![color finale final cut pro color finale final cut pro](http://ww1.prweb.com/prfiles/2013/03/15/10538099/final-cut-pro-x-plugin-final-cut-pro-x-effects-pixel-film-studios-proextreme-4.jpg)
- COLOR FINALE FINAL CUT PRO HOW TO
- COLOR FINALE FINAL CUT PRO FOR MAC
- COLOR FINALE FINAL CUT PRO PRO
- COLOR FINALE FINAL CUT PRO SOFTWARE
- COLOR FINALE FINAL CUT PRO PLUS
COLOR FINALE FINAL CUT PRO PRO
It is a complete offline setup of Color Finale Pro 2.2.8 with a single click download link. System Requirements for Color Finale Pro 2.2.8ĭownload Color Finale Pro 2.2.8 for Final Cut Pro X FreeĬlick on the button given below to download Color Finale Pro 2.2.8 setup free.
COLOR FINALE FINAL CUT PRO SOFTWARE
COLOR FINALE FINAL CUT PRO FOR MAC
To wrap it up, Color Finale Pro 2 for Mac is a must-have plugin for every Final Cut Pro X user for next-level color grading and video editing. Now the shot just needs some Beach Boys music and we’re done….īy the way, we just launched a completely new website that makes browsing, ordering and viewing our tutorials even easier.Moreover, it also provides color correction tools, including color profiles (video, log, ACES, LUTs), white balance (Temperature & Tint controls), film grain emulation, and the details enhancement / Sharpness tool. Let’s play back the clip to see how it looks…. Now I’ll drag upward on the mid tones slider to increase saturation but making sure the trace line in the scope stays on its current trajectory. The goal is therefore to punch up the saturation, while maintaining the current color vector in the scopes. This reinforces my point, that skies are not in fact, “true blue”, and pushing your color toward blue will actually make your skies appear unnatural. Often during color correction, your eyes can lie to you, and you really need to look at the Vectorscope to see where color are actually falling.Īs you can see, the blue in the sky is falling between blue and cyan on in the scope – but it’s more toward cyan. The sky is definitely looking punchier, but I’m not sure if I’m choosing the right blue color. I’m going to really exaggerate the change by pushing the saturation as high as I can. With the Color Balance Board selected, I’ll drag the mid-tones slider upward into the blue field to add more blue to the sky. With inside button selected, only the area inside the matte will be affected by our color correction – in other words only the sky I worked so hard to isolate. At the bottom of the UI, you’ll see 2 mask buttons Inside and Outside. Let’s check the Matte view by option-clicking the slider. As you can see, the entire sky is now selected.
![color finale final cut pro color finale final cut pro](https://digitalfilms.files.wordpress.com/2015/03/df1115_cf_2.jpg)
I’ll shift-click one more time in this area at the bottom. Notice that more sky pixels are added to the matte.
COLOR FINALE FINAL CUT PRO PLUS
A plus will appear next to the eyedropper to indicate you will be adding to your current matte selection.
![color finale final cut pro color finale final cut pro](https://i.ytimg.com/vi/ugd_HEs7iAg/maxresdefault.jpg)
Move the eyedropper over the lower section of the sky, then hold down the shift key. As you can see from this matte, there are sections of the sky we still need to add to the matte. White pixels are the current pixels that are selected and represent the region we want to target our correction. If you hold down your option key, then drag on the softness slider a matte view will appear in the Viewer. Don’t make the circle too large or you’ll be including color values you don’t want to include in the mask – like the palm trees. The size of the outer circle determines the range of variation in the selected color. If you drag outward, you’ll see concentric circles appear. Only blue pixels are displayed and the rest of the image is muted in gray tones. As you’ll see, even if your initial selection is not perfect, you can add to your sample later.Ĭlick and hold with your mouse. I suggest sampling in the area where there’s the greatest amount blue pixels, in this case, toward the top of the frame between the palm trees. The question now becomes, what section of the sky should I sample? There are darker more saturated pixels at the top of the frame and lighter, less saturated pixels at then bottom of the frame. To sample the sky color select the eyedropper in the Color Mask section then move it over the image in the Viewer. With the playhead parked over the clip, open the Inspector. But in this case, instead of removing the sky, I’m going to make it more vibrant. I want to use a color mask to isolate just the sky so it can be altered using the Color Board.Ī Color mask is similar to chroma keying where the background of shot is keyed out and replaced with a different background.
![color finale final cut pro color finale final cut pro](https://fcp.co/images/stories/2020/03_2020/color-finale-fcpx-update.jpg)
Here’s a a shot of your typical day in Los Angeles.
COLOR FINALE FINAL CUT PRO HOW TO
In this episode, I want to show you how to give your skies more punch using a Color Mask.