Color Correction/Finishing in FCP By Andrew Balis

Intro The new color correction tools in Final Cut Pro 3 have opened up the door to achieve some powerful, professional control over our images. We can create natural or styli ed loo!s and anything in"#etween. $ost importantly, we have the a#ility to #e a#le to isolate certain elements of the image, and manipulate only what we want. For e%ample, we can ma!e the shadows of a scene dar!er without dar!ening the entire image, we can change a dingy s!y to #right #lue or change a shirt from one color to another. We can even create a loo! similar to that found in the film &Pleasantville&, where the entire image is #lac! and white e%cept for one colored o#'ect in the frame. The Tools There are several new tools that we can utili e, some are video filters for color correction, and the others are displays for monitoring the video image that we use along with the color correction tools. Color Correction Filters( Broadcast )afe, Color Corrector 3 Way, Color Corrector, *esaturate +ighlights, *esaturate ,ows, -.B Balance, as well as other effects filters found under the /mage Control Bin. $onitoring Tools( Waveform $onitor, 0ectorscope, -.B Parade, +istogram and -ange Chec!. This is a lot of new tools, too many tools for this article. /nstead, this article will focus on the #asics, so that we can focus on getting a handle on color correcting and !eeping it all legal. What1s legal2 This is a #road term for determining whether our images fit in certain specifications for #roadcast, and we1ll ta!e a loo! at this su#'ect later in the article. Primary Color Correction Primary color correction refers to re#alancing the video image. The image can #asically #e #ro!en down into three sections, the Whites, the $ids, and the Blac!s. These three areas are the &range& of the image. The Whites determine the highlights in the frame. +ow white is the #rightest o#'ect, how much detail is in the highlights, and what is the color #alance or hue of those highlights. The Blac!s define the shadow area of the picture. +ow #lac! is the dar!est o#'ect in the frame, how much detail is in the shadows and the color #alance in that area. The $ids define pretty much everything in"#etween. This area is often the real focus of the frame, li!e where faces are. This is the area of the frame that has the most detail. What is so good a#out having discreet control over these three areas of the frame2 Well, it gives us the a#ility to change one thing without affecting other things to the same degree. For instance, a face in the frame is a little to dar!. /f we #rought up the luminance level of the whole image to ma!e the face #righter, then we would also #e ma!ing our shadows less dar! and mil!y. We would also #e ma!ing our highlights go to #right, and possi#ly lose some good detail. But if we 'ust increase the luminance of the $ids, we can #ring up the face and still have sharp shadows, and maintain the detail in the highlights.

The ne%t set of images really illustrate this well. /n the image #elow, we start with an uncorrected shot. /t is a low !ey scene, #ut we may wish to see more detail in the faces.

/f we were to use a Brightness filter to lighten the image, then the image would #ecome mushy, as everything in the image #ecomes #righter, and the shadows are now gray instead of #lac!. But if we use a filter to lighten only the $ids, the middle gray area of the image, then our #lac! will stay #lac!, #ut we can see more detail in the faces. Brigtness3Contrast filter Color Corrector 3 Way filter

)cene loses contrast, mushy #lac!s

)cene has more detail, shadows remain sharp

/t is also important to !now that as you ad'ust one part of the image, there is still an impact to some degree on other parts of the image. The following illustration shows a gradient stretching from #lac! to white. 4otice that the $ids overlap into the Blac!s and the Whites. This means that when we are manipulating the $ids, i t may also have an impact on some of the #righter shadows and the dar!er highlights.

Color Corrector 3 Way Filter 5ne of the color correction filters in FCP allows us full control of the image while performing primary color correction( the Color Corrector 3 Way.

To apply this filter, go to the 6ffects Ta# of the Browser70ideo Filters7Color Correction and drag the filter on to a Clip in the Timeline. Additionally, you can apply a filter #y selecting a Clip in the Timeline, and then go to the 6ffects menu and choose it from the list of 0ideo Filters. After applying the filter, open the Clip into the 0iewer to ma!e ad'ustments. /f you go to the Filters ta#, you can ma!e changes with numerical values. / don1t prefer to wor! this way, so instead clic! on the Color Corrector 3 Way ta# 8-ed arrow #elow9 that is 'oined to the Clip to #ring up the 0isuals ta#.

