- COLOR FINESSE 3 PREMIERE PRO PRO
- COLOR FINESSE 3 PREMIERE PRO SOFTWARE
- COLOR FINESSE 3 PREMIERE PRO SERIES
As you see, it offers more graceful color control in FCP than the standard 3-way. Red Giant’s Colorista grading filter is the one that many editors gravitate to when the built-in controls aren’t enough. Red Giant Magic Bullet Colorista color correction filter (Apple FCP host) You’ll see that a color segment can be completely blown out by this control.
COLOR FINESSE 3 PREMIERE PRO PRO
The Color image was round-tripped through FCP.Īpple Final Cut Pro (3-way color correction filter)Īpple FCP’s 3-way had the most extreme range, but it seemed to just increase blue without reducing the other colors. You can see this below in the exported image. The interesting thing about Color is that the app not only made the image blue, but it also seemed to darken it, compared with the other grading solutions. It also tends to reduce red and blue while increasing blue. It offers similar color controls to some grading applications and presumably would have the most graceful processing of the image.Īvid Media Composer does a nice job of staying within the mid-range.
COLOR FINESSE 3 PREMIERE PRO SERIES
At the bottom, I’ve included a series of exported images from each of these applications.Īperture is here only as a frame-of-reference. A tool will an extreme range can often make grading more difficult, because it’s harder to achieve finesse.Ĭlick on any of these image for a larger (and often expanded) view. Instead, I’m trying to demonstrate how seemingly similar tools can actually give you wildly different results. Most importantly, I was NOT going for the best-graded image. In most cases, I’ve pushed the control as far as it would go – either to the edge of its range – or to the point where I started to see some color artifacts. In each of these applications I have simply increased the blue balance in the mid-range control, without adjusted any thresholds or other controls. I wanted to use an image that looked like what you are apt to receive, rather than a flatter image, which would actually be preferable for grading. That’s the starting point for these tests. This started out as a flat RED One image, which I’ve cropped to HD and increased contrast and saturation. I took the same image I’ve used for other color grading articles. The following are the results of my casual testing. The tighter the default transition, the more likely you will see contouring artifacts at the edge of the transition. The softer the threshold or transition between ranges, the more the color balance change looks like a tint or wash over the whole image. In fact, some only increased blue, while others also appropriately reduce red and green color components.Ĭ) Some have a very tight default threshold at the low/mid/high crossover points and others are very gradual. This should be evident on a waveform monitor’s RGB parade display. If I push the mids to blue, some apps let me really blow out the image with blue saturation, while others only slightly tint the image.ī) A proper color balance control should increase the saturation of the color component you add (or shift to), while reducing the saturation of the complementary colors. If so, look for either a threshold control or a luma ranges control to adjust the transition point and the softness of that transition.Ī) Not all color wheel adjustments give you the same degree of saturation. Some apps and plug-ins give you control over this and some don’t. Not only where, but also how gradual the transition. Since the controls work within three distinct ranges of the image, a critical element is where that crossover occurs between low-to-mid and mid-to-high.
COLOR FINESSE 3 PREMIERE PRO SOFTWARE
To my knowledge, the first actual use of software color wheels originally appeared in Avid Symphony a decade ago. The concept of these tools grew out of early “video shading” controls in studio cameras and color correction systems like DaVinci. In addition to low/mid/high ranges, some applications also add an overall “master” balance control for the entire image. When you want to effect a change, such as make an image less red, you push the appropriate control in the opposite direction of red-yellow – towards the blue-cyan segment of the control. The so-called “color wheels” (also called hue offset controls) are separate color balance controls for the shadow, midrange and highlight portions of the image. After I did a quick test, it was obvious that FCP and Avid don’t process the image in quite the same way, even when you push what appears to be the equivalent control in the same direction. Our conversation got down to how each treated the image when you used the color wheels. Recently fellow editor Shane Ross and I were discussing the relative merits of grading in Avid Media Composer versus Apple’s FCP or Color, as well as using the Colorista plug-in.
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