Mid Levelsįinally, use the same steps as outlined for the black and white levels to adjust your mid levels. If so, you should readjust the black, then the white values, in turn, to achieve the right setting. You may notice that as you increase your white luminance values, the black luminance values begin to rise. To avoid clipping, make sure your white levels do not exceed 90 percent in the Waveform monitor. Instead, raise them until the highlights are slightly overexposed, then pull back. Unlike your black levels, it’s not necessary for your whites to reach the white line on the Waveform monitor. To increase the whites, click the right arrow. You can also drag the slider button for quicker, less incremental changes.Īfter you’ve set your black levels, do the same with your white levels.įollow the above steps again, this time using the white slider. Watch the Canvas for reference.Ĭlick the right arrow to decrease your blacks, or shadows. You want the Waveform lines to barely touch the bottom black bar so that your image has a “true black.” If you’d like to “crush” the black colors further, continue to move the black slider to the left. To achieve this, in the Color Corrector 3-way, click the left arrow of the black level slider.Īs you do so, you’ll notice that the lines in the Waveform monitor move closer to the the black line. At the bottom are the black luminance values.įirst make sure your black levels are correct. Your white luminance values are at the top of the Waveform monitor. By dragging the display brightness slider, you’re able to see more of the luminance values in the image. In Final Cut’s waveform monitor, luminance values are represented by tiny white dots. Luminance values are a measure of the amount of light in an image. Drag the slider to the right to reveal additional luminance values in the Waveform scope. On the top left side of the Waveform monitor, click the small button with a histogram to reveal the Display Brightness Slider. This is the best monitor for viewing luminance values. In the left top corner make sure Layout is set to Waveform. You will now be able to see any changes you make in the Canvas.) Then, open the Color Corrector 3-way tab. To do this, double-click your video file in the Timeline once again. If this happens you need to confirm that you’re working on the right file.
#Color grading in final cut update
(Sometimes you might discover that your Canvas does not update to reflect your color changes. You can also drag the effect from the Effects window (command-5) and drop it on the clip.ĭouble-click the video clip containing the effect to open it in the Viewer.Ĭlick the Visual button to open the 3-way Color Corrector. In the Timeline, select the video track that you’d like to color correct.įrom the Effects menu, choose Video Filters>Color Correction>Color Corrector 3-way. In Final Cut 7’s Window menu, select Arrange>Color Correction. Second, color correction often requires rendering, which can slow editing down to a standstill. First, there’s no need to correct footage until you know for certain it will be in the final project. In most instances, color correction is best left for the end of the editing process. With just a few steps, you can transform washed out video into vibrant and rich imagery. Color correction can dramatically alter the look of your footage.
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