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Final Cut Pro Efficient Editing - Second Edition

You're reading from  Final Cut Pro Efficient Editing - Second Edition

Product type Book
Published in Jul 2023
Publisher Packt
ISBN-13 9781837631674
Pages 828 pages
Edition 2nd Edition
Languages
Author (1):
Iain Anderson Iain Anderson
Profile icon Iain Anderson

Table of Contents (23) Chapters

Preface PART 1: Importing and Organizing
1 Quick Start: An Introduction to FCP 2 Before the Edit: Production Tips 3 Bring It In: Importing Your Footage 4 Sort It Out: Reviewing and Keywording 5 Choose Your Favorites: Selecting, Rating, and Searching PART 2: Rough Cut to Fine Cut
6 Build the spine of the story: Quick Assembly 7 Cover It Up: Connections, Cutaways, and Storylines 8 Neaten the Edges: Trimming Techniques 9 Consider Your Options: Multicam, Replacing, and Auditions 10 Explore a Little: Compound Clips and Timeline Tricks PART 3: Finishing and Exporting
11 Play with Light: Color Correction and Grading 12 Refine and Smooth: Video Properties and Effects 13 Blend and Warp: Video Transitions and Retiming 14 Boost the Signal: Audio Sweetening 15 A Few Words: Titles and Generators 16 You’re Done: Exporting Your Edit and Finishing Up Other Books You May Enjoy Index Appendix A: 360° Video Workflows

Adjusting Saturation with the Color Board

After Exposure, you might need to tweak Saturation:

  1. Click on the Saturation tab at the top of the Color Board.
  2. Move the Midtones slider up (or perhaps down) until it looks good.
  3. Optionally, move the Shadows slider up (or perhaps down) until it looks good.

If a shot starts life underexposed or overexposed, it’s likely to be undersaturated. Some footage is also slightly undersaturated by nature, but if the image looks very flat, then it might have been shot in “log” mode, and you’ll find out how to deal with that later in this chapter.

Figure 11.32: Before/after Saturation boosts are best seen in the Vectorscope, or in Waveform set to Chroma

Figure 11.32: Before/after Saturation boosts are best seen in the Vectorscope, or in Waveform set to Chroma

For now, if any parts of the image look unexciting and dull, boost Saturation. Midtones are most likely to need work (as it’s the puck you probably changed the most under Exposure), but Shadows can look good boosted too...

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