Remove FCP Settings & HowTo?

Hello Folks,
First off let me warn you that I am not that good at any of this (except maybe audio) and have never used anything like color. I have messed around with PS CS3 and the FCP color wheels.
Anyway, I remember doing some corrections in FCP for a project shot in my brothers church. I don't not see the settings in Filters when loading the timeline into the Viewer. Any ideas on how I can remove the color corrections without otherwise altering the timeline?
Secondly, is there a doc or book or whatever that will show me how to match the color from one set of clips to another set of clips? For the shoot I used a Canon Xl1 and a Sony TRV280. The Canon tends to shoot a little warmish and the Sony is a little coldish. Most of the footage used in the edit is from the Sony. I want to warm up the Sony footage in Color a bit and then have the Canon footage match that.
Y'all be cool,
Robert

Robert Ober wrote:
Michael Trauffer wrote:
Using the "Still Store" room is extremely helpful when matching clips. I'm sure that the Ripple Training DVDs cover that room.
Ok, I may need to spend the 100.
I had thought for sure I had read in one of Alexis Van Hurkman's books he covered camera matching. I decided to call him and ask (he's just a few blocks from me). Answer, no - nothing he's written covers camera matching and we couldn't come up with a resource that either of us definitively knows covers camera matching.
Much has been written on scene-to-scene matching, which is a similar concept. But probably not camera matching.
Here's a synopsis on Alexis' take on effective camera matching:
• Find a moment in your scene - anywhere in your scene - where all cameras are pointed/framing the same thing. Ideally, this moment will have a nice tonal range (ie, on a histogram the values are nicely distributed from darks to whites) and an obvious black point and (non-light-emitting/non-reflection) white point.
• Once that moment is found, it's a matter of getting matching blacks / whites / mids by working your contrast / hue controls.
• Once they match, you then have the base correction for both cameras.
• The dirty secret: When using 2 or more cameras of different makes and models, usually one produces superior images than the other. The dirty secret is that you'll have to usually grunge up the good camera to get an acceptable match between the cameras.
In addition to Alexis' comments I'll add: I like to start with the best looking shot and make it look the way I want. Then I save that to the still store and use the still store to help me dial in the other camera(s). I get them as close as possible and then, if necessary, re-work the original camera to finish off the job.
HTH
- pi
Message was edited by: Patrick Inhofer

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