To properly Color Correct, you need to know what you’re doing. Well, you can do some, but it’s definitely a lot easier with an understanding of the theory behind what you’re doing. This tutorial from ReelClever.Net goes into that theory, and will help you understand what those scopes actually mean.

Watch the video tutorial here.

If you’ve tried tracking in Motion, you know it can be a real pain. Luckily, Mocha, which has been available for After Effects for awhile now, is now available for FCP/Motion. This tutorial takes you through the workaround workflow, as it’s kind of convuluted. But it looks easier with great results.

Watch the video tutorial here.

I was shooting an early morning rally, as the sun came up, on a pro camera with a grayscale viewfinder. Great for focusing, but when I got it back to the studio, I realized that the color temp had changed over those 3 hours as the sun rose, and I hadn’t white balanced. Richard Harrington over at Creative Cow has this tutorial that would have helped me a lot on fixing White Balance.

Watch the video tutorial here.

Shooting outdoors gives you a lot more light to work with, but can also create some pretty big problems. If your subjects are backlit, you could be in big trouble. However, Richard Harrington from Creative Cow has this tutorial on how to use the powerful Limit Effect part of the 3-way Color Corrector to fix this mistake.

Watch the video tutorial here.

Changing the speed of a clip is a very helpful or even cool thing that can be frustrating to actually pull off. This tutorial from FCPTips shows the basic ways to change the speed quickly and easily to a constant speed.

Watch the video tutorial here.

Over at Creative Cow, Richard Harrington shows you one of those little tricks that gave me a mixture of an “Ah-hah!” and a “D’oh!” moment the first time I saw it. You can easily keyframe the color correction, just like other parameters. Harrington also goes a little bit into the basics of keyframing if you haven’t done much yet.

Watch the video tutorial here.

A very good use of the 3-way color corrector is to match skin tones between shots. It helps with scene continuity if the hero’s face doesn’t flicker between a reddish and a bluish without ever leaving a room. Richard Harrington at Creative Cow shows you how to easily match skin tones.

Watch the video tutorial here.