Final Cut Pro X 10.4 - Color Correction for Beginners ✅ | Benjamin Halsall | Skillshare

Final Cut Pro X 10.4 - Color Correction for Beginners ✅

Benjamin Halsall, Final Cut Pro X & Adobe Courses

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8 Lessons (27m)
    • 1. Class Introduction - Color Correction

      0:46
    • 2. The Color Correction Tools

      6:24
    • 3. Fix Brightness & Contrast - The Color Board

      5:44
    • 4. Color Brightness & Saturation

      4:34
    • 5. Fixing a Sunset Image

      2:22
    • 6. Batch Copy and Paste Corrections & Effects

      2:37
    • 7. Remove All or Individual Effects

      1:25
    • 8. Color Fun & Color Tint Effects

      3:00
17 students are watching this class

About This Class

In this Final Cut Pro X class on color correction, you will learn how to understand and work with color in your videos and images to improve your projects. 

If you have video or images that are too dark or where contrast is low then this class will give you a great foundation in using tools such as the Waveform, Vectorscope and Color Board that form the foundation of color correction and grading in Final Cut Pro X.

Brand New to Final Cut Pro X?

If you are brand new to Final Cut Pro X I would recommend checking out my Full Introduction to Final Cut Pro X on Skillshare. You can find it by clicking here.

Join the community

I regularly share free Final Cut Pro X videos on my YouTube channel. They often cover topics that respond to questions from the comments section of the videos. Ask your questions here or there and I will try to answer as many as I can and often with a new video tutorial.

Happy editing & thanks for enrolling!