Clic! on this ta# to #ring it to the front Tip( While color correcting, a good wor!flow is to open the Clip to #e corrected into the 0iewer. .o to the Color Corrector ta#. Par! the Playhead in the Timeline over the Clip that is #eing ad'usted in the 0iewer. This way, whatever you do in the 0iewer on the Color Corrector ta#, will #e instantly seen in the Canvas. Luminance Controls 5n the color correction ta#, near the top, are three color wheels, each representing the three different parts of the image( Blac!, $ids, Whites. To ad'ust luminance of the Blac!s, $ids or Whites, there are sliders under the three color wheels 8-ed arrows #elow9. *rag the slider left or right.

Tip( Clic!ing on the little arrows on the ends of the sliders will let you move the sliders in smaller, finer increments.

-emem#er, these ad'ustments affect 'ust how much detail is seen in the various areas, and if you go too far, you may lose valua#le detail. Color Controls To ad'ust color, we will wor! in one of three color wheels. 4otice that the colors are distri#uted along any of the wheels in the same way as in the 0ectorscope.

To ad'ust the color of any of the three sections of the image, gra# the #utton at the center of the wheel 8-ed arrow #elow9, and drag away toward one of the edges of the wheel.

Clic! and drag The farther away from the center, the more of that particular color you are adding. /f an image is too #lue, for e%ample, then you would drag in the opposite direction of that color, toward yellow. By adding yellow, you #egin to nullify the #lue cast of the image. By going too far, you end up with an image with a yellow tint. To amplify a color, you would add more of that same color, #y dragging toward the side of the wheel of that same color. Tip( When dragging the little #utton in the color wheel, it will move in small increments 8slowly9 for fine ad'ustments. /f you hold down the Command !ey while dragging, it will move in larger degrees 8faster9. To ad'ust overall color saturation of the image, drag the )aturation slider left or right.

The Easy Controls When #eginning to color correct, there are some controls that can help get you &in the #allpar!&. /n other words, we can use some automatic controls to get our image closer to &normal& color #alance and contrast, and then go #ac! and use the controls descri#ed previously to ma!e fine ad'ustments. For luminance, there are controls to automatically set white and #lac! levels. These are found under the $ids color wheel. These three #uttons represent Auto Blac!, Auto Contrast 8white and #lac!9 and Auto White.

Auto Blac!

Auto Contrast

Auto White.

To #egin, try using one of these controls to see the impact on the image. /f there are o#'ects in the frame that should represent true white and true #lac!, then these auto controls may wor! well. /f there are many shades of gray, #ut nothing that should #e white, then this control will lighten the higlights of the image too much. The same is true for #lac!. /f there are no true #lac! o#'ects in the frame, then this will compensate #y ma!ing the dar!est shade of gray go to #lac!, ma!ing the image too contrasty. -emem#er, 'ust #ecause there is a white and #lac! on the scale of the waveform monitor, doesn1t mean all of our images should stretch out to those levels 8,ater in the article, we1ll tal! a#out the waveform monitor in more detail9. For color #alancing, especially trying to match differently setup cameras, or incorrectly setup cameras, we have the a#ility to &neutrali e& the scene. Basically, we can use auto color controls to remove a color tint from an image. 4e%t to each color wheel is a small eyedropper. Clic!ing on an eyedropper ma!es it active. )tart with the eyedropper ne%t to White and clic! on it.

4e%t, go to the Canvas, and clic! on a part of the image that should #e a neutral white. This will automatically re#alance the image in the highlights, which will also have an

impact on the rest of the image. This one control may #e all that is needed to create a natural loo! for color. /f further ad'ustments are needed, simply go to the particular color wheel and reposition the #alance manually. :ou may also use the eyedroppers under the $ids for middle gray, or the eyedropper under Blac!s for the shadows. Resetting Controls To reset any one color wheel, clic! on the white #utton to the #ottom right of the wheel.

