You can see now that the top of the clip is near 100, and the lows are near 0. You can adjust the shadows and highlights individually on the Exposure tab. Usually, youвЂ™ll want the deepest blacks of your footage to be at zero and the whites to be at 100%, but again this comes down to artistic preference. The Luma waveform scope is useful for adjusting the exposure of your clip. You can adjust the channels that each scope displays here as well,В making it easy to do things like switching from viewing all colors to viewing only the red channel. You can change scopes with the button in the top right corner. Ideally, youвЂ™d probably want your footage to be somewhere close to the middle, but it all comes down to artistic preference. Just drag the master color wheel around until it lands on the opposite side: The vectorscope is pretty useful for finding the average complementary color of your footage. The first interesting one is the vectorscope, which plots pixels by color (which direction theyвЂ™re facing on the circle) and by intensity (how far from the center they are). You can open video scopes by pressing Command+7 or from View > Show in Viewer > Video Scopes. The different scope viewers help to dial in and perfect these changes. Using Scopes to Master Color GradingД¬olor grading by eye alone can be pretty hard, as youвЂ™re making many small improvements that you might not even notice one at a time. The same rules apply to the other tabs as well. If you move them below the centerline, it will have a negative effect. In the Color pane, moving them horizontally will change the color, and moving them vertically will change the intensity of the effect. Master control will change the look of the whole clip at once, and the other sliders will change the dark, gray, and light parts of the image individually. There are four sliders in each pane for master control, shadows, mid-tones, and highlights.

Color finale crack mac