The Vector scope has six purple targets (brackets) with letters, abbreviated color names, that represent each of the primary and secondary colors. Just as with the Waveform monitor, the Vectorscope will run in RT (real time). As you can see below, the Secondary colors, Magenta, Cyan and Yellow fall between the Primary colors, Red Green and Blue. Both show the three Primary colors, Red Green and Blue (RGB) as well as the three Secondary colors Magenta, Cyan and Yellow, which are created when any of the Primary colors overlap. Secondary colors - Magenta - Yellow - CyanĪ color wheel and the Vectorscope present two different views of exactly the same thing, the color wheel uses colors and the Vectorscope uses white pixels, called traces, to display the different colors and their saturation.
![target color final cut pro target color final cut pro](https://i.ytimg.com/vi/c0Fdyf2tbA8/maxresdefault.jpg)
Regardless of your final destination, everyone has access to the FCP scopes, and at the very least, the scopes will keep you Broadcast Legal, and will also enable you to properly evaluate the color of your video for color correction and color grading.
![target color final cut pro target color final cut pro](https://i.pinimg.com/originals/e1/34/47/e134479e4691c23b6b0860b8680effc4.jpg)
However, if you are preparing work for the internet, then you would want to judge the video on your computer monitor, because that's what the internet uses for delivery, a computer monitor. To properly color correct video for broadcast, we must have a professional broadcast monitor to evaluate our work, using the Canvas windows is not a good idea because it does not properly represent a broadcast signal. You don't think that the look of the feature film '300' was achieve only 'in camera'? We also color grade our video to achieve an effect, a stylized look, warm the video up, cool the video down, give it a completely different look and feel. One of the goals of color correcting is to have white objects (or light) that appear in the shot to be white or neutral in tone.
![target color final cut pro target color final cut pro](https://i.pinimg.com/736x/cf/f4/67/cff4671bfa69976485c147f216a25792.jpg)
Different scenes or setups may need to be color corrected so that they can be intercut and have the colors match. These color errors can happen because the camera was not 'white balanced', video was shot throughout the day, mixed light sources in the shot, or something as simple as the camera starting the shot facing South and then panning to North, where the color of the light is cooler, bluer. While the Vectorscope is used to determine the color saturation of the video, it is also used to help color correct our video, which can have a color cast or tint to it. Even the type of lights in the room with the monitor have an effect. Every monitor is different, even calibrated monitors and everyone sees colors differently, many people even have some degree of color blindness (men more so than women), so we use the Vectorscope to objectively evaluate the video. There are two areas that need to be looked at to insure that our video is Broadcast Safe the luminance of the video as shown in the Waveform monitor and the color saturation as shown in the Vectorscope.Īside from keeping our video Broadcast Safe, another reason for using the Vectorscope is because we can not objectively evaluate the colors of our video by eye. While it's true that the Vectorscope deals with color and not luminance, if a color in the video is overly saturated, then the video would not be Safe for Broadcast. In my Waveform monitor article, some attention is given to making the video 'Broadcast Safe' by adjusting the luminance in the video.
![target color final cut pro target color final cut pro](https://www.aulafacil.com/uploads/cursos/4874/editor/screen-shot-2016-07-02-at-2-25-35-am.es.png)
This article is going to cover the Vectorscope. The Waveform monitor displays the luminance or brightness of our video from black to white and the Vectorscope, which uses a circular graph, not unlike a color wheel, shows the colors, hues and color saturation of the footage. For me, the two most important scopes and the ones that I use, are the Waveform monitor and the Vectorscope. FCP offers four different scopes for us to work with Waveform Monitor, Vectorscope, Histogram, and RGB Parade.