Red Giant Universe

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Red Giant Software, developers of such popular effects and editing tools as Trapcode and Magic Bullet, recently announced Red Giant Universe. Red Giant has adopted a hybrid free/subscription model. Once you sign into Universe for a Red Giant account, you have access to all the free filters and transitions that are part of this package. Initially this includes 31 free plug-ins (22 effects, 9 transitions) and 19 premium plug-ins (12 effects, 7 transitions). Universe users have a 30-day trial period before the premium effects become watermarked. Premium membership pricing will be $10/month, $99/year or $399/lifetime. Lifetime members will receive routine updates without any further cost.

A new approach to a fresh and growing library of effects

The general mood among content creators has been against subscription models; however, when I polled thoughts about the Universe model on one of the Creative COW forums, the comments were very positive. I originally looked at Red Giant’s early press on Universe and I had gotten the impression that Universe would be an environment in which users could create their own custom effects. In fact, this isn’t the case at all. The Universe concept is built on Supernova, an internal development tool that Red Giant’s designers use to create new effects and transitions. Supernova draws from a library of building block filters that can be combined to create new plug-in effects. This is somewhat the same as Apple’s Quartz Composer development tool; however, it is not part of the package that members can access.

df_rgsu_3Red Giant plans to build a community around the Universe members, who will have some input into the types of new plug-ins created. These plug-ins will only be generated by Red Giant designers and partner developers. Currently they are working with Crumplepop, with whom they created Retrograde – one of the premium plug-ins. The point of being a paid premium member is to continue receiving routine updates that add to the repertoire of Universe effects that you own. In addition, some of the existing Red Giant products will be ported to Universe in the future as new premium effects.

df_rgsu_2This model is similar to what GenArts had done with Sapphire Edge, which was based on an upfront purchase, plus a subscription for updated effects “collections” (essentially new preset versions of an Edge plug-in). These were created by approved designers and added to the library each month. (Note: Sapphire Edge – or at least the FX Central subscription – appears to have been discontinued this year.) Unlike the Sapphire Edge “collections”, the Universe updates are not limited to presets, but will include brand new plug-ins. Red Giant tells me they currently have several dozen in the development pipeline already.

Red Giant Universe supports both Mac and Windows and runs in recent versions of Adobe After Effects, Premiere Pro, Apple Final Cut Pro X and Motion. At least for now, Universe doesn’t support Avid, Sony Vegas, DaVinci Resolve, EDIUS or Nuke hosts. Members will be able to install the software on two computers and a single installation of Universe will install these effects into all applicable hosts, so only one purchase is necessary for all.

Free and premium effects with GPU acceleration

In this initial release, the range of effects includes many standards as free effects, including blurs, glows, distortion effects, generators and transitions. The premium effects include some that have been ported over from other Red Giant products, including Knoll Light Factory EZ, Holomatrix, Retrograde, ToonIt and others. In case you are concerned about duplication if you’ve already purchased some of these effects, Red Giant answers this in their FAQ: “We’ve retooled the tools. Premium tools are faster, sleeker versions of the Red Giant products that you already know and love. ToonIt is 10x faster. Knoll Light Factory is 5x faster. We’ve streamlined [them]with fewer controls so you can work faster. All of the tools work seamlessly with [all of the] host apps, unlike some tools in the Effects Suite.”

df_rgsu_4The big selling point is that these are high-quality, GPU-accelerated effects, which use 32-bit float processing for trillions of colors. Red Giant is using OpenGL rather than OpenCL or NVIDIA’s CUDA technology, because it is easier to provide support across various graphics cards and operating systems. The recommendation is to have one of the newer, faster NVIDIA or AMD cards or mobile GPUs. The minimum GPU is an Intel HD 3000 integrated graphics chip. According to Red Giant, “Everything is rendered on the GPU, which makes Universe up to 10 times faster than CPU-based graphics. Many tools use advanced render technology that’s typically used in game development and simulation.”

