Hello Diego, Welcome to fcp.co forums
Always a good idea to give as much info as possible so people can give the best advice.
So here goes.
You say you have "Hundreds of hours recorded with that problem". You also say that "Divide the video in the specific places where the sunlight change the environment exposure. " This makes it sound like it is only one continuously recorded clip??? If that is the case of course the light will change.
Really don't think that is what you mean.
First advice, don't worry about the amount of raw footage you shot, leave color correcting till the entire edit in the TimeLine is very close to being done. You only need to color correct the clips in the final edit.
2nd piece of advice, learn how to use the scopes. Clips will have a certain pattern in the scopes especially the RGB parade that changes with the color of the day. You want to make sure your scopes from one clip match the other clips to have a uniform "look". Using the "Transform" tool to zoom in on an area to isolate the color of a common item in the different clips may help here and you can then create a "Custom preset" for the Color Board.
3rd piece of advice, try using the "Match Color" available in FCPX "Modify" menu or command+option+M. This is explained in the User Manual ~pg 1,475. Make sure you have your scopes enabled so you can see what changes in order to create the matched color. You will most likely have to tweak the settings, but is a good start.
Learning to color correct takes a lot of time to get good. There are entire companies devoted to only doing color correction for films. It can be done, but it takes practice, a good eye, and patience.
Greg gave you lots of valuable advice.
Here come my more … cheeky comments:
…I have hundred of hours recorded with that problem …
yeah, and you're using how many minutes of it?
I would add CC at a very late stage of workflow…
"fix it in post!"
You can not 'fix' a three day shoot, meant for one scene, day#1 done in Golden hour, day#2 done in midday sun, day#3 it was cloudy.
No way to fix 'wandering' shadows etc …
Colour Balance first.
yeah. pros start to moan, but that tiny button under the Preview window often does magic (hey, it HAS a magic wand as icon). And if that doesn't work, White Balance manually. Or using a plugin.
WB does NOT fix complete diff. light settings, but it gives a foundation for CC.
Declare it 'intentional'.
If the final outcome is that bad, make it obvious: plaster a Look over it, give it a strong hue, make it black/white. And call it 'art' …
The sun suddenly appearing from behind a big cloud can alter the appearance of an image so drastically that it's impossible to convincingly match the shots in the sequence (contrast, shadows, clipping, overexposure, the last two clearly the failure of the camera operator). The professional solution was to take care of the problem on set, to prevent direct sun rays to fall on the motif.
If you know this in advance (and you should, it's part of the preparation to see the weather forecast and know where he sun will be at the time of shooting), you can do something about it. Kubricks DoP John Alcott (in Michel Ciments book on SK) said that for Barry Lyndon they shot a lot of outdoor takes in Ireland, 14 hours a day, over months. The director demanded that Alcott had to be prepared to control the light with every method possible and available (reflectors, diffusor panels, conversion filters, no post) and to keep the look consistent by any chance. Only when it rained very heavily they interrupted work.
diego.jerez wrote: 1. Divide the video in the specific places where the sunlight change the environment exposure. But it's hard to do this, I have hundred of hours recorded with that problem.
By "dividing" the clips you mean you blade them, correct exposure differently and apply a transition to the cut? When in FCP X, I sometimes do this (i.e. when the camera panned from a place closer to the window to the darker side of the room - you can sometimes get away with that if the DR is good and the operator ETTR'd well): I correct exposure for the first half of the clip, connect a copy to it (by holding alt while dragging it above itself), then I correct the duplicate for the second half and control the transition through opacity keyframes.
VidGreg wrote: 2nd piece of advice, learn how to use the scopes. Clips will have a certain pattern in the scopes especially the RGB parade that changes with the color of the day. You want to make sure your scopes from one clip match the other clips to have a uniform "look".
Since FCP X has no reference frame you can splitscreen-wipe over the current, uncorrected one (like Resolve), you can make one manually. Make a freeze frame of the best, defining shot of the sequence, crop it to your needs and place it over the clip you need to match. You just need one frame for a whole sequence! In the scopes you will see the different levels of the shots in RGB or luma waveform. Helps a lot to understand what needs to be done to match them.
Gotta say: I've just started this job like 2 months ago (editting videos), I have edited less than 10 real video time hours, it took me like 40-50 hours of editting time in FCPX and Motion.
Thanks a lot you for the advices.
1. I'll do that as u say. Leave color correction till the "end".
2. On my way learning about scopes and the Match Color function. Understood what you mean.
Thanks man for helping me:
1. Is about a person talking to the camera. Sitting in a chair. White wall as background. But yeah, the openned window: sunny beach city with clouds. So almost a 95% of the time recorded is a must to edit.
2. On set: the person bought a normal quaility camera (cannon xf 100). That's all he got for recording. I will insist on what you say about fix it in the recording time, it will save us time and money to him. Got your point.
3. Color Balance: Good. I'll try to fix it as much as I can as following what you say and what Greg advices too.
4. Declare it 'intentional': Well, you gave me an idea. I can play with black and white scenes where the sunlight starts to play too.
