- #COLOR FINALE PRO SELECT WHITE HOW TO#
- #COLOR FINALE PRO SELECT WHITE MOVIE#
- #COLOR FINALE PRO SELECT WHITE PLUS#
This view shows the mask you are creating. This will change what you are viewing to a black and white picture. Click on the key button in the Color Corrector window. You will find that zooming into the object on the canvas window will allow you to select colour samples in greater detail.ġ1. This indicates that you are going to add to the sample that you have taken earlier.
#COLOR FINALE PRO SELECT WHITE PLUS#
You should see a tiny plus symbol beside the eye dropper.
Hold the shift key when you go back to the Canvas window to select another colour in the same object. You should see that the blue that was sampled now turns gray.ġ0.
#COLOR FINALE PRO SELECT WHITE MOVIE#
Movie the slider all the way to the left. Go to the Saturation slider directly above the Limit Effect area. What we need to do now is set up the image so that we can choose subsequent samples. You will notice that in the Limit Effect area a one colour (blue) is prominent as it was the one that I originally select. For my example I am going to choose the blue balloon in my cluster of balloons.ĩ. Select the Eye Dropper Tool in the Color Corrector Tab then go over to the Canvas window and select a colour sample. Try to find a section that will show the majority of the object that you want to sample colour from.Ĩ. Go to the Timeline and shift the Playhead to a new position on the footage that you are using. A new tab will appear in the Viewer call Color Corrector, click on it to access the colour correction tools.ħ. Go to the folder labeled Colour Correction open it and then click (hold) drag and drop the Colour Corrector onto the clip in the Timeline or up into the Viewer.Ħ. Go to the Effects tab in the Browser and open the Filters folder (Click on the small triangle to the right of the folder.)ĥ. Although it is not bad to have this selected, with certain filters you cannot have this option active if you want to be able to use the features of the filter. It is important to make sure that you alter the view settings inside of the Canvas window. The only difference is that loading a clip into the Viewer only allows for modification of that clip and not the rest of the timeline.ģ. Whatever you do to a clip in one window happens in the other. When you load a clip from the Timeline into the Viewer you are creating a dynamic relationship between the two windows. Load your asset (clip) into the Timeline and then double click on it to load the clip from the Timeline into the Viewer. For my example it will be a bunch of balloons.Ģ. After you have launched Final Cut Pro import your asset into the Browser. For this exercise I am going to use an image of a bunch of balloons of different.
#COLOR FINALE PRO SELECT WHITE HOW TO#
It is easiest to understand how to do this effect using simple objects that are one colour and have no textures lines or patterns. The "Pleasantville" Effect - if you have ever seen the movie, in some of the black and white sequences, some items start to become colour. This is similar to the effect that was used in the movie Pleasantville. The effect that we are going to create will extract the colour of an entire piece of footage except for one item. It is incumbent on the film creator to design and implement an effect in a way that ensures that is could believably happen in the reality that the film generates. Knowing that the audience knows, or at least should know, that what happens in a film is not real. An effect is more than just being a spectacle it is about its believability. The better the effect the better the reaction. Often times in films today, specifically action, adventure and science fiction, much of the reaction can be attributed to an effect of some sort. One of the great phenomena of film is the sense of awe, bewilderment and amazement generated in viewers when a pivotal event or action occurs. How To Create the 'Pleasantville' Effect in Final Cut Pro The 'Pleasantville' Effect in Final Cut Pro