In actual use

After Universe is installed, the updates are managed through the Red Giant Link utility. This will now keep track of all Red Giant products that you have installed (along with Universe) and lets you update as needed. The effects themselves are nice and the quality is high, but these are largely standard effects, so far. There’s nothing major yet, that isn’t already represented with a similar effect within the built-in filters and transitions that come as part of FCP X, Motion or After Effects. Obviously, there are subjective differences in one company’s “bad TV” or “cartoon” look versus that of another, so whether or not you need any additional plug-ins becomes a personal decision.

As far as GPU-acceleration is concerned, I do find the effects to be responsive when I adjust them and preview the video. This is especially true in a host like Final Cut Pro X, which is really tuned for the GPU. For example, adding and adjusting a Knoll lens flare from the Universe package performs better on my 2009 Mac Pro (8-core with an NVIDIA Quadro 4000), than do the other third-party flare filters I have available on this unit.

df_rgsu_5The field is pretty crowded when you stack up Universe against such established competitors as GenArts Sapphire, Boris Continuum Complete, Noise Industries FxFactory Pro and others. As yet, Universe does not offer any tools that fill in workflow gaps, like tracking, masking or even keyers. I’m not sure the monthly subscription makes sense for too many customers. It would seem that free will be attractive to many, while an annual or lifetime subscription will be the way most users will purchase Universe. The lifetime price lines up well when you compare it to the others, in terms of purchasing a filter package.

Red Giant Universe is an ideal package of effects for editors. While Apple has developed a system with Motion where any user can created new FCP X effects based on templates, the reality is that few working editors have the time or interest to do that. They want effects that can be quickly applied with a minimum amount of tweaking and that perform well on a timeline. This is what impresses clients and what wins over editors to your product. With that target in mind, Red Giant definitely will do well with Universe if it holds to its promise. Ultimately the success of Universe will hang on how prolific the developers are and how quickly new effects come through the subscription pipeline.

Originally written for Digital Video magazine/Creative Planet Network

©2014 Oliver Peters

Amira Color Tool and your NLE

df_amiracolor_1I was recently alerted to the new Amira Color Tool by Michael Phillips’ 24p blog. This is a lightweight ARRI software application designed to create custom in-camera looks for the Amira camera. You do this by creating custom color look-up tables (LUT). The Amira Color Tool is available as a free download from the ARRI website (free registration required). Although the application is designed for the camera, you can also export looks in a variety of LUT file formats, which in turn, may be installed and applied to footage in a number of different editing and color correction applications. I tested this in both Apple Final Cut Pro X and Avid Media Composer | Software (v8) with good results.

The Amira Color Tool is designed to correct log-C encoded footage into a straight Rec709 offset or with a custom look. ARRI offers some very good instructions, white papers, sample looks and tutorials that cover the operation of this software. The signal flow is from the log-C image, to the Rec709 correction, and then to the CDL-based color correction. To my eye, the math appears to be floating point, because a Rec709 conversion that throws a shot into clipping, can be pulled back out of clipping in the look tab, using the CDL color correction tools. Therefore it is possible to use this tool for shots other than ARRI Amira or Alexa log-C footage, as long as it is sufficiently flat.

The CDL correction tools are based on slope, offset and power. In that model slope is equivalent to gain, offset to lift and power to gamma. In addition to color wheels, there’s a second video look parameters tab for hue intensities for the six main vectors (red, yellow, green, cyan, blue and magenta). The Amira Color Tool is Mac-only and opens both QuickTime and DPX files from the clips I tested. It worked successfully with clips shot on an Alexa (log-C), Blackmagic Cinema Camera (BMD Film profile), Sony F-3 (S-log) and Canon 1DC (4K Canon-log). Remember that the software is designed to correct flat, log-C images, so you probably don’t want to use this with images that were already encoded with vibrant Rec709 colors.

