Think of a Preset as an adjustable LUT that can be tuned to work with multiple source video types. Technically Presets are macros of color correction settings, and in our case, these are created by professional film / TV colorists.
Editors / Videographers - Presets are equally valid for those Final Cut Pro users who understand the color grading process, but want a professionally color graded look (a Preset) to start with. Using Color Finale 2 or Color Finale 2 Pro, users can then make stylistic adjustments to their Presets to better suit their content.
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I've been scouring the internet trying to find anything about the issue I'm having, and not having any luck so I figured I'd post here and see if anyone else is having the same problem or if it's just me. I have a 14" MBP with a 10-core M1 Pro chip (14-core GPU) and use Color Finale 2.0 regularly in my workflow. I've noticed that anytime I have something in the timeline that's color corrected I experience frequent crashes, up to several per hour. It's actually caused me to lose quite a bit of work over the past few weeks, even with FCP's auto-save feature. I also have 2019 Intel iMac and have seen none of the crashing I do on my MBP.
Hey guys, I was wondering if anybody uses Color Finale here. If you do, is it worth? do you find it beter than the color grading tool included in FCPX? If you find it worth, did you buy the Basic version or the Pro? Why? Whats the difference?
Select Assume Video for clips that are already in a color space which matches the library and project color space values. This would typically be Rec. 709 for SDR (standard dynamic range) content. Assume Video is the Color Finale 2 default and means that the filter will not change the existing color profile of the clip. This option should also be used when you have already added a LUT to the clip in the information section of the Final Cut Pro inspector. For example, if you have an ARRI ALEXA camera clip recorded in Log-C and have applied the default LogC-to-Rec709 LUT in the inspector, then the Color Finale 2 color profile should be set to Assume Video.
Select Use Input LUT to import and apply any technical camera or creative LUT for your color profile. The .cube LUT format is supported and, when selected, controls the color management for that clip. Once you select Use Input LUT for the color profile, additional controls appear. Use the Input LUT pulldown to choose from previously used LUTs or import a new LUT from any connected hard drive. The Mix slider controls the percentage of the LUT color that is being applied. The Output Space selector lets you choose the proper color space for this LUT, in order to match your library and project settings.
Once Color Finale Pro has been installed, download the latest version of Tangent Mapper. The Mapper has been updated and is now offering a HUD that is optimized for users of the entry-level Tangent Ripple colorist control surface.
Only two Modes are relevant when using the Ripple physically: CF Telecine and CF Six Vectors. CF Telecine is the editing mode that assigns lift-gamma-gain in the Color Wheels tool. CF Six Vectors lets you pilot HSL with the dials in the Six Vectors tool (after you first select a color first with your mouse).
Back in January, our Technical Editor, Phil Rhodes, reviewed the X-Rite ColorChecker Passport Video chart, making reference to the classic Macbeth color charts, as well as X-Rite's new full-size ColorChecker Video chart.
As a quick overview, the ColorChecker Passport Video is a compact pocket-sized set of charts that includes a Video Color Target, Grayscale Target, White Balance Target and Star Focus Target. Like any color chart, its on-set uses can range from exposure settings to camera matching.
Where the X-Rite Video cards differ from other products up to this point is that the chart's Chromatic Colors align with the vectorscope color axis, while a row of skin tone colors provide an accurate means of matching skin tones.
When using any chart to be included in the header of a shot, it is critical that the chart be shot under pure conditions. By that, I mean no stylized on-set look, since the objective here is to match colors in post. Once that is achieved, then apply all the looks in post that you desire.
If using the X-Rite chart, look in the Inspector Panel of FCP X under the Color Finale plug in. Check Use Chart and Show Chart. Then in the Viewer window of FCP X, click the hash marks of the target to outline the color checker.
Another caveat: make certain that the black glossy color swatch has no reflections. If there are reflections, Color Finale will see that reflection as pure black and will obviously produce disastrous results.
Color Wheels and Curves are obvious. The 6 Vector tool allows control of each of these colors, based around a more accurate RGB (rather than HSL) model. Finally, an Opacity control at the bottom left can blend the grade with the original.
