Final Cut Pro Colour correction for Broadcast…Can someone help please..

[Shane Ross]

Color correction is the combination of MANY things. Your eye for color and detail…the ability to make the colors look good and right. This is an art. Then there is the technical end, making sure that the show falls within the broadcast specs of the network. You not having done this before, and trying to learn from books and tutorials is commendable. But you really should seek tutoring.

I will give you a few links that I know of…but for broadcast TV you need to hire someone to do this, especially if you have not done this before, and you have a deadline. Best to get it right the first time then to get it kicked back and tarnish your reputation. And in the meantime, before your next project, you can learn the art of Color Correction.

IMHO.

Book:
https://www.amazon.com/gp/product/0321432312/ref=pd_rvi_gw_2/103-1525692-3020612

Website link:
https://www.kenstone.net/fcp_homepage/cc_legal_fcp4.html

DVD Tutorial:
https://www.rippletraining.com/color_correction_for_final_cut_pro_.html

Gook luck.

Shane

Littlefrog Post
http://www.lfhd.net

[Walter Biscardi]

[Shane Ross] “Color correction is the combination of MANY things. Your eye for color and detail…the ability to make the colors look good and right. This is an art”

Ditto to what Shane says. For broadcast CC using Final Cut Pro I use a combination of the 3 Way CC, Broadcast Safe and Levels filters. It generally takes me about 5-6 hours to CC a 1/2 hour show because I really take my time and I continually flip back and forth between the filter and no filter.

I’m assuming you have a proper broadcast monitor like the Sony PVM series. If you’re trying to CC on a computer screen or regular TV, you’re not going to achieve optimal results.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Harcharan Singh]

Hi,
I am getting the required tutorials for my learning.Thanks.
Harcharan

[Bob Cole]

[Harcharan] “Chroma Level : ‘Y’ Level – 60%
Blue level – 60%
Majenta – 80%
Cyan+Red – 90%
White Level – 100% max & min 80%
Black level – up to Zero”

I’d be confused by this spec too. What are they talking about?

— Bob C

[Gary Adcock]

[Harcharan] ” “Chroma Level : ‘Y’ Level – 60% Blue level – 60%
Magenta – 80% Cyan+Red – 90% White Level – 100% max & min 80%
Black level – up to Zero”
[Bob Cole]I’d be confused by this spec too. What are they talking about? “

These are Waveform and Vectorscope settings for an engineer.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Hank]

cheap and good solution:

https://movielibrary.lynda.com/html/modPage.asp?ID=298

[Gary Adcock]

[Hank] “cheap and good solution: ” target=”_blank”>https://movielibrary.lynda.com/html/modPage.asp?ID=298″

Not if the client is sending engineering spec for waveform and vectorscopes as FCP do not currently work nor are the capable of monitoring that accurately when they did.

Attaining the requirement that those numbers represent require a SKILLED operator and hardware can be very expensive.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Mike Most — account bouncing, bad address]

What you “should” do is have a video post facility make the delivery element, even if it’s generated from something you created. Whether people using FCP like it or not, the world still operates with technical standards, and depending upon the broadcaster or program distributor, these standards often involve matching specific technical specs for which most people here don’t have proper equipment, experience, or expertise in dealing with.