These five steps are not the end-all/be-all of color correction/grading.
Move the amount slider to the right for more clipping when you need to meet more restrictive specs. At its default, video will be clipped at 0 and 100 on the scopes. Make sure it’s set to the color space that matches your project (sequence) setting (typically Rec 709 for HD and 4K SDR videos). Final Cut Pro X does not come with an adjustment layer Motion template title, but there are plenty available for download.Īpply the Broadcast Safe effect to that adjustment layer clip. This is best applied to an adjustment layer added as a connected clip at the topmost level above the entire sequence. To be safe, limit your luminance and chrominance levels by applying a Broadcast Safe effect. Different outlets have differing standards – some looser or stricter than others. If you deliver for broadcast TV or a streaming channel, your video must be legal. Then add FilmConvert Nitrate, set its profile to the ARRI settings and make your film emulation and color adjustments to taste. Make no color adjustments there and don’t apply the REC 709 transform.
In the GH5/ALEXA example, make the profile conversion in CineMatch. Just be very careful of the processes and their order. While it’s not a replacement for shooting with an ALEXA and the color conversion might not be absolutely perfect, it’s a nice adjustment that gives me a better image than working with that clip on its own.įinally, if you own both CineMatch and FilmConvert Nitrate, it is possible to use the two in conjunction with each other. I can apply CineMatch to a GH5 clip, set the source profile to GH5 and the target to ALEXA and impart a bit of that ARRI color to the GH5 clip. For example, I’m a fan of ARRI’s color science and really prefer the look of an ALEXA over most other cameras. The second advantage is that you can impart the look of other cameras.
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