Interface of hitfilm pro

     Interface

                                               HitFilm interface can be fully customized. The Workspace menu in hitfilm interface is so easy to displays controls for turning individual panels on and off, switching workspace and managing your custom workspaces.In the hitfilm interface The workspace menu can be opened using the icon at the top of the screen in hitfilm interface:

Note for MAC user:

If you are on a Mac, the Workspaces in hitfilm interface can be accessed through the View menu.

Four standard workspaces are provided to suit common tasks.

All panels: A feature-rich workspace with all panels enabled. Easy access to all editing and

compositing features.

Classic: Based on the default layout in HitFilm 2 Ultimate. This option can be more familiar to

users coming from an older version of the software

Compositing: Optimized for compositing, with emphasis on the controls and effects panels.

Editing: Optimized for editing, with emphasis on the trimmer, media panel and viewer.

Designing your own workspaces

Workspaces can be fully customized, and you can create your own workspace templates. Details

on how to customize the layout of the panels and containers that mke up the HitFilm interface is

detailed below.

When you have a layout that you wish to save for later use, open the workspace menu and select

Create. Anew window will appear, where you can name your new workspace. After you click OK,

your new workspace will be available through the Workspaces menu.

If you are on a Mac, then after creating your workspace layout you will open the View menu and

select Save Workspace. Enter the name you wish to use, and after clicking OK, the workspace will

be available in the View > Workspaces menu.

Containers and panels

The HitFilm interface is designed using a mixture of containers and panels. A container can contain

multiple panels, which can then be switched between using tabs.

The size of containers can be adjusted by dragging on the container's edges.

Panels can be moved between containers by clicking and dragging on the panel's tab.

Containers can be moved around the screen by clicking and dragging on an empty area of the

container's title bar.

Dragging a container over another container will display a 4-way drop zone indicator. Dropping the

container onto the relevant zone will insert the container to the left/right/top/bottom of the affected

container.

Floating containers

Containers can also be separated from the main window and moved into their own 'floating' windows.

These can then be dragged anywhere around your desktop. This can be useful if you want to move

the viewer onto a second monitor, for example.

To float a container, simply right click its title bar and select Float container.

To move a floating container back into the main interface click the workspace icon in the floating

container's title bar.

You can also drag a floating panel back into the interface, by choosing a new container location and

dragging the tab of the floating panel into the header of that container.

The Panels

The HitFilm interface is made up of a number of panels, which are displayed as tabs within containers in

the interface. Each panel serves a specific purpose. Details regarding each panel are provided below.

More information on arranging the panels and customizing the interface can be found on the The

interface page.

Audio Mixer

The Audio Mixer panel provides tools for mixing the audio tracks on the Editor timeline. Meters are

given for each track, to monitor their levels. The levels of individual tracks and their stereo pan can

be adjusted, so they fit properly into the mix with the other tracks. Tracks can also be easily muted

or soloed. The page on Working with audio provides additional details on reading meters and using

the Audio Mixer.

Controls

The controls panel displays all the controls, properties and values used by the selected layer, and

allows you to edit them. Additional details are available in Introducing the Controls panel.

Effects

The effects panel contains all of the effects that can be applied to your layers, as well as some

effects that create their own layers. It also contains presets, and allows you to create and organize

your own presets using the effects built into HitFilm. The individual effects are covered in detail in

the Visual effects of the manual.

History

The history panels shows a log of the most recent changes made in the software, and allows you to

undo or redo them by moving through the list. It is covered in greater detail on the Action History

page.

Lifetime

The Lifetime panel is used by the particle simulator. It allows you to modify the behavior of particles

over the course of their life, after they are emitted. Detailed information is available in the Lifetime

panel page of the chapter on the Particle simulator.

Media

The Media panel stores all the media files imported into your project. You can organize your media

assets there, as well as access and modify their Properties and import new files. More information

on using the media panel is provided on Introducing the Media panel.

Meters

The audio Meters panel provides a dynamic readout of the audio levels of your project so you can

adjust the audio levels appropriately. Then you can adjust the levels to ensure your project is

audible, but not so high that the audio is distorted by peaking. To learn more about working with

audio and using meters, see the page on Working with audio.

Processor

The Processor panel is used to manage your proxies. It shows all proxies currently being

generated,

Scopes

The Scopes panel allows you to precisely monitor the color of your project, to help with making color

corrections and ensure that color ranges fall within specified standards. This is important to ensure

that colors are accurately reproduced when the finished program is broadcast later. It provides a

Vectorscope, a Waveform monitor, a Histogram, and a RGB Parade. More information on the

individual scopes and how to use them is available in the Introducing Scopes page.