5. Plugin: I'm trying with Filmconvertpro2 plugin in motion. Customized the filter for different shots (too bright clips, mid bright clips, low dark clips and too dark clips). But can't run it on FCPX, I'm trying to handle with this too.
Thanks a lot man.
1. Yeah. I mean blade the clips. And I'll try to fix with opacity key frames for the transition, going to find out how to do that. Thanks.
2. About using the scopes. I'm on my way learning how to use this Axel. Thanks for the good push.
OK. You gave me some ideas and I have to make this ideas to come true. THANKS A LOT. I'll be in touch.
diego.jerez wrote: …. Is about a person talking to the camera. Sitting in a chair. White wall as background. But yeah, the openned window: sunny beach city with clouds. So almost a 95% of the time recorded is a must to edit.
… On set: the person bought a normal quaility camera …
As a volunteer I'm helping a school project by using FCPX and recording all sorts of crazy stuff. For a theatre project they needed some 'like in TV' interview clips:
A school = shoestring budget. There are TWO lights in use:
a bigger softbox from my left, for subject and background
a smaller, unsofted from my right/behind subject as 'hairlight'
=> Set with boxes, tripods and lamps: amazon <70€
perhaps not broadcast standards but … not too shabby, hm?
And for sure: all curtains closed! Natural light is beautiful, but not for a 'fixed' situation as an interview … or, at last use some diffuser (shower curtain!) to create a more 'smooth' lighting.-
so, what is cheaper: 2,3 lights or dozens of hours of you 'fixing' it?
I've used a couple of LED shop lights and bubble wrap (makes amazing diffuser).
White sheets or featherboard to bounce lighting.
Black sheets/towels to block lighting glare.
Guerrilla Video is amazing. Oh wait, they call it "DIY" these days, I think.
Oh yeah! And the really cool thing about bubble wrap is, you save large bubbles, medium sized bubbles, and small tiny bubbles. They each give a different effect. You can physically put it up against LED lights. But other lights, I used to use a long wood cooking skewer, like for grilling shish-kabobs, gaffer tape it to the top of a light sticking out in front. Then you can hang the bubble wrap away from the hot light that would potentially melt it.
We've also, with LED lights since they don't get hot, experimented with wax paper and other materials. Just to get different effects.
And if you want to liven up a dull, plain background; DIY gobos! Big piece of cardboard, stencils out or free hand a shape, poof, gobo you'd pay $500 for on B&H.
Ah, the old days when I first switched professionals and did video full-time; NTSC-SD on Mini-DV tape, one codec only, "alternative engineering", and crap from the flea market... sometimes I miss those days. Then I see an old video from back then, and I stop missing them. We do it all in Motion now using 4K drone footage...
FCPX.guru wrote: And if you want to liven up a dull, plain background; DIY gobos! Big piece of cardboard, stencils out or free hand a shape, poof, gobo you'd pay $500 for on B&H.
Ominous, but meaningless shadows used to be called cookies
once. I've read somewhere that Hitchcock learned the term from Murnau when he was in Babelsberg in the 20's. The german slang word Kokolores means nonsense, balderdash. It's more plausible than the story provided by Wikipedia. I think this was then similar to JJ Abrams light streaks (saw someone aim a little LED torch towards the lens, it doesn't always have to be digital). Very dramatic.
I guess Axel meant "otherwise meaningless". The emotion is there. I really enjoy the use of gobos. Didn't know that cookies might somehow derive from "Kokolores" and have to admit that I love that story
I know this is an old post but I have an easy 4 step solution to this problem that could help somebody with the same problem.
Using FCPX 10.4.7
1.- Increase the bright of the clip until the darkest timeline matches with the brightness that you desire (doing this, the brightest section of the video will be overexposed, but don't worry, we'll fix it)
2.- Select the clip and press control+V to open Video Animation.
3.- Click on Compositing: Opacity, in the little inverted triangle at the right of the menu.
4.- Click over the dashed horizontal line using the Alt key to add two Keyframes, one at the beginning of the clip and one at the end (left and right). Drag one of the Keyframes down (the one who is over the brightest section) to make a slope in the Opacity line who goes from 100% to wherever value you need to lower the brightness of the brightest section of your clip.
4.1.- If the change of the light isn't linear, you'll have to use more Keyframes to adjust the slope as accurate as you need to match with the increase/decrease of brightness of your clip.
And that's it. Have a great day!.
diego.jerez wrote: ....1. Divide the video in the specific places where the sunlight change the environment exposure. But it's hard to do this, I have hundred of hours recorded with that problem....
I see this is an old post. Normally the auto exposure system of any camera will change based on lighting. If it has auto white balance it will continuously adjust this also. Unclear if the OP meant that didn't work, or if he wanted sunny days and cloudy days to look the same. That is not just ambient light, it is changes in diffusion and shadow.
In FCPX it is easy to add a few keyframes at sparse points throughout a long clip, and it will automatically interpolate between those. However this will not change a sunny day to a cloudy day.
If the light is flickering, like sunlight through a tree, or frequent camera exposure stepping, that is difficult to fix. There are some de-flickering plugins that can reduce this, such as Digital Anarchy Flicker Free.