Apple Final Cut Pro 6 - Manual (Page 797)

12 Contents
513 Layout Options in Video Scopes Tabs
513 Learning to Read the Waveform Monitor
515 Learning to Read the Vectorscope
517 Learning to Read the Histogram
518 Learning to Read the RGB Parade Scope
519 Choosing Display Options for Video Scopes
522 Using Video Scopes in Real Time
522 Choosing Video Scope Accuracy
523 Video Scope Restrictions and Performance
523 Preventing Illegal Broadcast Levels
524 Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
526 Using the Broadcast Safe Filter
531 Using the RGB Limit Filter
534 Working with Analog Video
534 How Analog Video Signals Are Measured
534 How Digital Video Signals Are Measured in Final Cut Pro
535 Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels
535 Outputting Accurate Analog Black Levels Using DV FireWire
537 Using Built-in Video Scopes During Capture
540 Using Color Bars for Video Calibration
540 About Color Bars
541 Using Color Bars to Adjust Brightness and Color on Analog Equipment
541 Calibrating Video Monitors with Color Bars
Chapter 27 545 Color Correction
545 What Is Color Correction?
546 Why Color Correct Your Footage?
547 Color Correction Starts During Your Shoot
548 Managing Color During Post-Production
551 Color Correction Features in Final Cut Pro
552 Using Scopes Versus Looking at an External Monitor
553 Window Layouts for Color Correction in Final Cut Pro
554 Keyboard Shortcuts to Move Quickly Between Clips
555 Comparing Two Frames in the Frame Viewer
558 The Color Correction Process
561 The Final Cut Pro Color Correction Filters
563 The Color Corrector and Color Corrector 3-Way Filters
563 General Controls
564 Copy Filter Controls
569 Color Balance Controls
570 The Color Corrector Filter Controls
579 Color Corrector 3-Way Filter Controls
597 Match Hue Controls in the Color Corrector and Color Corrector 3-Way Filters