3/3/2024 0 Comments Color finale pro fcpxTimecode feeds into that mini XLR at top. The important thing is that timecode doesn't drift. During editing, Resolve makes it very easy to shift the Timecode a few frames to create the perfect sync. Your setup might vary, so you should test as well, either shooting a timecode slate or, short of that, at least grabbing a shot of the Timecode display on the box. However, our testing found that the Timecode was three frames out of sync when shooting 6.2k RAW to a T7 SSD with Video Assist. Blackmagic is good with Timecode, and you can input it over mini-XLR to keep your multi-camera setups in good sync. ![]() Fujifilm is aware folks really want this, and while we don’t know if we’ll get it in an update, this is a workable solution if you're shooting to a Video Assist. One major frustration with the X-H2S is that you don’t get real Timecode input. The other big perk with the Video Assist is Timecode input. RAW footage is just a whole different beast in post. ![]() Media is affordable (the prices on T7 drives are ridiculous these days), the files are small, and yet we got the benefits of post flexibility, amazing color science, and superb autofocus. If Blackmagic RAW isn't a part of your workflow, you could always opt for an Atomos recorder and get ProRes RAW instead. The variable compression options alone make it an attractive RAW competitor. Further still, Blackmagic RAW and DaVinci Resolve are integrated so tightly together that, for now, it makes the most sense to use Resolve for your entire pipeline. But in the end, we're still going to color in Resolve. We use Blackmagic RAW because it's compatible no matter where we edit (Premiere, FCPX, or Avid). This all fit within a single 4TB Samsung T7 drive that we plugged straight into the Blackmagic Video Assist. Over five days of shooting, we shot more than 30 separate multi-camera interviews, shooting hours and hours of footage. Blackmagic RAW files are a good bit smaller than ProRes files. Here's a demonstration of how all of these tools work together in the easy-to-use Color Finale interface:Īnd here's a quick tutorial for how you can use Color Finale to grade an entire sequence from start to finish in less than five minutes:īut it’s more than that. With the vector tool, it's insanely easy to make your skies more vibrant and blue, change the color of a building, or just sweeten up your skin tones. Not only do you get traditional color tools like 3-way color wheels and RGB curves, but Color Finale also comes with a simple LUT application tool and a powerful six-channel vector grading tool that allows you to make subtle or drastic changes to any one of six primary chrominance values. The tools inside of Color Finale are many of the same ones that you'd find in higher-end color suites. Just in case you missed the Color Finale launch film/sizzle reel, it's definitely worth another look: For a limited time, you can get 25% off Color Finale, the popular and potent plugin that brings professional grading features directly to your FCPX timeline. ![]() Various Inspector controls glitches specific to FCPX 10.4.9.Ĭompatibility: macOS 10.In honor of NAB, our friends over at Color Grading Central, who were just featured by Apple for their powerful new plugin, have a special gift for readers of this site. Undo/redo for Inspector parameters (Exposure, Contrast, etc) Support for the latest Tangent Hub – Color Finale can run concurrently with other compatible applications using Tangent Panels.Ĭrash during undo after blade operation on the clip Telecine Wheels saturation and hue constrains (activated with Option-S and Option-H respectively) to independently control those parameters while keeping other values intact. Powerful vector based grading to apply quick and accurate secondaries. We incorporate the best that the telecine suite has to offer.Īpply industry-standard Look Up Tables like OSIRIS and ImpulZ to accurately emulate the look of 35mm film. Industry-standard 3 Way Color Corrector and RGB Curves. We incorporate the best features of image editing applications. The power and elegance of grading via layers. Industry-standard grading tools in your FCP X timeline
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |