Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Comparison video, this video will focus on color corrector and color corrector 3-way and the differences and similarities ...
between these two programs.
Tags:color corrector vs color corrector 3-way,apple software,apple tutorials,appleshakerguru,color corrector,color corrector 3-way,software tutorials
Grab video code:
Hey guys! In this video, we’re going to talk about Final Cut Pro and Express. Now, I’m going to be working on Final Cut Pro. But Final Cut Express has the exact the same controls we’re going to be talking about. When we talk about Color Correction and I know you think there is—think in to yourself—oh God, never Color Correction video. There’s Color Corrector-Three Way videos all over the internet but no, no, no we’re not going to talk about the Color Correction-Three Way.
We’re going to talk about the little used regular Color Corrector. Yes, you heard me right, the Regular Color Corrector since when you have heard a Final Cut Pro User ever used in the Color Corrector over the Color Corrector-Three ways? You just don’t hear much about it but we tell you what? It is a widely used tool and one of the best kept secrets in the industry—I’m not kidding guys. If you noticed, I’ll apply a color here, a clip of myself here, if I’ll apply the Color Corrector -three way for this clip, you’ll notice usual it comes up over here in the filter tab Color Corrector for three way. Now, we have our normal tabs, our blacks and whites, we have our limited effects which we can use to key out certain color. If you want to change the color of the shirt or change the color of an object or desaturating an object or key out of green screen this—all this good advance effects are inside the color corrector for three-way and it makes it a wonderful tool.
But there’s something lacking and if—do you know what that is? Can you tell about looking at this? Are you familiar on that for Final Cut Pro and Final Cut Express to know what’s lacking from the Color Corrector-Three way that the Color Corrector does have? It’s a Hue, a Hue wheel on the Color Corrector three-way. So what I’m going to do is go back to my Filters here, let’s close this down and turn off Color Corrector-three way or let’s just delete it all together so you guys won’t get confused. Now, let me add the Color for regular Color Corrector. Now, as you can see, we have a balance wheel and a hue control. There’s also a limited effect just like on the Color Corrector-three way and the reason I was talking about it in the last video lack the Color Corrector-three way had it and the regular Color Corrector bitten is because I’m not sure if Final Cut Express has the limit effect option in the regular color corrector rules and if with the Regular—s see the Final Cut Express doesn’t have a Color Corrector-three way just a Color Corrector and I’m not sure if the Final Cut Express Color Corrector has the limit effect. If it does, wonderful, if it don’t, don’t worry we’re not going to use it for this tutorial.
So you’ll notice there’s no mids, black and whites all separate but you can adjust them down here, whites, mids and blacks as you they’re still here. You just don’t have that Final Control to adjust the Hue Color of the whites unlike the Color Corrector-three way I can shoot my whites to blue then mine gets the red but I can’t do that here. There’s just a balance and a hue wheel, so enough with me gabbing. This will actually show you why this is so great and you think to yourself, why in the world do I want to use a Hue wheel, look what it does to my picture it just changes the Hue all around. Well, I’m going to show you so here we go just a Regular Color Corrector nothing is applied, no difference are applied. I’m going to show what this great Hue Wheel is all about what I’ve been gabbing.
So first, I went up to Window, Arrange, Color Correction. Now, we have our Color Corrector. We have our Color Corrector applied to our clip and we have our scopes over here. I’m going to pull up my vectorscope which is just here. Now, if you notice right here is a Flesh Tone Line, this is where you want your white here represent—which is representative of your color. You want it to be as close to this Flesh Tone Line as you can get it. And right now it looks okay but if you notice the saturation is a little low, you want to keep your saturation about the second circle. You don’t want to go over then it will be over saturated, you don’t want to go under, you want to keep it about that second circle. As you can see it’s a little off there, so when I bring up my saturation to get it out towards that second circle a little bit more. So now, let’s go ahead and auto adjust my balance here about put a little eyedropper and clicking on something that’s supposed to be white and the same. Now, when I do that you can see it kind of froze off my Flesh Tone and my saturation also. So probably the first you want to do is—if you’re going to use the eye dropper is to use it. A lot of people like to start with their whites, mids, and Blacks first and if you’re going to use the eye dropper you can go ahead and just use it. So now, we need to get our Flesh Tone as you can see back over on the Flesh Tone Line. How are we going to do that? We’re going to use the Hue Wheel. If you notice, when I take this Hue Wheel and start rotating it to the left, watch that Flesh Tone Line come rock back over it, there, it will nudge right back over there to where it’s suppose to be.
Now, that’s wonderful. And you can’t do that with Color Corrector-three way that easy, there’s no Hue Wheel So now, let’s go to our White Form, I just our blacks and whites just a little bit, let’s up our white some little low, so up our mids, bring out the contrast and make the picture a little more contrast, that’s looking pretty good. Our blacks need to nudge down a tab. Let’s go back to our vectroscope. Look our saturation is a little hot right there so let’s put down our saturation. And now we have a Corrected Image and as you can see before, bland, green, yellow, tint and we turned the Regular Color Corrector on and it’s kind of like you took away ground dust, layer of dust. Now, you can want me to use the Color Corrector-three way conjunction with the Color Corrector. If you have a certain technique that you imply, you can use them separately, you can—it’s up to you. But that is the powerful use of the Hue Wheel and the Color Corrector. I hope you guys have learned something and we’ll see you next time.