Timeline

The timeline is where you arrange and manipulate your media to create your project. The Timeline

panel is permanent, and cannot be removed from the interface.

There are two types of timelines in HitFilm; the Editor and Composite Shot timelines. Both are

covered extensively in Introducing the two timelines.

Track

The Track panel contains the controls used to perform 2D tracking on video layers. To learn how to

track a layer, and to get familiar with the controls, please refer to the chapter on Tracking.

Trimmer

The trimmer panel allows you to load a specific video clip from the media panel for review, or to

select a portion of the clip to add to your timeline. To learn more about trimming clips, please see

the Trimming assets page of the Editing chapter.

Viewer

The Viewer is where you see the combined results of your timeline. All media assets and effects

used on the timeline will be displayed in the Viewer. You can playback the timeline there to view the

results. You can also directly edit the position of layers within the Viewer, and edit the contents of

some layers by creating masks or entering text.

The Layer panel is also found in the Viewer container. It shows the currently selected layer, before

any effects or Transform adjustments are applied. It is primarily used for tracking.

The Viewer and Layer panels are permanent, and cannot be removed from the interface. There are

many options available in the viewer, and they are covered in detail in Introducing the Viewer.

How we can use Color correction tool in hitfilm pro

Color correction in Hitfilm

Scopes allow you to precisely monitor the color correction of your project in hitfilm, to help with making color corrections and ensure that color ranges fall within specified standards. This is important to ensure that colors are accurately reproduced when the finished program is broadcast later. Scopes are important because they are always accurate, no matter what display you use. The actual colors corrections in your video can vary based on the display they are viewed on, and how the color of that display is calibrated. But scopes will always give you accurate color info, to ensure that the colors fall within established standards regardless of the hardware used to make color adjustments.There are four types of scopes available: a Histogram, an RGB Parade, a Vectorscope (which gives scopes its names), and a Waveform monitor.

Scopes in fitfilm pro

 

Scopes can be accessed two different ways, through the Scopes panel, and through the Control panel of individual layers.

The Scopes Panel

The Scopes panel gives you color values for the output of your timeline. The readouts of the scopes panel are based on the combined color values of all layers on the timeline at the current play head position.The layout of the scopes can be changed using the buttons at the top right of the panel. You can focus on a single scope, or set up any combination of two, three or four scopes.

At the top of each scope in the panel, the current scope name is shown in a menu. You can open the menu to change which type of scope is shown.

Each scope also has properties that can be accessed through the cog icon, and which vary based on the type of scope being used.

Scopes Effects

Scopes can also be applied to individual video clips or layers, to monitor the color information for that specific layer. The Scopes folder, in the Effects panel, contains all four types of scopes, which can be applied in the same fashion as any other effect. When used as effects, the scopes readout is based on the color values of the specific layer or video clip they are applied to. This can be useful to evaluate the colors of each layer before they are combined into the final readout shown in the Scopes panel.

The Four Types of Scopes

There are four types of scopes available. Each gives a different readout of of your layer, so you can evaluate it from several directions. Each type of scope also has unique properties to control what information is displayed. The cog icon at the top right of each scope gives access to the properties for that scope.

Histogram

The histogram displays a readout of the tones in your image. The tones range from pure black on the left to pure white on the right. The height of the graph indicates the relative frequency of that specific tone in the image.

The Properties for the Histogram contain the following options.

Mode: Select the color information that is displayed in the scope.

Luminance: displays the luminance levels of the overall image in a greyscale graph.

RGB: shows the red, green, and blue channels simultaneously, as colored overlays

RGB Parade: shows the red, green, and blue channels simultaneously, as individual readouts in a

vertical stack

Red: shows only the red channel

Green: shows only the green channel

Blue: shows only the blue channel

Alpha: Shows the levels of the alpha channel of the image

CbCr: shows the blue chroma difference and red chroma difference channels of the YCbCr color

space. The Y value is Luminance, which can be selected separately

CbCr Parade: shows the blue chroma difference and red chroma difference channels of the YCbCr

color space, as individual readouts in a vertical stack

Cb: shows only the blue chroma difference channel

Cr: shows only the red chroma difference channel

Analysis Downsample: Adjusts the precision of the readout. Lower sample rates are faster, but

less accurate.