Tip( To reset all color wheels, and all luminance ad'ustments, then )hift3clic! on the white #utton ne%t to any of the three color wheels. Additionally, you can go #ac! to the Filters ta# and clic! on the red ; across from the filter to reset all controls on the filter. Tips While Color Correcting <. =se a good wor!flow. )tart #y setting the luminance range of the scene. )tart with setting the #lac! level, then the whites, and then finally the $ids. As you ad'ust one, other controls may need to #e twea!ed a little again after their first ad'ustments. 4e%t, start to wor! on the color of the scene. At first, if there is nothing white in the scene, then #egin #y #alancing the color wheel of the $ids, and then ma!e ad'ustments as needed to the White and Blac! color wheels. /f there is a white o#'ect in the scene, use the White eyedropper as the first step to o#taining a neutral color #alance. >. Chec! the color correction against the un"altered Clip 8original9. Clic! on the *isa#le Filter chec!#o% at the top of the window to toggle the color correction on and off. This is helpful when ma!ing su#tle ad'ustments, as your eye will start to get used to the new image, ma!ing it difficult to see the correction you applied. Toggling the filter on3off will clarify the distinction #etween the two versions of the image.

3. =se !ey#oard shortcuts to match to other shots. These controls temporarily move you to previous and ne%t shots in the Timeline, helping you view how the color correction

matches the #alance of other Clips around it in the scene. As soon as you release the !ey commands, the Playhead moves #ac! to the current Clip. Control3up arrow Control3)hift3up arrow Control3down arrow Control3)hift3down arrow Previous shot > shots previous 4e%t shot > shots ne%t

?. =se filter copy controls. These controls, found in the top of the visuals ta# of the color correction filter, allow you to apply the current color correction to the ne%t Clip in the Timeline, or the >nd Clip down in the Timeline. Copying to the ne%t Clip forward is a great way to #egin on color correcting the reverse angle of a scene. This will get you into the #allpar! if the two shots were filmed or taped similarly. Copying to the >nd Clip forward is helpful when you are cutting #ac! and forth #etween two angles of a scene, li!e two close ups. 6very >nd Clip is the same angle, so copying the filter helps to avoid color correcting the same Clip over and over.

Color Corrector Filter This filter is similar in many of the controls found in the Color Corrector 3 Way, #ut it also gives a slightly different approach to color #alance and hue. The controls that wor! similarly are shown #elow.

,uminance3)aturation )liders

Auto Contrast

The other controls, for color, are setup as shown #elow. This type of color correction is more #asic than the Color Corrector 3 Way, as there is only one Color Balance wheel, and this wheel affects the overall color #alance, instead of affecting the #alance in 'ust the Whites, $ids or Blac!s. This may #e a good filter when first starting out, as you don1t have to try and guess what section of the image needs ad'ustment differently than other areas.

There is also a +ue color wheel, which will #asically apply a tint to the image in the direction that you dial the wheel, which can #e done cloc!wise or counter"cloc!wise. This can #e used alone or in con'unction with the Color Balance wheel. / find this only useful when / want to tint the image #y another color, and for this, / generally will use the )epia or Tint filter instead. / don1t tend to use this filter for most primary color correction, and tend to stic! with the Color Corrector 3 Way instead. Although, / do ma!e use of this filter when performing secondary color correction, as we will loo! at later in the article. Secondary Color Correction This type of color correction refers to #eing a#le to ad'ust one color value in a scene without affecting other colors, also referred to as selective color correction. This can #e used to change the color of a s!y or intensify the #lue in a s!y without affecting the rest of the scene. /t can #e used to change any colored o#'ect in an image, li!e a shirt, from one color to another. And, as / promised earlier in the article, we can even create a #lac! and white image, with only one colored o#'ect in the frame, even when the original image was filmed in full color. This techni@ue is similar to #lue screen effects, where the #lue screen is !eyed out 8made transparent9 to replace the #lue #ac!ground with another scene. But instead of ma!ing those areas of the frame transparent, secondary color correction will let you alter the appearance of the color that you define. To perform this color correction, we can use the Color Corrector 3 Way or Color Corrector filters. The controls are the same for each filter. / prefer to use the Color Corrector filter for this tas!, as it gives me a lot of fle%i#ility for @uic!ly changing the color to anything / want. To Begin Apply the Color Corrector filter to a Clip, and go to the Color Corrector ta#. At the #ottom of the ta#, there is a section defined as ,imit 6ffect. All of the controls #elow this line help us define what color in the frame we want to apply this effect to.

e!ine The Color To Be "anipulated Clic! on the eyedropper under ,imit 6ffect to ma!e it active. Then clic! in the canvas on the colored o#'ect that you want to affect. This sets the three controls under ,imit 6ffect to define this particular color. Chances are, you will still need to ma!e ad'ustments #efore this color is accurately defined.

