709 SDR.” This maps the HDR iPhone footage over to a “normal” working color space. In the same image, you’ll also note that I’ve previously applied the HDR Tools effect and set the Mode to “HLG to Rec. Double-clicking this will apply it to the currently selected clip, and you can click the color spectrum icon (shown in the image below) to see the curves. In the effect panel select the Color section and scroll down until you find the Hue/Saturation Curves option.
We’ll use the color curves to accomplish this. Now that we have a good tracker, we need to identify the portion of the vehicle that we want affected by our color treatment. This is helpful as a sanity check in case you are seeing odd behavior with your tracking. The two icons to the left of the keyframe icon allow you to quickly navigate to next/previous keyframes. When the Jeep was off-screen I just dragged the tracking grid off-screen as well (see below). Adding motion tracker keyframes will feel familiar to users of Apple Motion or Adobe After Effects.Ĭaption: Choosing the Machine Learning option in the Object Track panel. If you have ever used Apple Motion, this will all feel very familiar. To do this, you just click the keyframe button (shown in yellow) and move the tracker in the viewer to the right spot. Setting keyframesĮarly in this clip there are a couple instances where the Jeep is partially or entirely offscreen, so I marked those frames and added a keyframe for the position of the tracker. Your mileage may vary-try each tracking mode to see which works best. So I’d recommend trying each option and seeing what works best for you. Machine Learning, however, was surprisingly accurate. I tried both the Combined and Automatic options, too, but the grid got confused. Point Cloud works well if the object doesn’t get obscured, but in this case it does. There are buttons to analyze just going forward or backward, but the default is both. In this instance, I chose Machine Learning before clicking on Analyze (in the top left of the viewer). You’ll see an Analysis Method drop down menu with the options Automatic, Combined, Machine Learning and Point Cloud. Clicking on the icon adds a tracking grid to the viewer, which we can then drag over the object we want to track (the Jeep), resizing it with the handles. With the clip selected, we can head down to the last section in the Inspector where you’ll find “Object Track”. Adding a marker to a reference frame for easy location later. I put a marker on it (M is the shortcut) so that I’ll know where to find this reference frame later. So I’ve identified a frame where it is clearly in view and unobstructed.Īdditionally, there isn’t much motion blur on this particular frame, so it’ll make a good starting point. A quick skim of the footage reveals that most of this is obscured or even totally outside of the frame.
Our objective for this challenge is to change the color of this Jeep from red to green. (Hopefully, most of your shots will be a bit more forgiving.) But after a couple of attempts, I felt like I’d got the hang of the new features in FCP and I was pleasantly surprised by the results. Compressed iPhone footage, high-motion, and with objects passing in front of the subject. It’s no Ford Bronco commercial, but it’ll serve as a pretty good “torture test” of FCP’s color grading tools.
#Color finesse final cut pro pro#
So, of course, I shot some video of him zooming around a corner with my iPhone 14 Pro Max. Recently, I went on an offroading adventure with some buddies and a fellow post-production pro brought along his Jeep. The tracking, masking, and color selection tools in Resolve have always impressed me.īut Final Cut Pro recently introduced some advanced tracking, masking, and color grading tools, so I wanted to see how well they worked when combined with a difficult color adjustment.
#Color finesse final cut pro how to#
I love Apple’s Final Cut Pro for editing-in fact I wrote a piece on how to edit faster in FCP a while back-but I’ve always sent my edits over to DaVinci Resolve for color grading.
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