- #Color grading in final cut pro
- #Color grading in final cut software
- #Color grading in final cut professional
The ideal situation is to never leave the editing application, but that requires more than just a few, simple color correction filters. Roundtrips pose a few issues, including turnaround time, additional media rendering, and frequent translation errors with the edit and effects data between the edit and the grading application.
#Color grading in final cut pro
So you might ask, why bother? But if you edit with Final Cut Pro X, then this requires a roundtrip between Final Cut and a dedicated grading suite or application.
#Color grading in final cut professional
In the last year Lavrov created both Cinema Grade, now owned and run by Riddle, and Color Finale 2.0, owned and run by Lavrov himself under his own company, Color Trix Ltd.īy focusing exclusively on the development of Color Finale 2.0, Lavrov can bring to market more advanced feature ideas, upgrades, and options with the intent of making Final Cut a professional grading solution.įor many, Blackmagic Design's DaVinci Resolve and Fimlight's Baselight systems set the standard for color correction and grading.
#Color grading in final cut software
One of the earliest was Color Finale - the brainchild of colorist/trainer Denver Riddle and ex-DI supervisor and color correction software designer Dmitry Lavrov. Final Cut Pro X initially offered only basic color correction tools, which were quickly augmented by third party developers. HDR, camera raw, and log profiles are an ever-increasing part of video acquisition, so post-production color correction has become an essential part of every project. It’s a terrific way of working and in this Video Insight I’ll take on a tour of this interface.We all know FCPX now has colour wheels and curves, but what about doing more advanced colour corrections? How about a plugin that can track masks, use ACES colour spaces and add film grain? Oliver Peters takes a look a the new Colour Finale 2. Specifically, I love that this HSL Keyer maximizes the use of our limited screen real estate by allowing us to directly select the pixels we want to key… directly on the vectorscope itself! I love Colorista’s HSL Keyer User Interface This third instance is being used to isolate an element in the image and alter it by pulling a Hue Saturation Luma Key. The first two instances were used to do the initial contrast expansion, color balance, saturation, and shot matching. You’ll notice that I’m working in a third instance of the Colorista plug-in.
Then, a member emailed me this week asking if I’d follow up and show the Keyer in action? This Insight is a follow-up to my original look at Colorista III It turned out, the bug was on the Final Cut Pro X side, which couldn’t handle the Colorista III HSL Keyer interface when it was at the end of a chain of multiple filters. At the time it had a bug that prevented me from showing you how I’d use Colorista III as a secondary tool, to select pixels using its HSL Keyer. As part of that series, we looked at Red Giant’s Colorista III color correction plug-in. The FCPX Desert Island Challenge: Follow UpĪ few months ago I wrapped my in-depth look at how I’d color correct in Final Cut X, if I had no option of color correcting in a dedicated color grading app.
Tutorials / FCPX Desert Island Challenge / Exploring the Colorista III HSL Keyer in Final Cut Pro X Series
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