FCP X

df_amiracolor_4To use the Amira Color Tool, import your clip from the application’s file browser, set the look and export a 3D LUT in the appropriate format. I used the DaVinci Resolve setting, which creates a 3D LUT in a .cube format file. To get this into FCP X, you need to buy and install a LUT filter, like Color Grading Central’s LUT Utility. To install a new LUT there, open the LUT Utility pane in System Preferences, click the “+” symbol and navigate to where the file was saved.df_amiracolor_5_sm In FCP X, apply the LUT Utility to the clip as a filter. From the filter’s pulldown selection in the inspector, choose the new LUT that you’ve created and installed. One caveat is to be careful with ARRI files. Any files recorded with newer ARRI firmware are flagged for log-C and FCP X automatically corrects these to Rec709. Since you don’t want to double up on LUTs, make sure “log processing” is unchecked for those clips in the info tab of the inspector pane.

Media Composer

df_amiracolor_6_smTo use the custom LUTs in Media Composer, select “source settings” for the clip. Go to the color management tab and install the LUT. Now it will be available in the pull-down menu for color conversions. This color management change can be applied to a single clip or to a batch of clips within a bin.

In both cases, the source clips in FCP X and/or Media Composer will play in real-time with the custom look already applied.

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©2014 Oliver Peters

CoreMelt TrackX

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Tracking isn’t something every editor does on a regular basis, but when you need it, very few NLEs have built-in tracking tools. This is definitely true with Apple Final Cut Pro X. CoreMelt makes some nice effects plug-ins, but in addition, they’ve produced a number of workflow tools that enhance the capabilities of Final Cut Pro X. These include Lock & Load X (stabilization) and SliceX (masking). The newest tool in the group is TrackX and like SliceX, it uses Mocha tracking technology licensed from Imagineer Systems. In keeping with the simplified controls common to FCP X effects, the tracking controls in TrackX are very easy to apply and use.

TrackX installs as three generators within FCP X – Simple Tracker, Track Layer and Track Text. All use the same planar-based Mocha tracker. The easiest to use – and where I get the best results – is the Simple Tracker. This lets you attach text or objects to a tracked item, so they travel with its movement.

The example used in their tutorial is of a downhill skier. As he races downhill, a timer read-out travels next to him. This works well and displays well, because the tracked objects do not have to perfectly adhere to each other. It uses a two-step process. First, create the item you want to attach and place it into a compound clip. Therefore, it can be a complex graphic and not just text. The second step is to track the object you want to follow. Apply the TrackX generator and trim to length, use the rectangle tool to select an area to be tracked, drop the compound clip into the filter control pane’s image well and then track forward or backwards. If there are hiccups within the tracks, you can manually delete or insert keyframes. Like other trackers, you can select the mode of analysis to be used, such as whether to follow position, scale or perspective.

df_trackx_2_smThe second TrackX generator is Track Layer. This worked well enough, but not nearly as well as the more advanced versions of Mocha that come with After Effects or are sold separately. This tool is designed to replace objects, such as inserting a screen image into a TV, window, iPad or iPhone. To use it, first highlight the area that will be replaced, by using the polygon drawing tool. Next, add the image to be used as the new surface. Then track. There are controls to adjust the scale and offset of the new surface image within its area.

In actual practice, I found it hard to get a track that wasn’t sloppy. It seems to track best when the camera is panning on an object without zooming or having any handheld rotation around the object. Since Mocha tracking is based on identifying flat planes, any three-dimensional motion around an object that results in a perspective change becomes hard to track. This is tough no matter what, but in my experience the standard Mocha trackers do a somewhat better job than TrackX did. A nice feature is a built-in masking tool, so that if your replacement surface is supposed to travel behind an object, like a telephone pole, you can mask the occluded area for realistic results.

Lastly, there’s Track Text. This generator has a built-in text editor and is intended to track objects in perspective. The example used in their demos is text, that’s attached to building rooftops in an aerial. The text is adjusted in perspective to be on the same plane as the roofs.

Overall, I liked the tools, but for serious compositing and effects, I would never turn to FCP X anyway. I would do that sort of work in After Effects. (TrackX does not install into Motion.) Nevertheless, for basic tracking, TrackX really fills a nice hole in FCP X’s power and is a tool that every FCP X editor will want at their fingertips.

For new features announced at NAB and coming soon, check out this video and post from FCP.co.

