clicking on a clip takes a “snap” of the frame at the cursor position. The chosen frame displays on the left side
of the Viewer with the color-matched clip previewed on the right (see Figure 15.2). If you don't like what you
see, you can simply click on another clip to preview a different match. To apply the color match, click the Ap-
ply Match button beneath the Viewer.
Figure 15.2 Matching color from one shot to another.
Manually Color-Correcting Shots
As useful as these automatic solutions are, you'll generally want to make color corrections manually to achieve
the look you require. These corrections are usually broken down into two stages: primary color correction and
secondary color correction. Primary color correction refers to corrections that are applied to the entire image,
while secondary color correction refers to corrections that are applied to just a portion of the image. Both types
of correction are achieved with Final Cut Pro's Color Board, but before we get to this, we need to show you
how to evaluate your images using Final Cut Pro's video scopes.
Working with scopes
When manually color-correcting your movie, monitoring plays a crucial factor in the assessment of your shots.
An image viewed on one monitor may look completely different on another. However, using video scopes in
conjunction with properly calibrated broadcast monitors will allow you to make accurate judgments on color,
saturation, and exposure and gain more satisfying results. Video scopes also help ensure that your movie's video
levels fall within accepted broadcast television standards.
There are three video scopes included with Final Cut Pro: the Waveform Monitor, Vectorscope, and Histogram.
To access the video scopes, choose Window ⇒ Show Video Scopes, press +7, or click the switch in the top-
right corner of the Viewer and select Show Video Scopes. The scope that was last used opens to the left of the
Viewer; you can select a different scope from the Settings drop-down menu. Let's take a closer look at each
The Waveform Monitor