To see if the color is properly !eyed8defined9, clic! on the little !ey #utton under ,imit 6ffect. Clic!ing it once will turn the !ey from gray to white.

Aey when gray

Aey when white

The image in the Canvas will #e displayed in #lac! and white. White will represent the !eyed color, and #lac! will represent sections not selected. 5n the sample #elow, on the left you see the original image. The o#'ect that is #eing selected is the #lue #ottle.

/n the ne%t image on the left, you see the selection chosen with the eyedropper 8when the !ey #utton is white9. /t has only selected part of the #ottle la#el that / wanted to affect. To select the entire o#'ect, we will need to e%pand the selection. when finished, the selection should loo! li!e the image on the right.

First selection with eyedropper

After selection is e%panded

To accomplish this, we can use the Color )election, ,uma and )aturation controls under ,imit 6ffect as shown #elow.

/f part of the o#'ect is dar!er than the part selected, e%pand the selection under the ,uma control to include that dar!er shade of the color. /f part of the color is a slightly different hue, then e%pand the Color )election. /f part of the color is more saturated than the selection, then e%pand the )aturation selection. To ma!e an ad'ustment, we can drag the top handles, the #ottom handles, or drag the range displayed. The top handles of a control ad'ust the overall range also called Tolerance. The #ottom handles ad'ust the )oftness of the selection, which #asically feathers out the selection softer than the top handles.

:ou may also clic! and drag in the #ar itself to drag the overall selection left or right. The cursor will turn into a little hand while you are over the #ar.

Continue to ad'ust any or all controls until the white part of the Canvas is accurately representing the entire o#'ect. / tend to find that there is less science here, and more test"and"see to ma!e it wor!. Ad'ust the top handles of all three controls until the o#'ect is almost fully white. Then go #ac! and ad'ust the #ottom handles to feather out the selection to completely define the o#'ect. Per!orm Secondary Color Correction 4ow that the area or o#'ect to #e manipulated has #een defined, we can modify it. Clic! on the !ey #utton once, and it will turn #lue. This shows the image without any color

correction. Clic! on it once again until it is gray. 4ow it shows you what the final image will loo! li!e. )ince we haven1t actually done anything yet, there will #e no difference in the image. 4ow, to modify that defined o#'ect, use any of the color correction controls on the top of the Color Corrector ta#. :ou can use the Color Balance wheel, or the +ue wheel. / find the +ue wheel #est for ma!ing drastic ad'ustments to the color. 4otice that anything that you do in the filter will only #e applied to the defined o#'ect. /n this e%ample, we turned the #lue #ottle into purple.

Creating the Pleasant#ille Loo$ Creating a #lac! and white image with only one colored o#'ect is similar to the process a#ove, with a couple of distinctions. First, select the color that should remain in color, using the controls under ,imit 6ffect to define the color as we did a#ove. 5nce the color is defined, then clic! on the /nvert #utton under ,imit 6ffect.

4ow, instead of the individual o#'ect #eing selected, the entire image e%cept that o#'ect is selected. .o up to the )aturation slider in the color correction controls, and drag all the way to the left, as shown #elow. The entire image will #ecome #lac! and white e%cept for that one color.

4e%t, there are more e%amples of secondary color correction, #ut this time, the colored o#'ect changes hue, and is less saturated. The way this is accomplished is #y adding a second Color Corrector filter after the first filter.

/mage #efore color correction The first filter is used to isolate the color, and turn the scene #lac! B white e%cept for the one color.

The second filter is used to change the hue of the scene, and desaturate all color, which in this case, is only the one colored o#'ect.