©2014 Oliver Peters

LUTs and FCP X

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LUTs or color look-up tables are a method of converting images from one color space or gamma profile into another. LUTs are usually a mathematically correct transform of one set of color and level values into another. For most editors and colorists, LUTs are commonly associated with log profiles that are increasingly used with various digital cameras, like an ARRI ALEXA, RED One, RED Epic or Blackmagic Design Cinema Camera. (Click on the images in this article for an expanded view.)

The concept gets confusing, because there are various types of LUTs and they can be inserted into different stages of the pipeline. There are display LUTs, used to convert the viewing color space, such as from Rec. 709 (video) into P3 (digital cinema projection). These can be installed into hardware conversion boxes, monitors and within software grading applications. There are camera LUTs, which are used to convert gamma profiles, such as from log-C to Rec. 709. And finally, there are creative LUTs used for aesthetic purposes, like film stock emulation.

df_luts_02One of the really sweet parts of Apple Final Cut Pro X is that it offers a vastly improved color pipeline that ties in closely to underpinnings of the OS, such as ColorSync. This offers developers opportunities over FCP “legacy” and quite frankly over many other competitors. Built into the code is the ability to recognize certain camera metadata if the camera manufacturer chooses to take advantage of Apple’s SDK. ARRI, Sony and RED are among those that have done so. For example, when you import ARRI ALEXA footage that was recorded with a log-C gamma profile, a metadata flag in the file toggles on log processing automatically within FCP X. Instead of seeing the flat log-C image, you see one that has already been converted, on-the-fly into Rec. 709 color space.

This built-in log processing comes with some caveats, though. The capability is only enabled with files recorded on ALEXA cameras with more recent firmware. It cannot be manually applied to older log-C footage, nor to any other log-encoded video file. It can only be toggled on or off without any adjustments. Finally, because this is done via under-the-hood ColorSync profile changes, it happens prior to the point any filters or color correction can be applied within FCP X itself.

df_luts_03A different approach has been developed by colorist Denver Riddle, known for his Color Grading Central website, products and tutorials. His new product, LUT Utility, is designed to provide FCP X editors with a better way of using LUTs for both corrective and creative color transforms. The plug-in installs into both Final Cut Pro X and Motion 5 and comes with a number of built-in LUTs for various cameras, such as the ALEXA, Blackmagic and even the Cinestyle profiles used with the Canon HDSLRs. Simply drop the filter onto a clip and select the LUT from the pulldown menu in the FCP X inspector pane. As a filter, you can freely apply any LUT selection, regardless of camera – plus, you can adjust the strength of the LUT via a slider. It can work within a series of filters applied to the same clip and can be placed upstream or downstream of any other filters, as well as within an adjustment layer (blank title effect). You can also stack multiple instances of the LUT with different settings on the same clip for creative effect.

df_luts_04The best part of LUT Utility is that you aren’t limited to the built-in LUTs. When you install the plug-in, a LUT Utility pane is added to System Preferences. In that pane, you can add additional LUTs sold by Color Grading Central or that you have created yourself. (External LUT files can be directly accessed within the filter when working in Motion 5.) One such package is the set of Osiris Digital Film Emulation LUTs developed jointly by Riddle and visionCOLOR. These are a set of nine film LUTs designed to mimic the looks of various film stocks. Each has two settings designed for either log or Rec. 709 video. For example, you can take an ALEXA log-C file and apply two instances of LUT Utility. Set the first filter to use the log-C-to-Rec.709 LUT. Then in the second filter, pick one of the film LUTs, but use the Rec. 709 version of it. Or, you could apply one instance of the LUT Utility filter and simply pick the same film LUT, but instead, select its log version. Both work, but will give you slightly different looks. Using the filter’s amount slider, it’s easy to fine tune the intensity of the effect.

df_luts_05LUT Utility is applied as a filter, which means you can still add other color correction filters before or after it. Applying a filter, like Hawaiki Color, prior to a log conversion LUT, means that you would be adjusting color values of the log image, before converting it into Rec. 709. If you add such a filter after the LUT, then you are grading the already-converted image. Each position will give you different results, but most of this is handled gracefully, thanks to FCP X’s floating-point processing. Finally, you can also apply the LUT as a filter and then do additional corrections downstream of the filter by using the built-in Color Board tools.

