This focus means better optimization and a better user experience. Color Finale 2 Pro supports more features, such as Tangent panel control, ACES color space, group grading, mask tracking, and film grain emulation.Ĭolor Finale has been designed from the beginning as only a Final Cut Pro X plug-in. It comes in two versions - standard and Pro. The update has been optimized for Metal and the newest color management, such as ACES. This brings us to the end of 2019 and the release of Color Finale 2.0, which has been redesigned from the ground up as a new and improved version of the original. If you want to do advanced correction in FCPX with the least amount of clicking back-and-forth, then there are really only two options: Coremelt's Chromatic and Color Finale. It's about having a tool that is properly designed for a grading workflow. However, effective and fast color correction isn't only about looks presets, LUTs, and filters. Over the course of eight years of Final Cut Pro X's existence, the internal color tools have been improved and even more third-party color correction plug-ins have been developed. 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. 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. 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. 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. Just FYI.Īs stated, Coremelt is working very hard on Chromatic, it has a ways to go, there's a lot in the plans for it, lots on the list of things to add/tweak.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. Complex stacks sometimes I render, but simple (which is 90% of what I need) corrections play back just fine. I'm using H.264 1080 and 4K from DJI P4 and I2, GoPro, Osmo, and ProRes from BMD 4K Production and Pocket cameras and iPhone 7 and 7+ footage. Again, many variables to be researched to formulate a fix. Coremelt has gathered my specs for their research.īut as someone just stated, Color Finale Pro on my system is worse, much more so than Chromatic. Personally, I don't get the back performance. But the same Mac can have a million different variables depending on other software, system settings, external hardware, etc. Yes, Chromatic is not as slick with playback on the current Mac Pros, but I've personally not see "horrible" playback, to the point of not being usable. So, to, you have such a Mac are you not having dropped frames on playback? I’m running version 412 of Chromatic do you by chance have a later, beta version? Thanks. They don’t know when they will have a fix. I have that computer and clips to which I’ve applied Chromatic play back with so many dropped frames as to make Chromatic unusable (unless I render such clips each time I make a change.) I reported this to Coremelt, who replied that its a known issue effecting the D700 equipped Mac Pro. I am very interested in your experience with Chromatic performance on a 2013 Mac Pro with D700 GPUs. Contact Coremelt, they'd be very interested in working on that. I'm very curious about the spec involved with a system where Chromatic is sluggish. There's more demand for hardware controller support, so that's coming first. X-Rite support is coming, but future features are based on demand. My main system is the same as yours, with D700 GPUs, so it's odd to hear it is sluggish. It outperforms Color Finale on the systems I've timed it on. I've been beta testing it from the start.
0 Comments
Leave a Reply. |