#FinalCutPro #FCPX #FinalCutProX

Transcripts

1. Class Introduction - Color Correction: So in this lesson on color correction, we're gonna have a look at some of the basic tools we can use and final cut pro to control the color contrast in our images and also to apply some different types of effects. So we'll run right through from the basics, looking at how color works and how we work with the vector scope on way form so that we can read color in our images. And we'll also have a look at some of the fundamentals of working with red, green and blue on screen. What have a look at how we can correct different images, so brightening images, improving the contrast. And it also plays the effects and images, as well as looking at how we copy and paste color corrections to multiple images so we can save time in our workflow when we're trying to color correct a larger project. So please dive in, hit subscribe and I look forward to seeing you in class 2. The Color Correction Tools: hi spent household here on the street or I want to have a look at some color correction in final cut pro 10. So we're gonna have a look at. Here is a few different ways in which we can work with color in final cut, pro one toe correct the image and then also will have a look at some of the different options you can use toe help you design with color in final cut pro, which would be considered to be calibrating. So the first thing we need to do is really understand how color works in final Cut pro 10. And that's where we're going to start with this. We're gonna have a look at how we read the color in an image and then how we apply that to some different images, either for improving the brightness or contrast of an image. I will have a look, a couple of simple examples where we give the image a different look or feel. So the first thing we're gonna do here in front of copper attend is show the video script only and a couple things here. One we're going to come up to our view menu here on you can see we've got the option to show RVs Scopes on the shortcut for that is command and seven. Now, there are some louts for color correction in front of cut price. So if you go to window and workspaces, you'll see we've got color and effects layup. But I want to bring up the panels one at a time just so we can see how they each individually work. So the other thing I want to do is just increase the real estate we have here for the video scope. So I'm just gonna stretch out the top bar of my window there, and I'm also gonna hide the libraries on the left hand side is I'm gonna click my little clapper board and then also go to window showing workspace and hide the browser so that we're not seeing the browse there on the left hand side. So everything we have here for this particular example is on our time when we have some still images that we're gonna have a look at on, then also some video shots that will look at their either mostly under exposed or that need a little bit of repair to the brightness, the saturation and contrast. But to start with, I really want to look at how we read this video scope. So first, what we can see here is the lunar channels. So our way form, which is showing us from dark to light another guest, Basically where the color of our image lies in terms of brightness and darkness, I'm on screen. The other option we have, which will look at is the vector scope, and that shows us where the saturation is in the image. Now, in order to kind of get basic understanding of how these air showing, we're not gonna look a complex image like this where there's lots of color, we're gonna have a look at some real simple images. So if we come back to the way form, we're gonna come back to the beginning of our clip here and have a look at this Grady in. So, basically, on our you hear, we have a Grady int going from dark on the left to light on the right hand side. Now, what we can see here is across our image. We've got exact same number of pixels throughout our entire image, which is very different when we hover over us and that the pizza we have color information from light to dark throughout, all of our image really were reading the image from left to right here. So over on the left hand side, here in our pizza image, that's a very dark part of the image, as we do here in our radiant where we have all the dark pixels on the left hand side and then all the lighter pixels on the right hand side. So we'll come back to the Peter, and you can see that in the middle here we have thes brighter areas. The image shows would be, you know, areas, the cheese and stuff like that. And then this doctor areas for the shadows. But we're always reading this from left to right, so basically it matches what we're looking at in the image and so we can see over on the right hand side here. There's no riel kind of white pixels, but there are a sui come through here. That's a little spikes. And there's probably a little highlights on this utensil here and in other parts of the image. So we can really begin to understand what we're seeing on screen now. What's nice about this is that when we're editing video, we might be on our laptop in a cafe, in an airport or editing in a studio that's completely dark. Where we've got a balanced monitor on. Everything is amazing. But more likely we'll be working one of those former locations where the light is always changing. So as, like changes the light that you see on screen changes because of reflection and Ambien light and stuff like that. So we could never really rely totally on what we see in the viewer. So that's where the lunar channels and also the vector scopes coming had do. We can really see where were pushing the color to when we're modifying the color and orange . So if we come back, you know, vector scope to our first image, that black and white image we can see. There's really no color in here, so it's completely be saturated, so there's no color in their atoll on then. If we come to this red, green and blue set circles, the street, the story images we can see in our vector scope that we have these shoots of red. We have the shoots of red, green and blue across our image that if we come to the way form, then we'll see that we have those areas of red, green and blue with differing levels of brightness. So this hard line along the top indicates that we've got lots of lots of white in the image on then these areas of red, green and blue other circles within that image. So we can start to read how we move from the left hand side of the image across to the right on where these circles kind of sit in terms of luminosity on also color as we can see it in the in the vector scope. So let's have a look at examples. If we come back to the way form option here, then come back