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Contents 9
Chapter 19 385 Keying, Mattes, and Masks
385 Ways to Layer and Isolate Elements in Clips
385 What Are Mattes and How Can You Use Them?
386 What Is Keying and How Can You Use It?
387 What Are Masks and How Are They Used?
388 Using Keying to Isolate Foreground Elements
388 Shooting Footage That Keys Well
391 Overview of Compositing Using the Chroma Keyer Filter
393 Working With the Chroma Keyer Filter
404 Using Mattes to Add or Modify Alpha Channels
404 Matte Filters Available in Final Cut Pro
404 Example: Using the Four-Point Garbage Matte Filter
406 Example: Keyframing Garbage Mattes
407 Using Masks to Replace or Modify Alpha Channels
407 Mask Filters Available in Final Cut Pro
408 Example: Using the Image Mask and Mask Feather Filters
Chapter 20 411Color Correcting Clips
411 What Is Color Correction?
412 Why Color Correct Your Footage?
413 Color Correction Starts During Your Shoot
414 Managing Color During Postproduction
417 Tools for Measuring Color and Brightness in Final Cut Pro
418 Measuring and Evaluating Video
418 Luma (Luminance)
419 Chrominance (Chroma)
420 Blacks, Mids, and Whites
421 Illegal Broadcast Levels
422 Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
423 Screen Layouts for Color Correction in Final Cut Pro
424 Working With Final Cut Pro Video Scopes
427 Learning to Read the Waveform Monitor
429 Learning to Read the Vectorscope
431 Learning to Read the Histogram
432 Learning to Read the Parade Scope
434 The Color Correction Process
436 Using Scopes Versus Looking at the Picture
437 The Final Cut Pro Color Correction Filters
439 The Color Corrector and Color Corrector 3-Way Filters
439 General Controls
440 Copy Filter Controls
444 Color Balance Controls
445 The Color Corrector Filter Controls