When using color correction, we can always apply one filter over another for even more control than a single filter can give us. Tips %n Secondary Color Correction 5ne of the toughest parts of secondary color correction in #eing a#le to define the o#'ect that should #e affected8or the o#'ect that will remain unaffected9, is trying to !eep other o#'ects in the frame from #eing selected as well. /f secondary color correction is going to #e used in a pro'ect for an overall effect, or used often, then care should #e ta!en when planning out the shoot. Cust li!e when preparing for #lue or green screen, a color should #e used that is uni@ue and different from other colors in the scene to avoid selecting more than the one color with the ,imit 6ffect controls. The more distinct the color is when you are shooting, the more chances you will #e successful with it in post production. Additionally, if there are similar colors in the scene, #ut you don1t want them all selected, you can use one of the plugins from C.$ 0olume >. We all get volume < for free with the purchase of FCP, and this additional set is worth #uying.Their secondary color correction filters, called )elective Color Corrector, will perform the same tas! as FCP1s filters, #ut include a mas! 8either ? point or D point9 so that you can start #y selecting a portion of the frame, and then the color. This mas! can then #e !eyframed to move along with the image on the screen. Also, there is a handy tric! to selecting a &range& with the eyedropper instead of 'ust one particular color. =se the eyedropper as you would normally. After the first selection, hold down the )hift !ey, clic! on the eyedropper and then clic! in a new area of the Canvas 8still holding down the )hift !ey9. Continue to use )hift3eyedropper3select until you have selected the entire color range that you are trying to isolate. This techni@ue can #e used to help find a #etter staring point than 'ust a single selection with the eyedropper tool.

"a$ing It Legal /t is important to get to !now the color correction tools and start to develop an eye for color. But, 'ust as important, we will also need to consider other factors 8and /1m not tal!ing a#out whether the client has sugar for their coffee9. )pecifically, we will at all times need to #e aware that our final color corrected images are &#roadcast legal&. Whatever we do, our final concern is that these #eautiful new images won1t #e re'ected #y the #roadcaster. 6ven if the program is not going to #e #roadcast, #ut distri#uted on *0* or another medium, we still have to !eep these goals in mind for the images to #e

accurately represented on consumer level televisions. )ometimes our color correction has less to do with creating a loo!, and more to do with ma!ing it legal. We will loo! at the standards for 4orth American 4T)C, #ut to #e accurate and safe, it is a good idea to get a specifications sheet from the intended #roadcaster. )ome are more strict than others. A good safe guideline would #e the specs for PB) as they are pretty conservative. To #e a#le to determine what is legal, we would use a waveform monitor and vectorscope to analy e the video signal. Basically, we are loo!ing for two things with a video image( &' ,uminance range limits (' Color saturation limits /f we are strictly monitoring in the analog world 8using e%ternal hardware waveform monitors9, then the following are our guidelines( Luminance For luminance, video signals are measured #y levels of voltage. We want to ma!e sure that our #lac!est #lac! does not fall #elow E.F /-6. 5ur whitest white should not go a#ove <GG /-6. The following is a representation of an analog waveform monitor showing the luminance values of an image.

The waveform monitor that we find in FCP is set up a little differently, and it is e%tremely important to !now the differences #etween FCP1s scope and an e%ternal 4T)C scope. FCP1s waveform monitor is very accurate, #ut it uses a digital scale for signals instead of a scale #ased on voltage. We will discuss this in more detail when we loo! at FCP1s waveform monitor in the ne%t section of this article ( =sing The )copes. Color Color saturation 8and hue9 may #e e%amined on a vectorscope. /t is #asically a color wheel representing the three primary colors 8red, green and #lue9 and the secondary

colors 8yellow, cyan and magenta9. When there is a color in the frame, it will #e represented on the vectorscope going in the direction of that side of this color wheel. The following is an illustration of an image that has a lot of red values in the frame. The vectorscope shows a ma'ority of its values along the red side of the color wheel. Additionally, the more saturated a color, the more it stretches out away from the center to the edges of the color wheel. The less saturated a color, the closer it will #e toward the center of the wheel.

To determine legal saturation levels, we will want to loo! at the color &targets& along the vectorscope. These targets are used for cali#rating color #ars, #ut they also serve as the limits for our color saturation. /n general, we do not want any color1s saturation to ever e%tend past the center of the target along any sides of the vectorscope.

This is the target for the color :ellow )sing The Scopes As / mentioned earlier, we will need to e%amine the image1s color and luminance values, so let1s loo! at the two tools we will use. To #egin, you can go to the Tools menu70ideo )copes to launch the Tool Bench window, with the 0ideo )copes ta# in front.

