Drag and drop that camera’s filter from the browser bin onto the timeline clips.
Every clip for the same camera angle will be selected and highlighted. Then use the timeline Find command to select a specific camera. First, find a grade that works for each camera. There’s a quick and easy way to grade your cameras, as well as slip sync in multiclips once they are edited to the timeline. If I need more of a stylized look (glows, selective focus, etc.), then Magic Bullet Looks has become my “go to” weapon.Ĥ. I will often use FCP’s 3-way color corrector for a “primary grade” and then stack more instances of the 3-way, Colorista, Face Light and/or Vignette, using them for a “secondary grade”.
Since FCP allows you to stack filters, you can easily enable or disable filters in the stack and move them higher or lower in the stack to change the result. You can often achieve similar results to Color without leaving the FCP interface through careful use of several different filters. Nevertheless, there are many situations where editors prefer to stay inside FCP for grading. That’s why Apple integrated Color into the Final Cut Studio suite.
Final Cut Pro does not offer a sophisticated built-in color grading mode, like Symphony. Simply move to the next clip, apply a 3-way filter, adjust and move on.ģ. Working in the open playhead sync mode is great when you are color grading a show, because it lets you move through the timeline in much the same way as in Avid’s color correction mode on Media Composer and Symphony. By changing the viewer tab to motion or filters, you can quickly see what filters or motion adjustments have been applied to a timeline clip without first needing to double-click. These two windows stay in sync, so as you move to the next sequence clip it appears in both the viewer and canvas. The default is Sync Off, but when you choose Open, the entire sequence (instead of a master clip) is loaded into the viewer. The middle canvas pulldown menu offers a choice of Sync Off, Open or Gang. The behavior won’t change with master clips, but when you cut one sequence into another, the original source clips show up on the new timeline, instead of a single nest.Ģ. To avoid this automatic behavior, remap your Overwrite (F10) and Insert (F9) keyboard commands to become Overwrite/Insert with Sequence Content. Nesting causes a number of operational problems and should be used sparingly and only when intended. This forces FCP to nest the source sequence – a feature that I consider evil. Many editors like to cut one sequence into another. Here are 10 quick tips on how to run and organize FCP edit sessions that will hopefully ease your frustration.ġ.
This is especially true of many Avid editors who view working in Final Cut akin to learning a different language. Many experienced editors making the transition to Apple’s Final Cut Pro often struggle with some of FCP’s core operating features.
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