Streaming Media

Streaming Media on Facebook Streaming Media on Twitter Streaming Media on LinkedIn
Upcoming Industry Conferences
Streaming Forum [27 February 2018]
Content Delivery Summit [7 May 2018]
Streaming Media East 2018 [8-9 May 2018]
Live Streaming Summit [8-9 May 2018]
Video Marketing Power Summit [9 May 2018]
Past Conferences
Streaming Media West [2-3 November 2017]
Live Streaming Summit [2-3 November 2017]

Tutorial: Inspecting the Inspector in Final Cut Pro X, Pt. 2

This tutorial on Apple Final Cut Pro X takes a closer look at color correction in the Inspector, exploring the Balance Color, Match Color, and Color Mask and Shape Mask features.

Welcome to the second installment of our series on inspecting the Inspector in Final Cut Pro X. In the last tutorial we discussed how to make sure your clips were properly selected to load them into the viewer and edit them in the Color section of the Inspector. We also went over the three major boards in the Color section, which are Color, Saturation, and Exposure (Figure 1, below).

Figure 1. The Color, Saturation, and Exposure tabs in the Color section of the Inspector.

The Color section of the Inspector (Figure 2, below) is chock full of functionality, and in the last tutorial we only scratched the surface. In this tutorial we’re going to round it out and talk about the rest of the functionality it offers.

Figure 2. The Color section of the Inspector

Balance Color

The first thing we’ll look at is Balance color; note that in Figure 2 it says, “Balance: Not Analyzed.” Balance Color refers to Final Cut Pro’s ability to look at a shot and balance the color to what it thinks it should be. For example, if a shot was captured with the wrong white balance--say, if it’s too blue or too red--Final Cut Pro will try to look at all of the pixels, analyze the color, and try to balance it.

The problem is, I’ve found from experience in my edits is that it’s not very effective. If a shot is a little too warm, it tends to cool it off too much; if a shot’s too cold, it’ll make it too warm. What’s more, once you click the Balance Color checkbox and Final Cut Pro changes your image to what it thinks it should be, and then you go into the color board, you’ll find Color, Saturation, and Exposure at their neutral settings, so it doesn’t actually show you a representation of what it did. So even if it got it close and you just need to tweak it, you can't do that. You have to start from scratch; it’s not going to show you the correction.

Related Articles
In this first installment of our new tutorial series, Glen Elliott demystifies Final Cut Pro X, illustrates its core functions, and focuses on one of the most powerful new features for organizing, accelerating, and streamlining your edits: metadata keyword tagging.
The magnetic timeline is one of the major revolutionary changes in Apple Final Cut Pro X, and one of the areas editors struggle with when they're coming from track-based NLEs. In this tutorial we'll break it down and show you how to make it work for you.
This tutorial explores advanced editing techniques in FCP X including back-timing your edits, replacing edits and auditioning, top-and-tail editing, extend edits, trim-to-selection edits, keyboard trimming, and the Precision Editor.
In this tutorial, we'll look at several ways you can use connected storylines to enhance your FCP X edits and mix in cutaways and creative shots in a quick and efficient way.
Working with compound clips in FCP X is similar to nesting sequences in Final Cut Pro 7. Once you understand how it works, and how changes to compound clips can ripple across projects, it's a powerful feature that you'll find yourself using more and more.
Our Final Cut Pro X tutorial series continues with the first installment of a 3-part series on multicam editing in FCP X, addressing the basics like creating a multicam clip and cutting and switching audio and video using the Angle Editor.
In part 2 of our series on multicam editing in Final Cut Pro X, Glen Elliott explains how you can accelerate and streamline the multicam-syncing process in Red Giant's PluralEyes 3.
In this tutorial, Cord3Films' Glen Elliott demonstrates how to mix audio from multiple off-camera sources in a multicam edit in Apple Final Cut Pro X.
In this video tutorial Glen Elliott of Cord3Films looks at FCP X's Timeline Index which provides innovative options for viewing, navigating, and searching your projects, including three different types of timeline markers and the ability to create a navigable To Do list of editing notes that's indispensable for collaborative workflows.
This tutorial on Apple Final Cut Pro X inspects the Video Inspector, a context-sensitive area of the FCP X interface that allows you to change settings of various filters and settings, and focuses on making basic but effective color adjustments.
In our first tutorial on the recently released FCP 10.1, we look at the new Libraries feature, which enhances project and media organization and eases the adjustment for editors transitioning from FCP 7.
Here's a look at two workflows for applying film grain to your footage in FCP X using cineLook (with and without Gorilla Grain), first with 4k footage shot with the Blackmagic Production Camera, and then with Cinestyle-flattened DSLR footage.