I found these LUTs easy to install and use. They appear to be pretty lightweight in how they affect FCP X playback performance. I’m running a 2009 Mac Pro with a new Mavericks installation. I can apply one or more instances of the LUT Utility filter and my unrendered ProRes media plays in real-time. With the widespread use of log and log-style gamma profiles, this is one of the handiest filter sets to have if you are a heavy FCP X user. Not only are most of the common cameras covered, but the Osiris LUTs add a nice creative edge that you won’t find at this price point in competitive products. If you use FCP X for color correction and finishing, then it’s really an essential tool.

©2014 Oliver Peters

Typemonkey

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One of the ways to extend functions in Adobe After Effects is through scripting. These are automated macros to quickly perform tasks you could do yourself. By using scripts the results can be built more quickly without manually performing tedious, repetitive commands. Developers can create advanced scripts to automate complex creative treatments. These are installed like plug-ins, but show up as a module under the Window pulldown menu. One such script unit is Typemonkey – a kinetic text generator.

Kinetic Text

df_typemonkey_5We’ve all seen this current design trend for TV spots and marketing videos. The copy is presented via animated words, which move into position on screen. The view shifts from one word to the next in sync with the announcer at the reading pace of the viewer. Creating a kinetic text layout is relatively straightforward and can easily be created by an editor using After Effects or Motion.

The starting point for kinetic text is a large layout of stacked words. These are arranged horizontally and vertically in a bigger-than-raster field. It’s like taking a variety of building blocks and stacking them like a building. This word design can be created as a layered Photoshop document or as a series of layers in After Effects or Motion – one word per layer. To add energy and pace, you would next offset the timing of each layer and add an entry animation to the word on that layer, so that it flys, fades, rotates or types into visibility.

df_typemonkey_4Once this layout is created, the entire stack of layers is viewed with a 3D camera, which in turn is animated to create the moves from one word to the next as they appear inside the raster of your composition. This brings them full screen for a moment as the reader follows the context of this text. While this process is very easy once you understand it, the time it takes to build it can be quite long. In addition, a paragraph of words will result in a lengthy series of After Effects layers in your timeline pane.

Automating the process

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Where Typemonkey enters the picture is to streamline the process and reduce or even eliminate the manual steps. Once installed, you open the Typemonkey interface module from the Window menu. Set the starting font from After Effects’ normal text control pane, paste or type your text into the Typemonkey window and press the “Do it!” button. At this point Typemonkey operates as a macro to automatically build the layers, the moves and the 3D camera animation. The final result is a timeline that shows the 3D camera layer with all word layers shied. Moves from word to word are evenly space for the length of the composition or selected work area with markers at each change. This builds a very nice composition with kinetic text in a matter of seconds.

df_typemonkey_7Naturally, most editors and designers will want to customize the defaults, so that every composition isn’t identical. This can be achieved through both the Typemonkey pane and AE’s standard layer effects. Sliding the markers in the composition timeline will change the animation pacing of the 3D camera’s move from word to word. This lets you hold longer on some words and move more quickly through others.

df_typemonkey_3The controls within the Typemonkey pane let you adjust some of the move styles and interpolations. You can also set up a series of colors, so that each word changes color as it cycles through the five palette choices. Through adjustments at both locations, designers can get quite a large range of variations from this single tool. The actual effects are performed using After Effects expressions, rather than keyframes, so you cannot easily make individual changes to the internal moves. However, you can certainly add your own keyframed transform effects on top of what Typemonkey creates.

Typemonkey is a low cost tool that will pay for itself in the time saved on a single job. Obviously its use is specific to kinetic text creative treatments, but used sparingly and with taste, it’s a look that will bring your motion graphics up a notch.

