You can scroll through the LUTs and see how your timeline will look with each LUT applied. Still, when it works, it previews the different LUTs in your ‘cube store’ applied to your footage and overlaid in the viewer panel. It empowers the plug-in’s built-in LUT capabilities considerably, but on my system it crashed Final Cut Pro X at random times. It’s much easier to set white balance this way than trying to synchronise the waveforms! LUTs and other time-saversīoth Color Finale and Color Finale Pro come with a LUT Gallery. It did require clicking the eyedropper repeatedly before the RGB magnified pixels readout matrix appeared, but once it did, it worked like a charm.
With Color Fiale Pro, you’ll get three eyedroppers to set white balance, one for each tonal range. It works by using the familiar eyedropper technique. I could compensate for these three parameters with a real-time visual feedback in the clip viewer.Ī very useful feature - and one that can save a shot even if you didn’t have a ColorChecker Video chart with you - is Color Finale’s white balance feature. Next to the settings where you select your camera and output device are three controls: exposure, temperature and tint. With the SLog3 footage from a Sony A7S II, the ACES “correction” looked quite dark and contrasty. By the way, the profile differed only slightly from a regular RGB display profile. My monitor is calibrated to a Rec.709 space, so I chose a Rec.709 output profile. I had SLog3 and Protune footage to test with. I also hope the developers of Ctrl+Console, the iOS app that lets you control Premiere Pro, Lightroom and Final Cut Pro X from an iPad, will make an effort and develop a new module for Color Finale. I found a couple of resources that refer to experiences with a Ripple and which show how easy it is to set up and use with Color Finale. I was hoping to get a Tangent Ripple to try Color Finale Pro with, but Tangent Wave had no demo units available for me to play with. X-Rite’s i1 Profiler software lets you calibrate a computer monitor for Rec.2020. As with any colour management system, you best calibrate your monitor to the output profile you choose. The plug-in has output profiles for RGB monitors, Rec.709 monitors, Rec.2020 displays and DCI-P3 monitors. The Color Finale implementation of ACES includes half a dozen cameras, with others having been promised to be added soon. ACES also supports the creation of digital cinema and HDR footage. It uses a target display profile to show you what the end-result will look like. It helps colourists achieve consistent colour across multiple camera brands and types. ACES is a colour management system that has been developed by the organisation that hands out the Academy Awards. The most interesting new features are ACES grading and the Tangent Wave support. Color Finale is a Final Cut Pro X effect.
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