A lot of visual media relies on altering the footage that was taken for specific scenes of a movie or television show in order to add either tone or emotional weight, which would be otherwise absent if the footage is left untouched. From adding vibrancy to the shot of a person running in a sunny flower field to having a grim setting with rain and flashes of light in a stormy night, there is nothing that color grading won’t add for media. The kind of color grading Final Cut Pro X has can not only make anyone’s hands-on approach to color grading easy to follow but it also brings in new tools that can change the way color grading works.

Originally, artists used the color board so they can color correct whatever they feel needs touch ups. From modifying the exposure to the saturation and the color of an image, of course, the options found within the color board was once deemed to be the best work found. That being said, it may seem too hard for some editors to work with the color board if it is unfamiliar to them, even if they have had a large history of color correcting.

-The first issue with the color board is that it is put on a flat field instead of a traditional color wheel, which made the board seem strange to follow.
-Another problem that artists had was how they wouldn’t be able to keyframe any corrections, even though they can blade a clip so it can dissolve between two established corrections.

With Final Cut Pro X, there have been new additions to the recent update of the editing software, such as having a lot more flexible options found with the color wheels, color curves, and even the curves found within the hue and saturation of an image. The Color Inspector is one of the new tools found within Final Cut Pro X that is responsible for the additional ways of having color correction effects to a video. By adding the other aforementioned color correction tools, editors can take advantage of twisting the visuals that they would otherwise be unable to do with the previous editing program.

If there is a need to use a color wheel, video editors can be able to put a clip found from their timeline before using the color inspector. If it says “No Corrections” in the pop-up menu, then the editor should have to highlight the tab and then click on “Color Wheels” on another pop-up menu so they can add a color wheels correction. They can choose how the color wheels can be displayed on their screens, though all wheels are present in a single window, with a convenient top to bottom format. If that isn’t good enough, then they can have separated color wheel panes. While the video editing software may leave newcomers and occasional experts feeling lost, this form of color wheel work is still approachable overall.