Corrections now correspond to the behavior that everyone accepts as standard LGG functionality. With the release of FCPX 10.4.1 this April, Apple engineers have changed the way the color wheels tool behaves. You ended up chasing your tail, because when one correction was made, you’d have to go back and re-adjust one of the other wheels to compensate for the unwanted changes made by the first adjustment. As a result, the color wheels correction tool was unpredictable and difficult to use, unless you were doing only very minor adjustments. In the hue offset example, shifting the midrange control to full-on yellow tinted the entire image to yellow, leaving no hint of black or white. When you adjusted midrange, it also elevated the shadow and highlight ranges. In FCPX version 10.4, each color wheel control also altered the levels of everything else. In addition to luminance value, when you shift the hue offset to an extreme edge – like moving the midrange puck completely to yellow – you should still see some remaining black and white at the two ends of the gradient. The midrange control (gamma) bends the middle section of the line inward or outward, with no affect on the two ends, which stay pinned at 0 and 100, respectively. Likewise, the shadow control (lift) leaves the line pinned at the top with the bottom half pivoting. If you adjust the highlight control (gain), the line appears to be pinned at the bottom with the higher end pivoting up or down as you shift the slider. On a waveform display, this appears as a diagonal line from 0 to 100. The standard behavior for LGG is evident with a black-to-white gradient image. ![]() To summarize that post, the color wheels tool seems to have been designed according to the lift/gamma/gain (LGG) correction model. I described those anomalies in this January post. However, for those of us who have been doing color correction for some time, it quickly became apparent that something wasn’t quite right in the math or color science behind these new FCPX color wheels. With the release of 10.4, Apple upped the game by adding color wheels and a very nice curves implementation. You could get a lot of work done with the color board, but it just didn’t offer tools competitive with other NLEs – not to mention color plug-ins or a dedicated grading app like DaVinci Resolve. Prior to version 10.4, the color correction tools within Final Cut Pro X were very basic.
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