LUT Utility allows application of any of the pre-installed LUTs or any third party LUT which you desire to add. If using Color Finale as a grading tool of Log material without the X-Rite chart feature, a sound workflow might be to correct exposure, then apply a LUT; then make primary and finally secondary corrections. If using the X-Rite Chart, I would experiment with results of first applying LUT and then correcting color using the chart. Personally, after correcting exposure, I would apply LUT and then the ColorChecker, but experiment yourself.
As of the moment, Color Finale's corrections are applied to the entire image or to color ranges in the 6 Vector Tool. Colorgrading Central teases that masking will be available in a later revision of Color Finale.
Color Finale is fast, flexible and accurate. It combines familiar color tools of Wheels, Curves and Vectors with the ability to apply any LUT and then ultimately to save a favorite look as a LUT. The ability to apply multiple corrections within a clip allows fine tuning accuracy. Unlike other FCP X plug-ins, users who view their footage via external reference monitor can see results with real time updates. I personally use a Blackmagic card to a reference monitor and the ability to see my correction on a monitor calibrated to my deliverables is invaluable.
Chances are you're either a filmmaker or an editor and you handle all of you're own color grading inside of Final Cut Pro X (the buck stops with you). But you might be feeling frustrated when you're not getting the results that you're looking for. You may feel overwhelmed with the tools in Color Finale or you may even watch a film or project and say to yourself, "Why can't I grade like that?"
Well the good news is color grading is my obsession and so I didn't want to give up. Through years of practice and study I was able to discover the groundbreaking techniques that top colorists from around the world use. Techniques that I used when grading commercials for big brands like Facebook and on films with theatrical releases.
Imagine for a moment what it would feel like knowing that you're getting the most cinematic look from your camera. How it would feel to be complimented on the style of your work. What would it mean to stand out from your competitors who are likely not even thinking of color grading or very good at it? And how would it feel to land a big project with a major client? You can do it and I'm here to help you.
What if you were only one technique or tutorial away from getting the results you're looking for in Color Finale? What if there was someone willing to mentor you every step of the way? Someone willing to open up and share their top grading techniques and share with you how color theory can have an impact on your grading.
I have a keen interest in helping you to see results in your color grading. We have thousands of satisfied members but what I'm interested in where you're currently at, the struggles you're currently going through and helping you get to the finish line. When you feel confident in your abilities and you celebrate your success is when I'll celebrate. Feel free to peruse the masterclass curriculum and I'm always one email away if you have a question or need some feedback.
Designed with careful attention to skin tones and to work in as many situations as possible (within a given context), these aren't cheap color casts or tints that will muddy up your image like other creative LUTs out there. With ASCEND LUTs you will experience the creative difference in pleasing color contrasts and color harmonies. ASCEND will help in better conveying the emotion in the story or setting up a particular genre. e.g. 1970's, SciFi/Thriller, Fashion etc.
I am blown away by the Color Finale Color Grading Masterclass. Although much of this information is available online in both the CGC tutorials and elsewhere having everything in one place makes learning color grading so much more efficient and practical. As a photographer moving to video this series is invaluable. Moreover, Denver does a fantastic job of getting to the point in each video making learning ultra-efficient. I know this review sounds like I am a shill for CGC but I was in no way reimbursed for this review and I have no association with CGC. Worth every penny.
I was lucky enough for this course to happen upon me. There was a color theory that I thought I knew, and the method I had no clue how to go about. This course solved everything. I am now more confident with my skills as a filmmaker, and with a possible new future as a colorist, as well. This course is a must-take for all filmmakers, even if you're just a director or DP. This knowledge alone will make you a better artist behind the camera!
Denver Riddle has done a great job, again, I have to add.I haven't finished the course yet, it may take me a year to study it. But from what I just downloaded, BTW, it is over 30GB (including tutorial videos and exercise videos, and I skipped some materials from module one and two), I have to say, this is by far THE most systematic and comprehensive tutorial on color grading. This is why it is called Masterclass. What a great gift to anyone who decides to go further on color grading.I guess it is going to be a very busy year for me.I started studying color grading a year ago. Now when I recall all I learned so far, most of them were from Denver Riddle.Thanks, Denver Riddle. I will remember this name every time I grading.BTW, there is a little problem. Many downloaded exercise files were unzipped into folders with same name: 'exercise file'. So I have to change them one by one. It will be better if the folder all have individual names. be457b7860
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