The FCPX basically merges the three color wheels into one smart interface, showing precisely the relative positions of the Hi, Mid, and Shadows controls in one place on the spectrum. The new interface makes color correction easier and faster once a person understands how to use it. Personally, I'll never go back to the dated color wheel interface.
In the sample above, the objective is to get rid of the red/magenta cast in the shadow areas while maintaining the mid and highlight colors:
1. Adjust the Exposure.
2. Move the Color Shadows puck sideway to the red/magenta area and then down to decrease the unwanted cast.
3. Move the Color Midtones puck sideway to the same color area and then up to bring back some of the red/magenta in the midtones.
4. Fine tune the colors.
It's that simple and quick!
I'd tested the above clip with the free RT Color Balance plugin and the $49 FxFactory Cineflare WB plugin, FCPX got the job done much faster.
BTW, in the "RT Color Balance plugin" YouTube video above, the guy should've moved the FCPX buildin Color Highlights puck sideway to the yellow/orange area and then down to fully decrease the tungsten cast on the white card in one shot.
"3. underwater case up to 30-40 meters. I don't need anything fancy. I saw that there is a case from Nauticam that goes up to 100 meters, but it is expensive and that is not what I need.
are the cases for a6000 all so expensive? nothing way cheaper?"
In case you don't dive frequently, don't go deep, and don't need the housing right away, Meikon should soon come out with a plastic alternative (less than $250) with quality similar to P&S cases for the A6000 with the 16-50mm kit lens only. This one is for the NEX-6:
Meikon also makes an inexpensive (less than $250) 0.7X wide converter for its housing (amazon).
Don't know how reliable Meikon products are so you should do some research online. I've recommened these plastic cases to my friends mostly for kayaking and snorkeling.
If you dive frequently, the aluminum housing is the only way to go.
Did a side-by-side comparison between the Zeiss 12mm and the Sony 10-18mm above water. Not surprisingly the Zeiss 12mm F2.8 being a prime has sharper corners than the 10-18mm @ 12mm F4. For pixel peepers who don't mind noisy AF, the Zeiss 12mm is a great choice. Since the Sony 10-18mm has silent autofocus, smoother video AF performance, noticeably wider FOV, and Optical SteadyShot, it's a more useful lens overall and definitely a better video lens IMO.
The Zeiss 32mm F1.8 is also very good optically just like the 12mm, and its AF is also noisy just like the 12mm - perfect for photography or shooting video without AF. For video overall, the Sony E 35mm F1.8 OSS is a better choise IMO.