[Sandeep Sajeev]

I find it hard to use my Intuos with FCPX. I use it with Photoshop, Illustrator, Smoke, Resolve without any issues…but Motion and X just seem clunky to me. There’s something about the weight of the clip containers that just feels off. Not to mention how small all the slider controls are.

I put in an enhancement request asking Apple to make the two more tablet friendly 🙂

[Sandeep Sajeev]

[Walter Soyka] “I didn’t meant to say it couldn’t or shouldn’t be done.”

I know. I added that link for those just getting acquainted with LUT’s. It can be quite technical when first encountered, and Juan does a really good job making it simple.

S.

[Sandeep Sajeev]

[Walter Soyka] “LUTs are not traditionally used for creative looks,”

For those that haven’t considered using LUT’s as a creative tool:

https://juanmelara.com.au/print-film-emulation-luts-for-download/

S.

[Sandeep Sajeev]

Hi Victor,

– When you have a shot with such an extreme lack of detail in the highlights, there is very little manipulation that can be done before the image starts to visibly deteriorate. Usually on shots like this, the first sign is that you get small patches of grey in areas that are supposed to be white. That’s what I meant. Basically you’ll see the same behaviour on over-exposed stills inside Lightroom/Photoshop when you push a Curves or Levels or Exposure adjustment too far.

– The Luma scale goes from -25 to 125. Generally we stick to values between 0 and 100 as a reliable guide. Again this is similar to how blacks and whites are depicted in Lightroom/Photoshop. The Blackest parts of your image should be around the 0 mark and not below, and the whitest should be around the 100 and not over. This is obviously not set in stone, you may find that your image looks nicest when the shadows/blacks are a little elevated and not at or around 0.

– Yes, the method outlined in your link is what I meant. If your shot is not static, you will have to add keyframes and move it accordingly. This can be tricky if the motion is not smooth. Adding a lot of softness to your shape may help in such a case. Anyway, this is something that requires a more in-depth demonstration to grasp at first, so I suggest you check out the videos at:

• https://www.youtube.com/watch?v=9topu170WUM&list=PL6C89A9A9B9CEE4F7
• Denver does a good job of explaining things in a systematic way.
• https://www.youtube.com/watch?v=Ik74ms7Q1NE&list=PL607BE2B2BFE9BE1A
• This Macbreak Studio video deals with isolating areas of your shot and correcting them.

– As for what I meant by gradient, I was referring to the natural fall-off you get when you make a correction inside a shape with a large softness value.

– You have to click Analyze color and FCPX does it’s own thing. As far as I know, there is no equivalent to the functionality you reference from within Lightroom.

Hope that helps a bit,

Best,
Sandeep.

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[Sandeep Sajeev]

Close FCP and delete your render files. Then relaunch and it will rebuild your Project thumbnails.

[Sandeep Sajeev]

Ok, I see. Is it only doing this for images? Or are those image sequences that you’ve got there?

[Sandeep Sajeev]

Hi,

There is a little toggle on the bottom right (your right side) where you can adjust the clip height etc. Pick one of the options that shows you the Video filmstrip.

I’m not in front of a machine at the moment or I would post a screen grab. You can google adjust Clip Height to see which button I’m referring to if you can’t find it.

Best,
Sandeep.

[Sandeep Sajeev]

Hi,

The Auto features aren’t going to work well in situations like this. You will need to approach this manually, and even then you’re not going to end up with something pristine and uncompromised.

If you’re happy with where you’re 3rd image is, bar the saturation, then you can decrease the saturation by going into the Color board and switching to the Saturation Tab and reducing the overall saturation.

If you’d like my thoughts on how I’d approach this shot from the 1st ungraded image you’ve posted then here they are:
– in Color Corrector 1 go to the Exposure Tab and pull the highlights down. Stop before they turn grey and dirty. Bring down the shadows until they are nice and dark, you can use people’s hair as an indicator. Or alternatively, turn on the Video Scopes and position your shadows right at the 0 mark. Then bring down the mid tones, until tonally the skintones look about right. The colors will be super saturated, but you can adjust the saturation accordingly.
– Once you have a decent base image, then add a Color Corrector and in this one use a window/shape mask to add a gradient to the sky.
– add another color corrector and a few additional shape masks to the pathway. Use varying levels of softness and exposure adjustments to make this a little less in your face hot white.
– add another color corrector and another shape mask to relight the part of the image that you want the focus on.
– once you’re done with this, add another color corrector and use it to make global adjustments to your corrected image.

Unfortunately, no matter how much time you spend on this, the shot is never going to be as nice as you want it to be.

Best,
Sandeep.

[Sandeep Sajeev]

[Erik Lindahl] “It’s also not uncommon I want to compare offline / grade / post footage to see if for example we’ve introduced deteriorating artifacts to a given shot. Also for versioning where you might have the same edit for five languages but different end-packs.”

This is exactly what Version Tracks do in Smoke/Flame. You can switch between them and/or compare them using Player Wipes etc. It’s a really great feature that other packages should swipe.

I use it all the time for the exact same reasons I’ve quoted you above.

[Sandeep Sajeev]

Can you elaborate on why you would need this at Clip level? I can see needing this level of differentiation at Timeline/Sequence level, but I guess I’m not understanding how having this info accessed and linked at clip level would be useful – apart from the RAW/Proxy/Optimized meta flags.

At Timeline/Sequence level, Flame Premium does keep track of the Metadata you list with some operator manipulation required. Smoke has a great Version feature, which lets you add Version Tracks to the current timeline and then hop between them.