to our radiant If we apply simple, effective, we'll see what happens when we actually modify this. So we have this very linear graph here. I'm gonna come across to my effects and I'm just gonna search for noise in here. We want to add Cem some noise. Teoh image. Yes, I'm gonna drag the noise effect across and it's gonna add some noise or image. We can see the noise here. So suddenly we have a bit more variety within the darker as the image and some variety across the wire is the image as well. So we have this noise and image which is breaking apart that image. So if we increase the amount of noise, we're going to get a wider spread on that left hand side where the noise is actually breaking the image apart. So really, we can see how color works in its simplest form, where we're going from dark to light from left to right on. Then if we actually add some information, some more color information, some more detail into that image, then we get this breaking apart of that way for so very dark part, the image across here on the left hand side. Hopefully, this will help you to read the image 3. Fix Brightness & Contrast - The Color Board: if we come to this quite dark image here, we've got some very dark trees on some mid tones and you can see that a lot of color information is inches line below 50%. So we have these very hard white lines at the bottom here which highlights in this dark areas, the image. But then we also have these lighter parts, the image accentuated by this white area in the middle here, which is showing up 100% white on that highlight something else we need to be mindful of when we're correctly are color in final cut pro. And that is that we don't ever really want to come down below the zero mark when we color correcting or above 100% mark here. When we color correcting because we actually start to get our image blown out. Then we'll lose color information when we're color. Correcting we want to try and keep. Is much of that color information within the image as possible? We may add effects The things later. Andi, the rules are always there to be broken. So if you do want toe blocked your images, the shadows and create a very civilly like image. Then that's how you would do that by pushing Mawr of this sky above the 100% mark toe kind of blow out. And we can see that here in this snow image on, actually, even that'll, this snow looks white in our image. We can see that it's not pure why it's actually coming just above that 75% mark. But we've got is large air of color in the middle, the yellow truck on this guy on the left, which is where this information is showing up in our weight form, which is where this information is showing up in our way for. So what? The tools final cut pro. It gives us to actually modify the color. An image will come back. This image of the road we can see. There's a lot of color information in here within the trees and in these darker parts of the image. There's nothing that's completely black. So there's color information that we just can't pick out there, even though it looks very dark on screen that we can accentuate. I'm correcting the color, correcting the color balance. So what we're gonna do with this Alaska image will come up to our inspector on the top, right? If you don't see the inspector, then come to window showing workspace and make sure you got the inspector checked. And then we're gonna come to our color bullets here on the first color board. We out of the first color correction. We can just jump straight into here and actually begin toe work straight away in the exposure. So the exposures one of the first things that I normally begin to work with. We have a few different sliders here for the master image for the shadows, the mid tones on the highlights. If we want to increase the exposure of the whole image, then we can pull that up and we can see we start to get some of that color information a bit more visible around the sign. But we're starting toe really gray out the image because when losing those shadows in the image, if we pull this up a little bit, then we might want to pull down our black so we can work from kind of left to right here to modify a different parts. The image show. Pull this image down on Sometimes I like toe leave the color away from black so we don't go to zero. I'm just so you keep that detail in the shadows of your image, and then we can adjust the exposure of the mid point so we can lift those up and you'll start to see that we begin toe. Bring a bit more kind of color information on now, working between the dark terrorist image in the mid tones, we can actually work on pulling out some of the detail that we've lost within that image in the first place. So now you can see we can see the trees doesn't look like a completely black silhouette by lifting up those mid tones and by working with the overall color of the image on, just try and keep this guy below 100%. So we get that detail about a little bit of cloud detail left in the sky. But it's really the mid tones that we're raising up there on the blacks that were dropping back down as we're raising the overall brightness of the image. So that's the first image that we were working with. The image still looks a little bit washed out. We haven't got that much saturation in some parts of the image. So if we compare this in our vector scope to some of the other images, so you can see if we have a look at image that's completely saturated where this green, blue and red touching those squares, we never want to go beyond these squares. That means things that oversaturated actually to get to these squares doesn't mean you have a too much saturation so will normally be working within this area of that circle within our vector scope. What we can see if we come back to this image, we have very little bright color in that image. So will come to the saturation panel here and in here we're looking at the air is the image that we want to increase the saturation off. And it's things like the green sign there and such the mid tones of the image where we want to actually increase the saturation, perhaps the shadows to so we can push this up and you can see as we push the saturation up in the shadows, we're getting its color information spreading out. So we're getting a bit more that green. Um, it's actually more slam heading across this way. So we're starting to get a bit more that color information into the image, and we definitely know over saturate. The image is still got color in the central part. So we still go a good image that will work, work well and importantly, we're keeping all that color information. So if we jump back to the way for now, you can see we haven't really modified that everything still within that 0 to 100% range that