Color Space: Select between various color standards, so you can ensure your content meets the

color specifications required

Rec. 601: the color standard for standard definition (SD) footage

Rec. 709: the color standard for high definition (HD) footage

Rec 2020: the color standard for ultra high definition (UHD) footage

Analyse Using: select whether the footage is analysed using the CPU or GPU

Parade

The Parade displays a readout of the contents of each color channel in your image. Each channel is

shown individually, in sequence. Whenever "parade" is used in regard to a scope, it indicates that

each channel will be shown individually, one after another.

In each channel of the parade scope, the left to right axis of the graph indicates the image from left

to right. So the colors present on the left side of the image will be shown on the left side of the

scope. The vertical axis of the graph indicates the intensity of that color channel in that area of the

image.

In the image above, notice that the red circle is on the left side of the viewer. And when you look at

the red channel of the scope, a spike of high red values appears on the left side of the graph.

Compare that to the blue circle, which is on the right side of the viewer. And in the blue channel of

the parade, high blue values are shown on the right side of the graph.

The Properties for the Parade contain the following options.

Mode: Select the color information that is displayed in the scope.

RGB: shows the red, green, and blue channels simultaneously, as colored overlays

YCbCr: shows the luminance (Y), blue chroma difference (Cb) and red chroma difference(Cr)

channels of the YCbCr color space.

Direction: By default, the parade displays values across the image from left to right. The direction

control allows you to change this, so that the scope is mapped across the image in a different

direction. Setting the Direction to 90 degrees, for example, will map the top of the image to the left

edge of the scope, and the bottom of the image to the right edge of the scope.

Brightness: Manipulates the brightness of the parade readout. Increasing or decreasing the

brightness of the parade may make it easier to read in some situations.

Analysis Downsample: Adjusts the precision of the readout. Lower sample rates are faster, but

less accurate.

Color Space: Select between various color standards, so you can ensure your content meets the

color specifications required

Rec. 601: the color standard for standard definition (SD) footage

Rec. 709: the color standard for high definition (HD) footage.

Rec 2020: the color standard for ultra high definition (UHD) footage

Vectorscope

Vectorscope

     The Vectorscope provides hue and saturation data for your image. Hue is represented circularly, as

a color wheel. Saturation is graphed along the radius. The more saturated a color is, the closer to

the outside of the circle it will be graphed. The six color points around the perimeter of the circle

represent the standard color bars used in vide, and can be used for reference. The diagonal line

represents skin tones, to make it easier to color correct your footage for accurate color.

The Properties for the Vectorscope contain the following options.

Brightness: Manipulates the brightness of the vectorscope readout. Increasing or decreasing the

brightness of the parade may make it easier to read in some situations.

Analysis Downsample: Adjusts the precision of the readout. Lower sample rates are faster, but

less accurate.

Color Space: Select between various color standards, so you can ensure your content meets the

color specifications required

Rec. 601: the color standard for standard definition (SD) footage

Rec. 709: the color standard for high definition (HD) footage

Rec 2020: the color standard for ultra high definition (UHD) footage

Skin Line: toggles the skin tone line on and off. By default the skin line is on, but you can hide it

using this option, if you wish.

Standard Color Bars: toggles the color bar indicators on and off. By default they are on, but you

can hide them using this option, if you wish.

Waveform

The Waveform displays a readout of the contents of the current frame. The left to right axis of the

graph indicates the image from left to right, in a similar fashion to the Parade. So the colors present

on the left side of the image will be shown on the left side of the scope. The vertical axis of the graph

indicates the intensity of that color channel in that area of the image.

The Properties for the Waveform contain the following options.

Mode: Select the color information that is displayed in the scope.

RGB: shows the red, green, and blue channels simultaneously, as colored overlays

YCbCr: shows the luminance (Y), blue chroma difference (Cb) and red chroma difference(Cr)

channels of the YCbCr color space.

Direction: By default, the waveform displays values across the image from left to right. The

direction control allows you to change this, so that the scope is mapped across the image in a

different direction. Setting the Direction to 90 degrees, for example, will map the top of the image

to the left edge of the scope, and the bottom of the image to the right edge of the scope.

Brightness: Manipulates the brightness of the parade readout. Increasing or decreasing the

brightness of the parade may make it easier to read in some situations.

Analysis Downsample: Adjusts the precision of the readout. Lower sample rates are faster, but

less accurate.

Color Space: Select between various color standards, so you can ensure your content meets the

color specifications required

Rec. 601: the color standard for standard definition (SD) footage

Rec. 709: the color standard for high definition (HD) footage

Rec 2020: the color standard for ultra high definition (UHD) footage