The main difference with previous version of Ottocolor was that the las step of Saturation has different values and the 5 series has different gray levels too. This instructions are more detailed and can be used with previous version except the last step SATURATION.
Rec.709 – Standard Dynamic Rage
This tutorial is for Standard Gamut SDR workflow. The recorded clip is Rec. 2020.
Bypass the setting up of the workplace and start with Exposure.
This video is for someone already used to Final Cut Pro
This video is very detail for someone new to color correction in Final Cut Pro
Each of the steps below are explained in the video – link with timecode on each step
EXPOSURE
Watch the exposure section of the tutorial HERE

To adjust the EXPOSURE you will be using the LUMA Waveform scope

Find the recorded clip with Ottocolor just in front of the subject and being illuminated by all the lights that will affect the subject, Then zoom in to enlarge Ottocolor to cover a good portion of the screen, that way the scopes are easiness to read.

Add a Color curves adjustment and pick the 4 level. The first one will be the darkest, next 25% of the brightest, next 50% of the brightest and last one the brightest.

Start by raising your brightest to the point where the curve is not damaged nor flattened against the edges. This will give you your new brightest level of the Ottocolor white.


In this example the new brightest measurement is 94 – Keep this number in mind.

To adjust the 50% position. based on the new found new brightness point on the previous step 94, 50% of that is 47. Adjust the 50% marker until you get to 47.
50% of 94 = 47

Adjust the 50% marker until you get to 47. (50% of 94, the new brightest point)

To adjust the 25% position. based on the new found new 50% point on the previous step 47, half of that is 23.5. Adjust the 25% marker until you get to 23.
25% of 94 = ~23

Adjust the 25% marker until you get to 23.
25% of 94 = ~23

Your Ottocolor black marker needs to go down to the point where the curve is not damaged nor flattened against the edges. This will give you your new lowest level Ottocolor black.

WHITE BALANCE
Watch the white balance section of the tutorial HERE

To adjust the white balance you will be using the RGB Overlay Waveform scope

Add a new Color Curves and pick the new exposure values for the grays ONLY. They should be right on 23 and 47.
Your goal is to move the RGB lines to match at each desired level. HOW?

Start adjusting the curve highlights. Move the to end limit across the edges starting with RED, then GREEn and finally BLUE.
Make sure you unselect the “Preserve Luma” checkbox.

Eventually the lines will merge on the target level.
Make sure you unselect the “Preserve Luma” checkbox.

Next add control point on your RED BLUE and GREN curves at the 50% 47 location that you picked the exposure on the LUMA curve.
DO NOT USE THE EYEDROPER FROM EACH COLOR CURVE, ONLY USE THE DROPER FROM THE LUMA CURVE. Then add the control points manually.
Make sure you unselect the “Preserve Luma” checkbox.

You will move the curves to match the target. This one shows how the 50% 47 target has been matched.
Make sure you unselect the “Preserve Luma” checkbox.

Next add control point on your RED BLUE and GREN curves at the 25% 23 location that you picked the exposure on the LUMA curve.
DO NOT USE THE EYEDROPER FROM EACH COLOR CURVE, ONLY USE THE DROPER FROM THE LUMA CURVE. Then add the control points manually.
Make sure you unselect the “Preserve Luma” checkbox.

You will move the curves to match the target. This one shows how the 25% 23 target has been matched.
Make sure you unselect the “Preserve Luma” checkbox.

And last to adjust will be the darkest. Ottocolor black. Move the to end limit across the edges starting with RED, then GREEn and finally BLUE.
Make sure you unselect the “Preserve Luma” checkbox.

You will move the curves to match the target. This one shows how the Black matching the 2 achieved before.
Make sure you unselect the “Preserve Luma” checkbox.
HUE
Watch the section of the tutorial HERE

To adjust the HUE you will be using the RGB Overlay Waveform scope

After completing your exposure and white balance, deactivate your mask and add a new one around the colors.

Add a new Color Curves and pick each color of Ottocolor on the screen.
DO NOT JUST SELECT THE MAIN COLORS.
Just add one at a time, you’ll get the extra control points and delete them. JUST LEAVE THE 6 MAIN COLORS
DO NOT PICK THE SKIN TONE YET

Adjust UP or DOWN each control. NOT SIDEWAYS.
Your goal is to match 2 out of the 3 colors. What does that mean?
All colors are Red Blue and Green combinations. RGB
To achive RED, Red should be by itself on the top ad Green and Blue should match at the bottom,
Next is YELLOW. Composed by mixing Red and Green, consequently Red and Green need to match on top and Blue on the bottom.
For GREEN, Red and Blue should match at the bottom.
For CYAN, composed by mixing Green and Blue light. Green and Blue should match on top, and Red on the bottom.
For BLUE, Red and Green should match at the bottom.
For MAGENTA, composed by mixing RED and Blue light. Red and Blue should match on top, and Green on the bottom.

And at last you can pick the Skin Tone. Either pick from Ottocolor or an actual person on the scene.


You need the vectorscope displaying the skin tone indicator.

You could refine the mask to only see that on the vectorscope.

Adjust UP or DOWN each control. NOT SIDEWAYS.
Try to get 2/3 of the range on the red side, This will help you avoid sick looking skin (yellowish)
SATURATION
Watch the saturation section of the tutorial HERE

To adjust the SATURATION you will be using the Chroma Waveform scope

If you did the previous step correctly, IF (but don’t) you pick each color of the card, you will find that the controls match exactly with the grid.
DO NOT pick them, just add one at a time, otherwise you’ll get the extra control points and will have to delete them as before.

Adjust UP or DOWN each control. NOT SIDEWAYS.
Your target is to have the Chroma just below the 25 mark for all the MAIN colors, and 20 for the skin tone
If they are too low or too high in general, adjust the overall saturation to move them to an average position.
Sometimes there are 1 or 2 colors that get to the limit of the control and still not high or low enough. Raise or lower the overall saturation (all within the same controls, no need to add another adjustment) and readjust the rest.

CONGRATULATIONS!!!
At last you have achieved a proper color correction. Now you can start color grading. If you look at your vectorscope now, You will see an even distribution, all pointing to their targets. Half way to the full saturated value and the skin tone right on the line.