ADJUSTMENT LAYER FINAL CUT PRO PLUS
In this case, the chroma hexagon is still pretty far from the targets: the Panasonic S1H RAW file is decoded using Panasonic’s recommended VLog-RAWGamut-to-VLog-VGamut camera LUT plus the VLog-to-V709 custom LUT, which yields a desaturated, low-contrast image. Just don’t forget to turn the Adjustment Layer off when you’re done with the ‘scopes! The decluttered WFM and vectorscope displays become useful for measurements. With the Adjustment Layer active, the scene is masked to the DSC Labs chart, and saturation is doubled to emulate a ‘scope with x2 gain. ‘Scopes are cluttered, and the vectorscope’s gain isn’t useful for chart matching. With the adjustment layer disabled, the whole image is visible. I found this essential when compiling the CML 2021 RAW tests so I could match and white-balance my clips, and compare the ‘scopes for ProRes RAW in FCPX to the ‘scopes for Blackmagic RAW in Resolve (Resolve, of course, has a proper x2-capable vectorscope). You can also set up a crop in your Adjustment Layer to mask out everything except your test chart, simplifying the ‘scope’s display so you can focus on calibrated corrections:
Yes, that may push saturated colors into clipping, but it’ll also push the half-saturation chart colors towards their ‘scope targets. If you’re using the Color Board, set Global Saturation to 100%: Quick fix: use an Adjustment Layer, and set its saturation to x2. Can’t fix the scope? Fix the picture instead Color charts are designed for use with a vectorscope with a x2 setting, which every proper vectorscope has (am I implying that the vectorscope in FCPX is not a proper vectorscope? You might very well think that I couldn’t possibly comment). Simply Outta Luck.Ĭalibrated color charts (the kind you can line up on a ‘scope), whether from DSC Labs or Gamma & Density, use half-saturation 75% colorbar colors, as full-saturation 75% colorbars exceed the printable gamut. Sure, you can hide the skintone indicator, and switch to Mark3 orientation (why?), but if you’re trying to line up on printed test charts, you’re S.O.L. You can set it up for 100% for 100% electronic colorbars, or 133% for 75% electronic colorbars, and… that’s about it.
ADJUSTMENT LAYER FINAL CUT PRO PRO
Behold the vectorscope in Final Cut Pro X, and glory in its limited options:
0 kommentar(er)