©2013 Oliver Peters

Hawaiki Color

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Color correction using graphical color wheels was introduced to the editing world in the Avid Symphony over a decade ago and adopted by nearly every NLE after that.  Final Cut Pro “legacy” had a two nice color correctors using the color wheel model, so adopters of Final Cut Pro X were disappointed to see the Color Board as the replacement. Although the additive/subtractive color math works about the same way to change tonality of lows, mids and highlights, many users still pine for wheels instead of pucks and sliders. A pair of developers (Tokyo Productions and Lawn Road) set out to rectify that situation with Hawaiki Color. It’s the color correction tool that many Final Cut Pro X editors wish Apple had built. (Click any images in this post for an enlarged view.)

Both developers offer several different types of grading filters, which all perform similar tasks. Each has its own twists, but only Hawaiki Color includes on-screen sliders and color wheel controls. Based on how Apple designed FCP X, developers simply cannot create custom interfaces within the Inspector effects panel. They are limited to sliders and a few extras. One of these extras is to the ability to tap into the Mac OS color pickers to use color swatches as tonal controls for low/mid/hi color balance. A number of grading filters use this method quite successfully.

If a developer wants to introduce more custom interface elements, then there are two routes – linking to a separate external application (Magic Bullet Looks, Digital Film Tools Film Stocks, Tiffen Dfx3, GenArts Sapphire Edge) – or placing an overlay onto the Viewer. Thanks to the latter option, a number of developers have created special overlays that become “heads up display” (HUD) controls for their plug-ins. To date, only Hawaiki Color and Yanobox Moods have used a HUD overlay to reproduce color wheels for grading.

df_hawaiki_2_smThe Hawaiki Color grading controls can be adjusted either from the Inspector effects pane or from the on-screen HUD controls placed over the main Viewer output. Set-ups, like a reference split screen, must be done from the Inspector. The grading controls are built into three of the four frame corners with low/mid/hi/global sliders for exposure, temperature and saturation. The sliders in the fourth corner let you adjust overall hue, contrast, sharpening and blur. At the center bottom of the frame are three color wheels (low/mid/hi) for balance offsets. Once the Hawaiki Color filter is applied to the desired clips in your timeline – and you have set the filter to be displayed in a window or full screen with overlaid controls – it becomes very easy to move from clip-to-clip in a very fast grading session.

df_hawaiki_3_smI ran a test using Philip Bloom’s Hiding Place short film, which he shot as part of his review of the Blackmagic Pocket Cinema Camera. He was gracious enough to offer an ungraded ProResHQ version for download, which is what I used as my test footage. The camera settings include a flat gamma profile (BMD Film), which is similar to RED’s RedLogFilm or ARRI’s Log-C and is ideal for grading. I edited this into an FCP X timeline, bladed the clip at all the cuts and then applied the Hawaiki Color filter to each segment.

df_hawaiki_4_smBy running my Viewer on the secondary screen, setting the filter to full screen with the interface controls overlaid and placing the FCP X scopes below, I ended up with a very nice color grading environment and workflow.  The unique aspect, compared to most other grading filters, is that all adjustments occur right on the image. This means your attention always stays on the image, without needing to shift between the Inspector and the Viewer or an external monitor. I did my grading using a single instance of the filter, but it is possible to stack more than one application of Hawaiki Color onto a clip or within adjustment layers. You can also use it in conjunction with any other filter. In fact, in my final version, I added just a touch of the FilmConvert Pro film emulsion filter, as well as an FCP X Color Board shape mask for a vignette effect.

df_hawaiki_5_smThere are a few things to be mindful of. Because of the limitations developers face in creating HUDs for an FCP X effect, Hawaiki Color includes a “commit grade” button, which turns off the on-screen interface. If you don’t “commit” the grade, then the interface is baked into your rendered file and/or your exported master. Like all third-party filters, Hawaiki Color does not have the same unrendered performance as FCP X’s own Color Board. There’s “secret sauce” that Apple uses, which developers are not privy to. Frankly, there isn’t a single third-party FCP X filter that performs as well as Apple’s built-in effects. Nevertheless, Hawaiki Color performed reasonably well in real-time and didn’t get sluggish until I stacked FilmConvert and a vignette on top of it.

