HOW TO DO DISSOLVES ON COLOR FINALE PRO PRO
HOW TO DO DISSOLVES ON COLOR FINALE PRO WINDOWS

HOW TO DO DISSOLVES ON COLOR FINALE PRO WINDOWS

Other windows include curves (useful for secondaries) as well as a vector grading window to select a tonal range for very efficient secondary correction.

It just gets you to the ballpark a lot quicker. While a combination of adjusting color wheels while looking at the WFM and the image is preferable, this old shortcut is welcomed.

HOW TO DO DISSOLVES ON COLOR FINALE PRO PRO

The Pro version also has a shortcut that I really missed from FCP 7 an earlier-an eyedropper to sample white and black for white and black balance. Response lagged slightly but not enough to fault either the Ripple, FCP X or Color Finale. I stuck with the basic features using the TangentвЂ™s dials for adjusting lift-gamma-gain and the balls for the color wheels. Color Finale Pro works with the Tangent Ripple control surface (which I own and have reviewed) and it also allows via the Tangent app a certain amount of customization of features. Then I would click the color wheels icon for lift-gamma-gain primaries. Thus my workflow with ACES was to apply the ACES transformation in the settings window and adjust exposure there. And you can even drag those layers above and below each other. Color Finale ProвЂ™s layers-based approachД¬olor Finale is based around corrections being applied in layers. It is nice to know that it is present in Color Finale Pro and my only advice is to try it to determine whether it works for your footage. There is considerable discussion about ACES workflow-whether it is really ready for prime time or whether it is needed beyond studio productions. In the ACES window, there are exposure settings and I was able to adjust exposure and subsequently Lift-Gamma-Gain in the color wheels section. SLog2 footage from the a6300 was a much more accurate representation. The FS7 clips had more contrast than I would have liked but amount of contrast is totally related to the look the colorist wants to achieve. The a6300 clips appeared overly contrasty and over exposed. Granted one is 10 bit I-frame and the other is 8 bit LongGop, but one would expect the SLog profile to be consistent. SLog3 footage from the Sony FS7 graded radically different from SLog3 footage from the a6300. But my results were sometimes within expectations and other times, for lack of any better technical term, wonky. Since I was monitoring on a computer monitor, I chose an RGB output. Thus in my examples, I started with Slog3 and Slog2 footage and applied the appropriate IDT. ACES also assumes that your monitor is properly calibrated. In the case of Color Finale Pro, there are output profiles for RGB (computer monitor), REC709 and DCI-P3 with several variants within each profile. It relies upon camera manufacturerвЂ™s providing the Academy camera profiles (also known as IDTs) and ACES workflow-aware applications will transform the output to the output device. In just a few words, ACES is designed to provide consistent color matching across multiple cameras to a target display device. New to Color Finale Pro (and only available in the $149 Pro version) is ACES grading. Click to bring up the user interface in a floating window.ДЄny color grading plug-in or app gives you many ways to do the deed and Color Finale Pro is certainly not lacking. The inspector window will show an Open Controls button. The feature set more than justifies the cost.Д¬olor Finale installs into FCP XвЂ™s Effects tab and like all FCP X effects, just double-click or drag the plug-in over your clip. IвЂ™ll be discussing Color Finale Pro and, for all of its features, strongly recommend that purchasers just spend an extra $50 and buy the pro version. The range of tools that is available to us is extensive and, for all of the foibles we may find with a tool, virtually all of those tools possess merit.ДЇCP X users in particular have a whole gamut of color grading options available from XвЂ™s native color boards (which IвЂ™ve grown to appreciate over the last couple of years) to plug-ins whose power far exceeds their cost.ДЄmong the best of these color grading plug-ins is Color Finale from Denver Riddle, the guru behind Color Grading Central.Д¬olor Finale has just been updated to version 1.6 and now is available in two versions-a $99 basic plug in and a $149 pro option. LetвЂ™s face it-digital content producers live in wonderful technological times. RedShark Review: Ned Soltz takes Denver RiddleвЂ™s ACES-compatible $149 Color Finale Pro for a spin and is impressed with what he finds. Color Finale Pro - before (left) and after

How to do dissolves on color finale pro