we want. 4. Color Brightness & Saturation: So if we move on, have a look. Another image here. We'll have a look at this yellow truck so you can see here that a lot off the color information that we have here is in the 0 to 75% range. So essentially, what we can do here is we can stretch out the color and contrast this image by pulling that color information up. So if we make sure we've got this selective on the timeline just highlighting that clip and you don't need to have the clip selected timeline if it's on the main storyline. But if you have any other clips selected thin, that will be what shows up in the color corrections up here. If we have nothing selected, then where we have this play head hovering over will be what shows up so we'll keep the selected. Just ensure that we have it selected and will come up here on will raise up all of our colors here. So we're lifting up the color information and you can see we've got some little spikes here of the white. I'm not too worried if they go over 100% those fights because We can always use the broadcasts a filter to make sure that nothing is hopping over 100%. But essentially, what that means is that the white snow is gonna be white, which is fine. We'll keep a little bit of detail that we might lose some tiny spikes of white. So I'm gonna increase my white on, then decreased my black and you'll see now we're really beginning toe make that image a little bit more punchy. So we're bring out the contrast that image, and it looks much more vibrant than it did before. And saying that black level is really gonna help improve the richness of those colors and then live in the mid tones will just allow us toe lift out a little bit more detail in those darker areas. The image So we can see now what we had before. So in our inspector up here we can uncheck the option for the color board and that will show us that we had before and after so we can see that we've really increase the vibrancy of that image. If we go to the saturation, then we have quite a lot of saturation in the mid tones there. We'll have a look at our vector scope, and you can see we have a lot of yellow coming out to this left hand side here so we can increase that a little bit. We need to watch out because we don't want to over saturate things. If anything, we might want to pull down the saturation of some of the shadows of our image. Just toe. Make sure that we're not getting too close to being over saturated here in that image, so we might pop saturation a little bit. But just be careful to stay. Inside these lines is invisible lines you can draw between the yellow, red, magenta, blue, cyan and green. We don't want to over saturate things, but this is a bright image. There's lots of color in there. We should definitely accentuate that. And then for the color, we can kind of come from with it. So if we shift the image so if we're not quite sure about where that yellow is sitting here , maybe it's a little bit too orange. Then we can shift that yellow a little bit toe, bring it into different parts of the image and basically what's happening is we're moving that whole image across towards the yellow as we were kind of move it there. We may want to keep some of the shadows of that image away from the yellow so we can pull those back and you can see it's going to start to change the image. We definitely have some areas the image that he saturated, um, or have less coloring them. So in the middle here, so we should have some hair. Is the image like the white? I'm should be not yellow. And so the highlights. So you want to make sure that we have those white past the image as a nice, clean white, so we don't want toe. Add lots of yellow into the highlights so we can pull yellow out the highlights on by dragnets down. You can see we start to make nice, crisp white. When we pull that down again, we can play around with these. I always think that with the color adjustments here, less is more, but you can see the before and after really adding a bit more vibrancy into the image here again, the key thing is to keep an eye on the vector scope on the way form and make sure you're not pushing the image beyond where you want it to be. On the way form will help you keep the luminosity within that 0 to 100%. And then the vector scope will make sure that you have those white hair is the image. So the that he saturated areas the image either white, which we always want to be in the center there, so we can see, is a large area in that central part of the image, which is the white part of that image. And we can move it around and you'll see that twisting and expanding as we move these different circles around the image, but always trying to keep that islands in the image as we move things around. 5. Fixing a Sunset Image: a couple more images here just to apply what we've already learned about color corrections . I will have a look. First of all, at this shot, which was taken at sunset on a beach, shows the much darker image, and you can see that the image information is all mostly between 50% apart from a few highlights. So the first thing we'll go in and do is take a look at our exposure in our inspector up of the top right on will increase that to kind of pull that image right up, and you can see what brighten up that image. But again, we're making it very great. So we're losing all the dark hair is the image of the contrast that we have in the image. So if we now pull down the blacks and pull up the white hair is the image we can start toe , increase the contrast of that image and improve the overall range of colors that in their image they might notice in some images that a shot like this that you have to lift the color up, that you might get some grayness and image, I would look at something like the video if you want to remove grain in images or think about applying effects, that image. But you can see here that by working in the color board and working with the exposure, were really lifting up that part. The image. Nothing to know as well as if we look at the vector scope. This image has quite a lot off blue and parts damage, so we might want to have a look a coming into our color, taking our main color area on If we think about the color wheel, then if we apply some reds to our image, then we're gonna warm up. A little bit of snow will seem a little warmer. We're moving mawr into the red hairs, the image. We have quite a lot of saturation on the Reds. That is this red dress that we can see here so we can work with our color here to kind of walk image and you can see again. We're making it much brighter, much more vibrant and kind of adding more color into that image. So that's one example of working with the color correction tools that just lift up an image from lift up an image that was taken at sunset and apply some color correction that will lift up and brighten up out of it or walk to that image if we have a look at these two images. 