![]() ![]() You can add numerous control points along any of the RGB or master curves and make precise adjustments. Other curve tools are based on an s-curve, but not here. The curves are unique among FCP X plug-ins, because these are true multi-point curves. cube format LUT file to this folder and it will show up inside FCP X as one of Color Finale’s LUT options. These are installed into a standard Motion Templates directory for FCP X. Color Finale ships with several basic camera patch and creative look LUTs ( same as with LUT Utility). The LUT control is like Color Grading Central’s LUT Utility. ![]() The three-way color corrector works as expected with balance and level controls for shadow, mid-range, and highlight sections, plus a global saturation slider. These four tools combine most of the functions offered by other individual filters into a single plug-in. This lets you adjust the intensity of the complete filter or of individual layers. Each layer has a separate opacity control and the filter has an overall “mix” slider in the Inspector window. Within this panel you can select any of its four tools for as many layers as you like and rearrange them into any layer order. You can move it around in case it obscures part of the regular FCP X interface. When you apply the Color Finale filter to a clip and click Open in the Inspector window, the floating control panel is launched. To solve the interface issue, Color Finale uses a floating panel that lives on top of the regular FCP X interface. These include color wheels, curves, LUTs, and vectors. This is a layer-based color corrector that combines four tools into a single filter. The newest color correction plug-in for Final Cut Pro X is Color Finale from Color Grading Central. ![]() Some, like Ripple Tools RT Color Balance and Lawn Road Color Precision, use the Mac OS color picker in a way that functions as a color balance control. To date, plug-ins that offer color wheels have included Yanobox Moods, Red Giant Colorista III, FilmConvert, and Hawaiki Color. The usual workaround – if they don’t utilize the space of the Inspector panel – is a of HUD (heads-up display) or an overlay on top of the viewer image. The complication is that the FCP X user interface is very restrictive for software developers, which limits the sort of custom controls they can use. Although this may be intuitive to users who don’t know anything about color theory, it’s contrary to how most other color tools work.Īs a result, many FCP X editors have been on the lookout for good color correction plug-ins that use the more common three-way color wheel method. To decrease one color, you simply move the puck into the negative range for that color. In the color tab, which controls balance, you see a color swatch field divided into positive and negative halves. ![]() This decreases the color you want to reduce by shifting the balance towards the colors that are on the opposite side of the wheel.Īpple replaced the color wheel model in FCP X with the color board – a set of tabs for exposure, saturation and color (tint or hue). It’s based on the principle that to reduce a certain color cast you push the wheel in the opposite direction of that color. Most built-in color correction modules and plug-ins use the common color wheel method for changing color balance. When Apple launched Final Cut Pro X, one of the items that users missed from previous versions was the popular three-way color corrector. ![]()
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