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NOTE: Unless your distributor tells you to change timecode, don’t change timecode. Even for those situations where audio and video timecode don’t match, it is easier to dial in an offset than to reset the timecode of the clip itself. Today, I can’t think of a single reason where changing clip timecode is necessary.
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Today, with most vides distributed to the web and setup material no longer required, the rules are much simpler: “Any timecode you want to use is fine.” In fact, most of the time, you can ignore timecode with a clear conscience.Īgain, in the old days, editing systems were not as robust as today and we would sometimes need to find ways to change clip timecode – for example, repairing damaged archive clips captured from older video tape. (Programs originating in the EU would often start at 09:58:45:00 and 10:00:00:00, respectively.) Setup material, such as bars and tone, started at 00:58:45:00 and the program started precisely at 01:00:00:00. In the “old days,” when video was principally distributed on broadcast television and cable, there were rules about the timecode to be assigned to each project.
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This is why you can have two clips with exactly the same file name and timecode, yet Final Cut can still tell them apart. Actually, Final Cut creates a label for each frame composed of the clip’s path name, file name and timecode. We need something that specifically, precisely and uniquely identifies every frame. It would be similar to saying: “Come visit my house.” “Where is it?” “Oh, right here in LA.” While it is nice to be invited to visit, the description of the location of the house is far too vague to actually find it. Timecode exists because without it we couldn’t edit. The first three pairs, however, remain the same. NOTE: Sometimes, the frames number is replaced by a decimal representing thousandths of a second. Most often, timecode is displayed as four pairs of numbers, where the first pair represents hours, then minutes, then seconds, then frames. You can off course use this setting on other clips by clicking the Save Effects Preset button in the bottom right hand corner of the Inspector.Timecode is a label that uniquely identifies every frame of video in a clip or project. Select the area and the whole image should change.Īnd that is Auto White Balancing by choosing an area you wish to be white. Move the Cursor and it will change to the Eyedropper. Instead, we will sample her T-shirt which although is not 100% white, it does have more colour information. We would go further and say avoid the completely blown out whites such as the lights in the roof. You will see that FCPX gives you a little hint here in the bottom left hand corner of the canvas to select an area that should be pure white. You can also apply this colour correction fix to clips and images in the Final Cut Pro X Browser, not just the Timeline!īack to the Inspector and select White Balance form the dropdown menu in the Balance Color controls. The controls will appear in the Video Parameters Tab in the Inspector. You might notice a slight contrast change as well as Final Cut Pro X expands the blacks and whites to their corresponding 0% and 100% levels. This will apply an FCPX generated balance, which does look a lot better than the original, but there is still a cast. Then click on the magic wand and select Balance Color or you could use the shortcut OPT CMD B. Navigate to the bottom left of the canvas where you will see three icons. You would think that you need to head straight over to the colour tools in the Inspector ( CMD 4) looking for the auto white balance, but you would be wrong. Thankfully you now have a third option right inside FCPX. (It does happen!)īefore the 10.4 update you had two choices how to fix the colours.ġ) Mess about with the Colour Board with an eye on the vectorscope trying to remove the cast.Ģ) Buy a third party colour correction plugin or roundtrip through another NLE or colour grading app. This can happen with fluorescent lighting or even something simple like the cameraman getting the white balance or filter on the camera wrong. Here you can see we have an indoor portrait with a rather nasty colour cast. The good news is that the eyedropper and the Auto White Balance features are back in Final Cut Pro X 10.4, but not where you would expect to find them! Many editors complained that the handy eyedropper that made a 'one click fix' for colour correction had gone. When Final Cut Pro X was released back in June 2011, one of the missing features from FCP7 was the Auto White Balance tool. In this tutorial we will show you how to get rid of unwanted colour casts using the Auto White Balance tool in Final Cut Pro X How to Auto White Balance Colours in Final Cut Pro X 10.4