6. Batch Copy and Paste Corrections & Effects: here, All these three images. Then I want to show you how we can take an image like this on then copy and paste the correction that we've done. So we have these 1234 images that whole time to have this same kind of darkness to them. And if we work on this image, first of all, so we'll come back to our way for you can see we've got some light. Rare is the image across here on the right, which is really the gaps between this tree on its most of the tree that we want to be visible. So we want to lift up all this color information so we'll come into our exposure on lift this up and then once you've done that, will drop down. The blacks raise up the mid tones on the highlights as well. By then, we'll just kind of keep working on this until we're happy with Carlo. We're getting in the image. We may come to the saturation on just a little bit mawr saturation into that image overall , just to kind of boost those greens on some of the light trailers damage so you can see what we're getting here from this is a much brighter, more vibrant image, and we made it to still come into exposure. Just lift up some of those some of those midterms just to get that brightness and vibrance into the image so you can see the difference. The clear difference there with this simple color correction. So if we take this now this image and go to edit hand copy waken, select thes other three images by holding down command that we can go to pet it on paste attributes. Now this will allow us to pace the color correction. So the color board one that we've got here onto those three other clips so we can kick paste and you can see now those other three images have brightened up as well. So we've applied a good base color correction to those three images we may need to go in and modify some of those individually toe. Either just tweak them so that they're not too too bright on so that we can use some of that detail in different parts of the image you can see here. It's last image was kind of a bit too blown out by that copy and paste, so you need to be careful with that, has your working on it and you may need to come back in and modify your images, but it will give you a good starting point for color, correcting multiple images. If you've taken different shots with the same settings on your camera, I knew that need to go on, actually correctable. 7. Remove All or Individual Effects: There's two more things I want to cover here. One is how to remove or reset our color effects on another is how to have a bit of fun when we really push the contrast. Now, if we have added color correction to an image and we want to remove that or reset it in a couple different ways, we can do that. One is toe highlight the clear, poor clips that want to remove that color effect from on. We can go to the color board here and press delete on keyboard, and that will remove that color correction. And if we come to another clip here, three other option we have is to actually come into that color board. If we want to keep it there on, then just press this little hook terror, which will reset those options. Okay, so we can reset the options off the color creatures exposure saturation hand color individually by coming in here and modify those so you can always reset things or remove those effects. If we have multiple effects on one clip, we can come to edit on either remove effects of remove attributes, and that will allow us to remove either all the effects by using the remove effects button or, if we want to be more precise about what we're removing, that we could go to edit and remove attributes on that will allow us to select individual effects that we want to remove. So you might want to remove the color correction but not changed the volume attributes. Okay, so you can see there where removing our effects in a couple of different ways. 8. Color Fun & Color Tint Effects: So let's have a look at this image here, and what we're gonna do is create a kind of cauterize silhouette. So first thing we're gonna do it within this image is come in and go to our exposure. We're gonna darken it off a little bit now, then really kind of dark and different parts of image. But then that's a very high sort of contrast you can see in this image we get this nice contrast between the foreground and background. So once we've done that and we can go in and modify the saturation if we want tol modify the color. But if we come and use the colorized effect because he made this image very black and white , we can actually add some very cool effects to it. So if we add the colorized effect and then come back to our video tab here in the inspector , we're remapping are black to this red. And if we increase the intensity will really see that. And we're remapping the white to the bright red. But if we go to our blacks and we'll remap to this bright green on, we'll remap the white to this magenta. You can see we start to get these kind of cool color effects by using those black and white options toe remap images. In that way, if we come back to the color board being come into the exposure and play around with this toe, decide how that come arise. Effect is going toe change the color in the clip mint. We can modify this to get the effect just as we want it. And using this effect, if we come to something like the Mexico image, we can also use that colorize defector accentuate certain parts of the colors in this image show. If we had the colorized sect here, we can come to our tab here to our effects, which we've got the right clip selected. And then we can map, for instance, our lighter parts of an image to a nice green. And then we can remap the darker past, the image to say a nice light blue, and we can increase and decrease the intensity. And that can last just to add so interesting effects to the color that's already in that image so we could use the colorized option toe change, the look and feel of an image as well, so we can make an image seem cooler. Or we can make an image see much warmer by working with these colors here. And obviously we can use the exposure as well. To then come in on accentuate the way that we've used those effects. So you can end up with some very extreme kind of looks, uh, in there, depending on how you mix these colors together, how intense you had your colorize effect. So play around with a color correction on a different color effects that you've got lots of tools in there to play around with. And then also, if you have any questions, then you can leave them in the comments section below.