FCP 10
Rich:
Thanks for your kind words. This was a fun session to present.
Larry
Larry I enjoy your website and weekly emails and have learned a lot over the years.am shooting more and more in Prores RAW and when I’m not shooting raw I am usually shooting Slog 3(Sony camera user) and I can see how using this process working with my wave form and vector scope while in Prores RAW, or Slog3 for that matter, could be useful. But I wonder if you might have more specific tips/process/guidelines for Raw and log formats?
Jonathan:
I did a session on RAW and HDR media a while ago. Here’s the link:
https://larryjordan.com/store/273-using-hdr-media-in-final-cut-pro-x/
This will answer a lot of basic questions and, hopefully, help you in your editing as well.
Larry
Thanks Larry very well done. You mentioned add a gray coffee mug in the picture as a reference. If possible how about shooting a MacBeth Chart, Kodak 18% Grey Card or other to provide a guide. When i shot a lot of film 16/35mm the lab in Burbank FotoKem sent ua a simple flip chart with both color & grey scale and it help the color timer a whole lot to get a good balance with film to tape transfers. Mahalo MM
Michael:
Shooting a chart is a great idea. But, putting something gray on set – in the background – is a solid Plan B. By cropping, we can isolate directly on that object to fix any color casts while seeing it under the same set light that your actors are in.
Larry