![]() ![]() ITU-R BT.2408, with peak luminance corresponding to the level you set in the Peak Brightness slider. ![]() This conversion uses the HLG reference OOTF in accordance with Rep. This setting results in PQ clips that appear on PQ displays the way HLG clips would appear on an HLG reference display, assuming all displays have the same peak luminance. HLG to PQ: Apply this setting to HDR (HLG) clips in HDR (PQ) projects to convert the clips from HLG to PQ. 709) projects to convert the clips to SDR luminance levels. HDR (PQ) to SDR: Apply this setting to HDR (PQ) clips in SDR (Rec. HDR (HLG) to SDR: Apply this setting to HDR (HLG) clips in SDR (Rec. To change the target PQ signal level, adjust the Peak Brightness slider. 709) clips in HDR (PQ) projects to map a 100% SDR white level to a 58% (203 nits) PQ signal level. SDR to HDR (PQ): Apply this setting to SDR (Rec. 709) clips in HDR (HLG) projects to map a 100% SDR white level to a 75% HLG signal level. SDR to 75% HDR (HLG): Apply this setting to SDR (Rec. 709) clips in HDR (HLG) projects to inverse tone map a 100% SDR white level up to a 100% HLG signal level. SDR to 100% HDR (HLG): Apply this setting to SDR (Rec. In the Color Conform section of the Video inspector, click the Type pop-up menu and choose Manual, then click the Conversion Type pop-up menu and choose an option: To open the Video inspector, choose Window > Show in Workspace > Inspector (or press Command-4), then click the Video button at the top of the inspector. In Final Cut Pro, select one or more clips in the timeline. Important: The Color Conform effect and the HDR Tools effect are additive, so you should use only one or the other on a clip. (In projects created in Final Cut Pro 10.6.3 or earlier, the Color Conform effect is set to None.) You can also convert a clip’s color space using the HDR Tools effect, which is a legacy effect included for backward compatibility with older projects. For example, you can set the Color Conform effect on a selected clip to None (off), or to a specific conversion, such as HDR (HLG) to SDR (for HLG clips that you add to an SDR project). You can also use the Color Conform effect to manually adjust how individual clips are conformed to the project’s color space. ![]() If you don’t want clips to be automatically converted to another color space when you add them to a project, you can turn off automatic color management in Final Cut Pro settings. To manage color space settings, Final Cut Pro applies a built-in Color Conform effect to each imported clip.īy default, Color Conform is set to Automatic, so that if you add a clip to a project that has a different color space setting, the clip’s color space is automatically converted to the project’s color space. Fixes an issue where the progress bar would not update when opening or updating a large library.įinal Cut Pro manages color space settings automatically, so you can easily edit HDR and SDR clips in the same project, or mix different types of HDR clips in a project.Fixes an issue where Final Cut Pro would fail to open while an exFAT-formatted SD card with Canon clips was mounted.Fixes an issue where Final Cut Pro could not read Sony FX9 clips with embedded LUTs.Fixes an issue where adding video clips from the Photos browser would result in lower-resolution files being placed in the timeline.Export to EXR now includes an alpha channel.Fixes an issue where multicam clips would sometimes turn black.Export to HEVC at up to 8K resolution with hardware acceleration on Mac computers with Apple silicon.Install an Apple ProRes RAW plug-in from a camera manufacturer to view and adjust settings optimized for that camera’s sensor.Use the new ProRes RAW Settings window for easy access to ProRes RAW ISO, color temperature, and exposure offset.I have not been able to find any plugs doing better than Color Board and Color Wheels in FCPx so I guess it goes down to either of those.FINAL CUT PRO 10.6.6 FIXES & Enhancements The second one is allowing me to see the image in a false color mode so that I know when I hit white on the balance. First allows me to sample a pixel and check its color which is nice for monitoring grays and whites. I am getting a little help from these guys. In Lightroom and adobe camera RAW I basically adjust the Temperature and Tint sliders and I'm good to go but in FCPx I am not being that lucky. ![]() I kind of find the Color Board more accurate while the Color Wheels are more intuitive but I am uncertain. I get different results using the color wheels as opposed to using the Color Board. I am now grading my stuff in FCPx and coming from Photoshop and Lightroom this is a bit of a change. Color Balance in FCPx - Colorboard / Color Wheels What do you guys use to get the balance right ? ![]()
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