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Final cut pro match color4/4/2024 ![]() ![]() Humans don’t merely process retinal data the way a camera processes photons or a vectorscope displays a pixel scatter. But the human visual system is more than a pattern-matching algorithm. It removes judgment from the process and is a pure pattern matching activity. Using scopes to match shots? That’s a very analytical approach to color correction. ![]() Next, recognize (and respect) that using scopes is a very Left Brain activity Why? Because we’ve only used one side of our brain for what is a 2-side activity. Sometimes you’ll need to isolate a color or two and swing them around to complete the match.Īnd after doing all that? The shots may not match yet. Work on hue to get the color balance right.Move on to Saturation and use the Vectorscope to match ‘colorfulness’.Start with the Luma Waveform and match brightness levels, starting with highlights/shadows, move to midtones, then re-tweak as necessary.In this Insight notice my workflow when starting to shot match: But finishing it? That’s a judgment call. Yes, I can (and will) give you rules on how to start your shot matching process. First, we need to understand that shot matching is a very ‘whole brain’ activityĪnd that means while I can give you logical rules, in the end, it’s also a creative judgment as to when two shots actually match each other. Why we need to respect and build upon the Left / Right brain dichotomyĪnd as we go through this, I’ll share a general workflow pattern.Shot matching as two distinct mental processes.But that’s the problem, and challenge, with shot matching-there’s way more to it that simply matching pixels based on voltage levels. Why? Because I’m not happy with my Insight on this topic earlier in this series. In this Insight, I’m circling back around to shot matching. Matching Shots in Final Cut Pro X Redux Part 6: The Final Cut Pro X Desert Island Challenge Tutorials / FCPX Desert Island Challenge / Matching Shots in Final Cut Pro X – Redux Series
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