Select the Adjustment Layer, and go up to the Color Board (Cmd+6). ![]() Adjustments to the Color Board will affect any clip that sits beneath your adjustment layer. And trim it to your desired duration-which can cover multiple clips in your timeline. ![]() Click on the Generators Sidebar icon and select the category that you put it in, (“Reuben,” in my case), and you’ll see the Adjustment Layer. Save your title layer to a category in Motion and it will then be available in the Generators sidebar in Final Cut Pro. Delete the layer that says “Type Text Here.” Then save your project and call it “Adjustment Layer.” I created a category with my name. Motion will launch a new project with layers. And we can use this for our LUT or effect. We aren’t creating a title, but this process places a transparent layer over your timeline, just like a conventional Adjustment Layer. Open Apple Motion and create a Final Cut title. Even though Final Cut doesn’t offer Adjustment Layers, you can trick it into creating something that’ll do the same job. Larry Jordan’s technique for creating an Adjustment Layer is a clever way to get what you need. Luckily, Apple’s Motion app makes it easy to create one. But many editors want to be able to apply a LUT or an effect to an entire timeline quickly. It prefers that you apply looks and effects at a clip level. This week, Reuben Evans shows you how to trick Final Cut Pro into creating an Adjustment Layer that you can use for LUTs and other effects.Ĭreating an Adjustment Layer for LUTs in Final Cut ProĪpple’s Final Cut Pro doesn’t feature a built-in Adjustment Layer feature. You can set it up for 100% for 100% electronic colorbars, or 133% for 75% electronic colorbars, and… that’s about it.Every week, Frame.io Insider asks one of our expert contributors to share a tip, tool, or technique that they use all the time and couldn’t live without. 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. 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. 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). If you’re using the Color Board, set Global Saturation to 100%: Quick fix: use an Adjustment Layer, and set its saturation to x2. Yes, that may push saturated colors into clipping, but it’ll also push the half-saturation chart colors towards their ‘scope targets. 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: ![]() 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). ![]() With the adjustment layer disabled, the whole image is visible. ‘Scopes are cluttered, and the vectorscope’s gain isn’t useful for chart matching. 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. 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. 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.
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