Additionally, another method of #ringing up this window is to go to Window7Arrange7Three =p. This re"arranges the windows on the screen to see everything including the video scopes. 5pening the window will #ring up a ?"up display showing all four monitors. We will only #e concerned with the Waveform monitor and 0ectorscope. Toggling down the drop down menu in the window will let you choose #etween the various scopes, li!e a full window of the waveform monitor.

/ personally li!e to see two full window displays, one of the Waveform monitor and one of the 0ectorscope. :ou can do this easily. After opening the 0ideo )copes window, go #ac! to the Tools menu, and choose 0ideo )copes again. This will open a separate scopes ta# on to the Tool Bench window. Clic! on the ta# of the newly opened scopes ta#, and drag it away from the main window. This &#rea!s off& this ta#, and now you have two different windows, where they can each #e set separately.

Clic! and drag on ta# to separate into another window The Wa#e!orm "onitor

As we discussed earlier, the waveform monitor in FCP is set up differently than e%ternal waveform monitors. /nstead of using analog representations of voltage levels, it uses a digital scale representing percentages from #lac! to white. The scale starts at G for #lac!, represented on the scale at the word &Blac!&. The scale tops out at <GG for white, represented on the scale with the word &White&. All of the grayscale values #etween #lac! and white is represented numerically #etween G"<GG. Tip( Control3clic! somewhere over the Waveform monitor and choose )aturation from the drop down menu. This view can #e left on in most situations, and gives more information a#out the video signal.

Control"clic! over the waveform display to change options The scale also represents the different areas of the video frame hori ontally across the window. For e%ample, in the ne%t illustration, a #right white o#'ect is near the middle of the screen, and is represented in the middle of the waveform monitor. *eep shadows on the right side of the image are represented along the right side of the waveform monitor.

)o, what are our goals when using this waveform monitor2 This, in my opinion, is the most misunderstood part of color correcting in FCP, and the most important su#'ect for us to get straight. For *hite+ *e do not *ant to go a,o#e &-- .White on the scale'/ For ,lac$ le#els+ *e *ant to aim !or - .Blac$ on the scale'. That1s right. :ou heard correctly( G for #lac!. 4ot E.F. -emem#er, we are wor!ing with digital percentages, not /-6 units. Although 4T)C1s setup level8#lac! level9 is E.F /-6, that is not what we are aiming for in this scope. We are aiming for G. /n fact, whether we are creating images for 4T)C, PA,

or Capanese 4T)C, we are always aiming for G on this scope. This G level in FCP will #e correctly displayed as E.F /-6 for 4T)C once it is played #ac! in the analog world. ,et1s tal! a#out *0, #ecause it is this format which can cause the most confusion. :ou may have heard at times that &this camera is 4T)C&, or &this camera is manufactured in Capan and is not American 4T)C&, or &this camera is E.F /-6, and this camera is G /-6&. This is all #un!. 6very digital camera records #lac! at G. /t is only a function of the analog outputs of the dec! or camera that either have &setup& or do not have &setup&. /n other words, the analog outputs of the dec! or camera will convert this signal to E.F /-6 if it is set up for 4T)C, and will not change the signal if playing out of a PA, or Capanese 4T)C dec! or camera and will remain at G /-6. )o if you are shooting with two different cameras, they will #oth record at the same #lac! level, and they will #oth #e represented at G in FCP1s waveform monitor. Personally, / thin! the reason that FCP descri#es G as &Blac!& and <GG as &White& is to help avoid confusion( 0im !or Blac$ !or your ,lac$ le#els+ and White !or your *hite le#els. Where is this setup located on my camera3dec!2 +ere1s the #ad news a#out *0. /f you are using a consumer level camera, or even a lot of prosumer level dec!s, li!e the )ony *)-<<, *)->G or *)-?G, there is no setup, and the analog outputs will always #e at G /-6 8too dar!9. /n fact, if you set up an analog waveform monitor to this dec!, it will #e inaccurate, as it will see a signal that it e%pects to have setup, and it thin!s your #lac! levels are at G /-6, instead of E.F /-6. =sing this setup, you can incorrectly lighten the #lac! levels too much. +ere1s the good news. /f your camera does not have 4T)C setup in the analog outputs, and you need to ma!e good analog du#s 8li!e 0+), 33?& or Beta9, then you still don1t have to #e concerned a#out the recorded #lac! level of the *0 footage. /t is recorded properly. /f it is played #ac! in a dec! that has setup, then the du#s will #e fine. /f you use a higher end *0 Cam dec! li!e a )ony *)- <FGG, then this dec! has options to &Add )etup&. This does not affect the digital recording, it only affects anything played out of the analog outputs, and du#s through this output will #e correct for 4T)C. /n fact, )etup should #e left on with these dec!s. Also good news is the fact that your )ony $ini *0 material may also #e played #ac! on *0 Cam dec!s without any pro#lem.