df_hawaiki_6_smI ran into an issue with Bloom’s source file, which he exports at a cropped 1920 x 816 size for a 2.40:1 aspect ratio. FCP X will fit this into a 1920 x 1080 sequence with letterboxed black pad on the top and bottom. However, by doing this, I found out that it affected the HUD controls, once I added more filters. It also caused the color wheel controls to change possible in the frame, as they are locked to the source size. The solution to avoid such issues is to place the non-standard-sized clip into a 1080p sequence and then create a Compound Clip. Now edit your Compound Clip to a new sequence where you will apply the filters. None of this is an issue with Hawaiki Color or any other filter, but rather a function of working with non-standard (for video) frame sizes within an FCP X sequence.

df_hawaiki_7_smAs far as grading Hiding Place, my intent was to go for a slight retro look, like 1970s era film. The footage lent itself to that and with the BMD Film gamma profile was easy to grade. I stretched exposure/contrast, increased saturation and swung the hue offsets as follows – shadows towards green, midrange towards red/orange and highlights towards blue. The FilmConvert Pro filter was set to a Canon Mark II/Standard camera profile and the KD5207 Vis3 film stock selection. This is a preset that mimics a modern Kodak negative stock with relatively neutral color. I dialed it back to 30% of its color effect, but with grain at 100% (35mm size). The effect of this was to slightly change gamma and brightness and to add grain. Finally, the Color Board vignette darkens the edges of the frame.

Click here to see my version of Hiding Place graded using Hawaiki Color. In my clip, you’ll see the final result (first half), followed by a split screen output with the interface baked in. Although I’ve been a fan of the Color Board, I really like the results I got from Hawaiki Color. Control granularity is better than the Color Board and working the wheels is simply second nature. Absolutely a bargain if it fits your grading comfort zone!

©2013 Oliver Peters / Source images @2013 PhilipBloom.net

FCP X grading styles and tools

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One of the aspects I enjoy about Final Cut Pro X is the wealth of tools and methods for color correction, grading or whatever you want to call the process. There simply is no other NLE on the market with as many built-in and third-party tools for making adjustments to image color and style. I’m not limiting this to simply color correction, but also glow, diffusion and stylizing filters that increasingly are a part of  a grading session. It’s about getting the right look for the best emotional impact and with FCP X there are a host of choices at very little expense.

In addition, the filters being developed for FCP X include more photographic correction functions than we’ve been used to in the previous class of effects filters. For example, many of these plug-ins include color temperature, tint and contrast controls that add a nice dimension past the usual three-way correctors.

Below is a quick potpourri of plug-ins (built-in and third-party) that you can use with FCP X. Click the thumbnail images for an enlarged view. My sample image is from the John Brawly Afterglow clips used to promote the Blackmagic Cinema Camera. A few of these clips have been posted online in both CinemaDNG and ProRes formats. In this case, I started with an already-corrected clip that I created in Adobe Lightroom. This is my starting point, which is typically what most editors encounter when color correcting a job. It’s nice to get flat, log-profile images for grading, but that’s not always the case. Often you start with a good-looking Rec 709 image that needs some pizzazz. That’s what I’m demonstrating here.

Remember that getting the right look is often a matter of using a combination of filters, rather than just one.

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A combination of Alex Gollner’s Levels and YUV Adjust filters. These are two of a set of free FCP X filters.

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A combination of three built-in FCP X filters – Hard Light, Hue/Sat and Crisp Contrast.

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CoreMelt has released several free filters, including a curve adjustment used to correct “flat” HDSLR images. Of course, you can play with it on non-flat images, too.

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CoreMelt’s SliceX masking tool includes several filter variations. One allows extra color correction control within the mask area.

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CineFlare has released several free sampler filters. This QuickLooks Teal filter gives you an “orange-and-teal” look. Note that Mac OS color picker controls allow you to tweak the tinting colors.

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Developer Simon Ubsdell has posted a number of free filters at the FCP.co forum. This Cross Process filter simulates film processing effects, which, when pushed to extremes, offers a nice way to stylize an image.

