The other option is color masks, which you can use in combination with shape masks. It seems a bit restrictive, but you can add multiple masks for more complicated objects. The first option is to shape masks, which lets you make adjustments with an elliptical or rectangular mask. The rectangle shaped button next to the “Add Keyframe” button brings up the “Masking” menu. This one’s pretty simple, but it’s hidden behind a button menu. Making Localized Adjustments with Shape and Color Masks Final Cut will automatically fade between the settings for each one. You can add a second keyframe, click on it in the timeline, and edit the settings on that one. When you add a new keyframe, it will copy the current settings to that keyframe. You’ll want to right-click your clip and select “Show Video Animation” (or press Control+V), so you can see the keyframes you’re editing-they’re hidden by default. There’s no hotkey for doing this, but you can cut, copy, and paste keyframes with Option+Shift+X, C, or V, respectively.
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You can add a new keyframe with the plus button next to the color board. Keyframes save your settings at a particular time and transition between them, effectively animating your clip. Like everything in Final Cut, you can adjust the color board using keyframes. Also, you’ll want to adjust this over the whole video if your footage isn’t constant. Don’t go too far though, as you’ll start clipping and losing detail. You can see now that the top of the clip is near 100, and the lows are near 0. You can adjust the shadows and highlights individually on the Exposure tab. Usually, you’ll want the deepest blacks of your footage to be at zero and the whites to be at 100%, but again this comes down to artistic preference. The Luma waveform scope is useful for adjusting the exposure of your clip. You can adjust the channels that each scope displays here as well, making it easy to do things like switching from viewing all colors to viewing only the red channel.
You can change scopes with the button in the top right corner. Ideally, you’d probably want your footage to be somewhere close to the middle, but it all comes down to artistic preference. Just drag the master color wheel around until it lands on the opposite side: The vectorscope is pretty useful for finding the average complementary color of your footage. The first interesting one is the vectorscope, which plots pixels by color (which direction they’re facing on the circle) and by intensity (how far from the center they are). You can open video scopes by pressing Command+7 or from View > Show in Viewer > Video Scopes. The different scope viewers help to dial in and perfect these changes. Using Scopes to Master Color GradingĬolor grading by eye alone can be pretty hard, as you’re making many small improvements that you might not even notice one at a time. The same rules apply to the other tabs as well. If you move them below the centerline, it will have a negative effect. In the Color pane, moving them horizontally will change the color, and moving them vertically will change the intensity of the effect.
Master control will change the look of the whole clip at once, and the other sliders will change the dark, gray, and light parts of the image individually.
There are four sliders in each pane for master control, shadows, mid-tones, and highlights.
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