The 1ectorscope This tool #ehaves similarly in the analog world and in FCP. As mentioned earlier, for #roadcast, simply ma!e sure that any color saturation does not fall outside the targets found on the wheel.

Tip( Additionally, for a more detailed view of the center portion of the vectorscope, Control3clic! anywhere over the vectorscope and choose $agnify from the drop down menu. We can also use the vectorscope to aid in color correcting single or multiple images. 4ot only will it display whether colors are legal, #ut it helps to eliminate color casts. :ou may loo! at an image and !now that it is a little off, #ut e%actly what color is the image leaning toward2 :ou can see this on the vectorscope, as the main grouping of spi!es will lean toward the #alance of the image. /n the color correction filter, drag toward the opposite side of the wheel as the direction of color in the 0ectorscope. :ou can also use this to as a guide to help #alance several images to one another, as you don1t have to rely on the accuracy of your eye as much. ,oo! at the vectorscope display of one image, and compare the color display to that of another image.

Broadcast Sa!e Filter This is an interesting filter that is also included in the Color Correction Bin. The purpose of this filter is to limit the top end of an image, the white values. =sing this filter can help to clamp values a#ove a certain point, to ensure that you are still &legal&. / find it very important to have the waveform monitor open while ma!ing ad'ustments with this filter. / thin! that people tend to thin! of this very literally as a &,egali e& filter, and do not contemplate 'ust e%actly how it is &legali ing& the image. This filter approaches the tas! #y ta!ing values a#ove a certain point and clamping them, or &cutting them off&. /t also will give you the fle%i#ility of determining 'ust where that cut off point is, as well as where it starts to pull higher end values down the scale, so #asically shifting the high end a little dar!er. :ou should use this filter with caution. /f you color correct so that a ma'ority of the highlights fall fairly high on the scale, a#ove <GG, and then apply this filter to cut off the top end, you may end up with undesira#le results. This will cause a flattening of the image in the highlights, which appears as dull, flat sections of white, instead of gradations of highlights. This is similar to what you will find when over"e%posing while shooting video. There will #e #lan!et areas of white, with no detail in them.

+ighlights with .radation

Flat +ighlights

When using this filter, / suggest that instead the whites should roll off a #it, #efore #eing clamped. This can #e done while using the Color Corrector 3 Way or Color Corrector filter. Ad'ust the highlights so that the ma'ority of spi!es fall #elow <GG. /f the top end of a few spi!es still fall a#ove <GG, #ut you are happy with the image as a whole, then this would #e the time to apply the Broadcast )afe filter.

Whites not clipped 8without filter9

Whites clipped 8with filter9 With the filter applied, open up the Clip into the 0iewer and go to the Filters ta#. There is a drop down menu offering different choices on where the white values can #e clamped. The #est choice here for #roadcast wor! is to set the filter to 6%tremely Conservative. This ma%es out values at <GG.

/f you feel #rave, then you can set the drop down menu to Custom. 5nce this is set, use the controls under ,uminance and )aturation ,imiting to control the clamping point, ad'ust the range of the falloff, and where the top end sits on the scale. As mentioned a#ove, this filter should #e used with caution when trying to create natural scenes. /t is generally more pleasing to see gradation in the highlights, even if it is su#tle. /f one of the reasons for raising the white levels was to #ring more contrast into the scene, then this can #etter #e accomplished #y a well #alanced scene, then #y overdoing the whites. +aving a true #lac! in the frame along with a true white will give the image more punch, and more of a feeling of intense white in the highlights. An image with 'ust a lot of clamped white values will not feel contrasty, #ut instead 'ust flat.