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Tim Dashwood’s Editor Essentials package includes several image adjustment tools, including Levels and Camera Gamma correction.

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Digital Film Tools’ Film Stocks is an external application that’s accessible from FCP X via a plug-in. The adjustment is customized in the external window, with many controls designed to emulate various film emulations.

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DV Shade EasyLooks is a full correction suite within a single plug-in. In addition to grading, it also offers controls for gradients, diffusion, warm/cool hue shifts and vignettes.

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Rubber Monkey Software’s FilmConvert Pro is available as both a standalone application and as a plug-in. The filter version has a limited range of color correction controls, but like DFT Film Stocks, is designed to emulate film. You can also change the intensity of the grain structure by selecting between film options from 35mm to Super 8mm.

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Noise Industries’ FxFactory Pro package includes several color correction filters, including Bleach Bypass, Crush Color and Film Process (their version of the Technicolor 2-strip look).

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Hawaiki Color has been jointly developed by Simon Ubsdell and Lawn Road as a full-fledged color corrector, using the color wheel model. In also features blur and sharpening, plus a wealth of color controls. The unique interface may be used as a HUD overlay or surrounding the image. I’ll take a detailed look at Hawaiki in a future post.

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Lawn Road also offers other color correction filters, such as Color Grade. Like others, they use the Mac OS color picker controls as a form of three-way color correction without building a separate grading interface.

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FCP X’s built-in Teal & Orange look. Like most of the built-in filters, slider control is kept to a minimum, but real-time (unrendered) performance is superior to third-party effects. That’s thanks to under-the-hood optimization done by the Pro Apps engineers, which isn’t available to external developers.

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Luca VFX Lo-Fi look is another tool to stylize an image with grunge effects. This is an “animated” effect with built-in flickering. It also includes an image drop well for custom pattern used within the effect.

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Luca VFX Vivid Touch is more of a standard color correction filter.

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Red Giant Software’s Magic Bullet Looks is the best-known external image stylizing/color correction application. Like DFT Film Stocks, the correction is done in the external application and accessed via the plug-in from FCP X.

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Nattress Curves is a venerable tool that been updating from the FCP “legacy” days to work in FCP X. It adds a valuable missing ingredient to the built-in correction tools.

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This is a combination of the PHYX Color Bleach Bypass, Glow Dark and Techni2Color effects. By stacking the skip-bleach style (but with more control than usual), a localized contrast function and the 2-strip process, you end up with a very unique look.

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Pomfort’s filters are designed to work as LUTs used on ARRI ALEXA images, but can also be used with other clips. Naturally, when you do that, the colorimetry is technically wrong, but offers some interested color options.

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Sheffield Software’s Vintage filter is another that’s been ported over from FxScript.

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CrumplePop’s ShrinkRay X is designed to create a tilt and shift look with defocused outer edges.

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FCP X’s built-in Super 8mm filter is useful, though not as realistic as FilmConvert, because the built-in effect maintains the image sharpness.

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Tokyo’s Lomography Look is another Ubsdell filter posted over at FCP.co. It mimics the current photo trend of grunge images created with vintage or poor-quality lenses.

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The built-in FCP X Color Board is actually one of my favorites, but you have to get used to its color control model. Slider/puck controls tends to be a bit coarse. Thanks to optimization, the performance is great and beats anything else offered for FCP X. You can stack many instances of the Color Board onto one clip, giving you great primary and secondary color correction control.

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Yanobox Moods uses a different approach to color wheels within FCP X. Unlike Hawaiki, Moods uses different color science for its controls, including a silver control and black wash (tints black levels).

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Like Dashwood’s Essentials, Ripple Training’s Ripple Tools also includes a grab bag of effects. These include several color correction effects, such as Color Balance and Glow. A unique aspect of their filters is that they are all filter adjustment layers, which are applied as FCP X connected title clips. They will alter any image below this adjustment layer and therefore, may be used as a single filter over more than just one clip.

©2013 Oliver Peters