Working in this mode allows you to move from one clip to another, up and down the timeline, and immediately apply new filters or see which have already been applied. This loads the timeline into the viewer, so when you click on the viewer’s filter tab you will see the filters applied to the timeline clip where your cursor/playhead is parked. Once I’ve consolidated the clips to V1, then I change the playhead sync mode (located in the canvas pulldown menu) to Open. Open playhead sync – a “color correction mode” Be sure you move the clip only vertically and don’t accidentally slide the clip a few frames out of its intended position. When you do this, be careful to check the edit points to make sure you maintain the correct cuts. The exception would be multi-track composites, which require several tracks. Before I start grading, I will move all clips down to V1. The typical one I encounter (if someone else edited the project) is that video clips are spread across a number of vertical video tracks. My first step is to go through the timeline and fix any problems. I’ve developed a recipe of go-to plug-ins and a grading workflow that help me to create the ideal look. Many clients don’t budget the necessary pre-flight time nor the rendering at the back end, so for these reasons, I find myself still doing advanced color correction/grading inside FCP – even for feature length indie films. This pre-flight time is necessary with feature-length projects, multi-clip timelines, as well as sequences with speed effects and other issues. Working with Color requires some prep time inside FCP in order to correctly set up the timeline for a successful roundtrip.
There are many projects for which it is one of the best grading options however, I also find that for quite a few projects, it’s still better to work inside of FCP and not use the roundtrip between Final Cut and Color. I’ve written about Apple Color before and like the application. ONWARDS AND UPWARDS.As an editor/colorist, I’m comfortable with grading inside a number of NLEs, ranging from Avid Media Composer and Symphony to Apple Final Cut Pro. With Ripple Training and Mark Spencer’s no nonsense approach, I feel I can give it a good go. Now to the downside!!! I am buying into DaVinci Resolve, which I thought was a million miles from my comfort area. So my advice is just buy this tutorial (and the others) they are quite simply…. Sorry if that sound a bit too sentimental, it is completely true. Since COVID-19 wrecked my regular job, I have been working on filming and editing projects and it has literally saved my family from financial ruin. Now people are wanting to buy my photos and commissioning me for video work.
I am not a full time professional videographer or photographer.
My photos have been getting praise and my video work has really jumped to another level. I also bought the ‘lighting an interview’, ‘sound editing’ etc. How naive! I was simply blown away by how Mark Spencer broke down colour theory and gave me a far clearer understanding and consequently more confidence/freedom. I thought I just needed to understand the approach in FCPX. I had watched lots photoshop tutorials on colour. This will seem strange a strange comment, but as a user of Photoshop and studying it for years I thought I was not too inexperienced with my understanding of colour. They quite simply have grown into the best online teachers available. I have been a customer of Ripple Training for many, many years, following along on their MacBreak studio episodes. Download this outline Advanced Color Correction in Final Cut Pro 1.