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- CINEMA GRADE VS COLOR FINALE FULL
- CINEMA GRADE VS COLOR FINALE SOFTWARE
- CINEMA GRADE VS COLOR FINALE PROFESSIONAL
We incorporated LUT Utility, which we had already written, and introduced the Six Vectors tool, which allows you to do some really fast and accurate secondary color corrections. Curves was another really big popular one, a lot of photoshop artists love to grade with the curves. This was something that was already found in Final Cut 7, but it was missing in Final Cut X.
CINEMA GRADE VS COLOR FINALE PROFESSIONAL
We had the opportunity to participate in a survey, maybe around 2014… We found that half of users were doing all of their color correction from inside of Final Cut and the other half was sending it out to something like DaVinci Resolve… What we sought to do was bridge that gap between Final Cut - being a very fast and modern editorial platform that I really feel like has really been disruptive in the editorial space in terms of magnetic timeline and all of the other great things about Final Cut - then adding professional color tools that are normally found in dedicated grading systems like DaVinci Resolve.
CINEMA GRADE VS COLOR FINALE FULL
“The same developer that we had developed LUT Utility with, we ticked around the idea of creating a more full color correction tool for Final Cut. LUT Utility will enrich your color grading process, but it won’t help you actually break down the look of your film. What are the colors? What is the color palette? Is there a strong dominant color? What is the saturation like? Are some colors more saturated than others? What is the contrast? Is it a high-key look? Is there detail in the shadows, is there detail in the highlights? Once you can break it down into language, then you can actually grade for a particular look. Or you can break the look of a film down into a language. You can buy a bunch of LUT packs all day long and slap them on there and get the look that you want. It takes a little bit more work but you can craft and shape that gamma curve to the way you like. You can do it manually, you can adjust the lift, gamma, and gain controls, and you’re adjusting the contrast. “There’s a variety of ways you can grade Log. Denver, though, does a nice job of explaining their use in relation to the color grading process as a whole. There’s an easy misconception that LUTs can do most of the color grading work for you (again, totally never happened to me).
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LUTs, or “Look Up Tables,” are typically applied after footage is matched and graded to help give the clip or project and overall “look.” These can range from simple contrast shifts to film stock emulation. There was starting to be a market for these lookup tables because there were all of these Log cameras.”
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CINEMA GRADE VS COLOR FINALE SOFTWARE
A couple of years went by and the first software plugin that we released specifically for Final Cut was LUT Utility and that allowed users to apply 3D Look Up Tables. Professional users felt that there were some features that were missing, and if you remember the history prior to Final Cut X, Final Cut Studio contained a dedicated color grading system called “ Apple Color” that they acquired from another company called “ Final Touch.” The color port was a kind of revolutionary way of producing color correction, but at the same time it was still limited with what it could do. If you’re familiar with the history of Final Cut X, you’ll know that in 2011, when it was released, it wasn’t the most well-received. “I was running Color Grading Central and was just producing different training videos for people wanting to learn more about color grading. Now there’s tons of tutorials on YouTube, but at the time there wasn’t really anything at all.” I did take some formal training at the International Colorist Academy at Burbank… Besides that there was a real dearth of information that was out there, so this is what inspired the creation of Color Grading Central… There simply wasn’t information out there. Besides a couple handful of books, there were no tutorials online, so it was difficult for me to learn, to get good at the craft. DaVinci Resolve hadn’t come out yet and been disruptive in the color grading space specifically. At the time, there was hardly any information about color grading out there. “I started out as a Director of Photography and, because I really wanted to continue to shape the final look, I felt like color grading was a natural extension of good cinematography. At this time, color grading software was difficult to learn and very expensive to acquire (this was pre-DaVinci Resolve), and his transition to color grading had a profound impact on his mentality as an eventual teacher and software developer. To Denver, color grading is an extension of good cinematography, which makes sense given that he started as a DP.