#Color grading in final cut pro how to
#Color grading in final cut pro pro

#Color grading in final cut pro how to

Here’s a short video that explains how to color grade Log video using a LUT.Here’s a tutorial that explains the difference between the terms HDR, RAW, Log, LUT & 10-bit Media.

The good news is that log video is, in almost all cases, shot with accurate color, but inaccurate grayscale – and fixing gray scale values is easy. However, in some cases, LUTs may not be known or available. The easiest way to start color grading is to apply a LUT. (Native log footage looks washed out and gray.) However, it requires color grading to make the image look its best. As a quick tip, if you want to make your workflow more efficient, you could save your settings as a preset, so if you need to color grade in a short period of time, it’s only a matter of dragging and dropping your preset and adjusting any settings if needed.Shooting log video is a great way to preserve highlight and shadow detail in an image. Now that you understand the basic functionality of each tool discussed don’t hesitate to adjust the settings to get the exact look you feel fits your shot. He also created a separate curves layer and brought up the highlights in the blue curves to change the color of the outside light to a cooler tone, adding an interesting color-contrast effect between the warmth of the under glow light and the cool outdoors. In the tutorial, Daniel created an S-shaped curved on the Master Curve in order to balance out the midtones and bring up the shadows slightly. 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.

#Color grading in final cut pro pro

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.