You can turn off automatic color correction at any time by selecting the clip(s) to which it is applied, then unchecking the Balance Color option in the Video Inspector. Analyzed clips tend to be more accurately corrected than those you apply automatic color correction after they are edited in the timeline.Analysis occurs in the background immediately after the clip is imported.

Analysis looks at the color of the entire clip, whereas applying automatic color correction to a clip in the timeline only analyzes the color of the frame under the playhead.If you have footage that needs color correction, there are three benefits to using this option: You can turn automatic color adjustments on and off at any time.” Color is automatically balanced when you add the clip to the timeline. The only people likely to need this option are documentarians working with footage created prior to 1995.Īpple’s Help files state that this option: “Analyzes video clips to detect color balance and contrast. Larry’s Recommendation: This is only relevant when working with old SD footage containing film transferred to tape. NOTE: Apple’s Help files add: “This option is available only when importing from a tape-based camera or device.” The reason the option is grayed out in this screen shot is because no media is selected that contains pulldown frames. An excellent example of this is old newsreels. However, pulldown ONLY applies to film transferred through a telecine onto standard-definition video tape. This Remove Pulldown option removes these duplicated fields. NOTE: Here’s a technical explanation, from Wikipedia, of how pulldown is created. These duplicated fields were called “pulldown,” because of how the film was “pulled down” in the film gate of the telecine system. without speed changes) on television, we would transfer it to tape, a process called “telecine.” This would duplicate frames of film across multiple fields of video. In order to convert 24 fps film to display properly (i.e. There’s a fascinating story about how these frame rates evolved, which you can read here. NOTE: North America and Japan were 29.97, the rest of the world was 25. However, video was either 25 fps or 29.97 fps, depending upon you geographic location. (I know, I know hard to believe.)įilm cameras were designed for theatrical use, meaning they shot 24 frames per second. In those most ancient of days long past, before video became both high-quality and affordable, filmmakers shot… film. As you’ll discover, how and when you use these can make a big difference in the speed and reliability of your media imports. The right side of the Media Import window in Apple Final Cut Pro X contains a powerhouse of options for handling and processing media before you even import it into your project.īut, what I haven’t written about, though I cover it in my online training, are the options in Analyze and Fix.

Final cut pro analyze for balance color