![]() Other implementations let you click anywhere within the color wheel, so you don’t have to be so nit-picky. I don’t like that you have to click right on the center control of the color-balance controls to actually make an adjustment.I don’t like that there’s only one reset button governing the color, contrast, and saturation controls for each tonal zone, so you can’t seem to reset contrast without also resetting color, etc.I like that you can select a control handle and use the Arrow keys to adjust it, although I’m not sure how much I would actually do this in practice since you’re incrementing in coarser units when you do so.I like that you can Option-drag controls to make slower, fine-tuning adjustments.I think if the single control could also simultaneously show all four tonal control handles, and if it got bigger and smaller as the Inspector’s width changed, it would be more interesting. ![]() I kind of like the option of switching between a single mode-switchable color control and a simultaneous group of four, however to be honest I’m not sure how useful that really is.I like that all adjustments made by dragging within the color controls work like a virtual trackball, and make adjustments are relative to the previous color adjustment, for smooth operation.While I’m not a fan of having to add a color tool to a clip prior to adjusting it, I do like the ability to have multiple instances of tools, making management of color adjustments a layered experience, which is useful.The visual design of the controls is sensible, with crosshairs, space-efficient vertical sliders, and muted hues.The controls corresponding to each tonal range include saturation, which is really useful.In an effort to be fair-minded, I’ll start with what I like about the new Final Cut Pro color-balance controls: I loaded up a few shots, including a pre-rendered ramp gradient I use for testing color pipelines, and did some grading with the new color wheel controls. So that’s what prompted me to finally have a look for myself. Over time, I caught a bit of unhappiness at the edges of social media, where some responses seemed to be, “yeah, the new color controls are nice and all, but the color wheels and contrast controls are a little wonky.” However, I’ve been swimming in a river of unexpected work as 2017 turned into 2018, I didn’t have any time to look more closely at them. As much as I love me my dedicated grading applications for their superior grade management capabilities and greater depth of tools, editors need integrated color controls in every NLE for a wide variety of reasons and situations, and I really hated the way the old color board worked. But First, New Color Controls in Final Cut Pro Xīefore I say anything else, let me just go on the record that I’m very happy to see the Final Cut Pro team putting effort into more professionalized integrated grading tools. ![]() The process of examining FCP X further gave me food for thought concerning the differences between color-balance controls in different grading applications, the lack of true cross-platform standardization in this area, and the need for more user-accessible customization in this area. I stand my my desire for customizability, however.Īdmittedly, that’s two similes in a row in titles on this blog, but since my writing output here has been so meagre, I suppose rhetorical crutches are to be expected.Īs busy as I’ve been, there’s been enough of a kerfuffle surrounding Final Cut Pro X version 10.4’s new color correction controls, specifically the new color-balance controls, that it’s penetrated my curtain of tasks and made me curious. In Wide Gamut mode with Rec.2020 color space, these controls still work a bit differently to how I’d expect, but it’s consistent and not tragic (at least from what limited testing I’ve done). ![]() It’s taken me a while to get back to this, but in my latest batch of tests, it would appear that, in Rec.709 mode, FCPX 10.4.3 has solved the issue and the color wheel controls act as I’d expect. I’ve been told by those who would know that the anomaly discussed by part of this article has been addressed in a recent version of FCP X. ![]()
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