Color Finale 2.1 Update

 

Color grading roundtrips are messy and prone to errors. Most editors want high-quality solutions that keep them within their favorite editing application. Color Trix launched the revamped Color Finale 2 this past December with the goal of building Final Cut Pro X into a competitive, professional grading environment. In keeping to that goal, Color Trix just released Color Finale 2.1 – the first major update since the December launch. Color Finale 2.1 is a free upgrade to Color Finale 2 owners and adds several new features, including inside/outside mask grading, an image mask, a new smoothness function, and the ability to copy and paste masks between layers. (Right-click images to see enlarged view.)

Grading with inside/outside masks

Color Finale 2 launched with trackable, spline masks that could be added to any group or layer. But in version 2.0, grading occurred either inside or outside of the mask, but not both. The new version 2.1 feature allows a mask to be applied to a group, which then becomes the parent mask. Grading would then be done within that mask. If you want to also grade the area outside of that mask, simply apply a new group inside the first group. Then add a new mask that is an invert of the parent mask. Now you can add new layers to grade the area outside of the same mask.

In the example image, I first applied a mask around the model at the beach and color corrected her. Then I applied a new group with an inverted mask to adjust for the sky. In that group I could add additional masking, such as an edge mask to create a gradient. The parent mask around the model maintains that the sky gradient is applied behind her rather than in the foreground. Once you get used to this grouping strategy with inside and outside masks, you can achieve some very complex results.

Image masks

The second major addition is that of image masks. This is a monochrome version of the image in which the dark-to-light contrast range acts as a qualifier or matte source to restrict the correction being applied to the image. The mask controls include black and white level sliders, blurring, and the ability to invert the mask. Wherever you see a light area in the mask is where that color correction will be applied. This enables a number of grading tricks that are also popular in photography, including split-toning and localized contrast control.

Simply put, split-toning divides the image according to darks and lights (based on the image mask) and enables you to apply a different correction to each. This can be as extreme as a duotone look or something a bit more normal, yet still stylized.

In the duotone example, I first removed saturation from the original clip to create a black-and-white image. Then, the boxer’s image mask divides the range so that I could apply red and blue tinting for the duotone look.

In the second example, the image mask enabled me to create glowing highlights on the model’s face, while pushing the mids and shadows back for a stylistic appearance.

Another use for an image mask can be for localized contrast control. This technique allows me to isolate regions of the image and grade them separately. For example, if I want to only correct the shadow areas of the image, I can apply an image mask, invert it (so that dark areas are light in the mask), and then apply grading within just the dark areas of the image – as determined by the mask.

Smoothness

Color Finale 2 included a sharpness slider. New in version 2.1 is the ability to go in the opposite direction to soften the image, simply by moving the slider left into negative values. This slider controls the high frequency detail of the overall image – positive values increase that detail, while negative values decrease it.

Since this is an overall effect, it can’t be masked within the layers panel. If you wanted to apply it just to a person’s face, like other “beauty” filters, then that can be achieved by using Final Cut Pro X’s built-in effects masks. This way a similar result can be reached while staying within the Color Finale workflow.

One last addition to version 2.1 is that Final Cut Pro X’s hotkeys now stay active while the Color Finale layers panel is open. Color Trix has stated that they plan more upgrades and options over the next nine months, so look for more ahead. Color finale 2.1 is already a powerful grading tool for nearly any level of user. Nevertheless, more features will certainly be music to the ears of advanced users who prefer to stay within Final Cut Pro X to finish and deliver their projects. Stay tuned.

Originally written for FCP.co.

©2020 Oliver Peters

Chasing the Elusive Film Look

Ever since we started shooting dramatic content on video, directors have pushed to achieve the cinematic qualities of film. Sometimes that’s through lens selection, lighting, or frame rate, but more often it falls on the shoulders of the editor or colorist to make that video look like film. Yet, many things contribute to how we perceive the “look of film.” It’s not a single effect, but rather the combination of careful set design, costuming, lighting, lenses, camera color science, and color correction in post.

As editors, we have control over the last ingredient, which brings me to LUTs and plug-ins. A number of these claim to offer looks based on certain film emulsions. I’m not talking about stylized color presets, but the subtle characteristics of film’s color and texture. But what does that really mean? A projected theatrical film is the product of four different stocks within that chain – original camera negative, interpositive print, internegative, and the release print. Conversely, a digital project shot on film and then scanned to a file only involves one film stock. So it doesn’t really mean much to say you are copying the look of film emulsion, without really understanding the desired effect.

My favorite film plug-in is Koji Advance, which is distributed through the FxFactory platform. Koji was developed between Crumplepop and noted film timer, Dale Grahn. A film timer is the film lab’s equivalent to a digital colorist. Grahn selected several color and black-and-white film stocks as the basis for the Koji film looks and film grain emulation. Then Crumplepop’s developers expanded those options with neutral, saturated, and low contrast versions of each film stock and included camera-based conversions from log or Rec 709 color spaces. This is all wrapped into a versatile color correction plug-in with controls for temperature/tint, lift/gamma/gain/density (low, mid, high, master), saturation, and color correction sliders. (Click an image to see an expanded view.)

This post isn’t a review of the Koji Advance plug-in, but rather how to use such a filter effectively within an NLE like Final Cut Pro X (or Premiere Pro and After Effects, as well). In fact, these tips can also be used with other similar film look plug-ins. Koji can be used as your primary color correction tool, applying and adjusting it on each clip. But I really see it as icing on the cake and so will take a different approach.

1. Base grade/shot matching. The first thing you want to do in any color correction session is to match your shots within the sequence. It’s best to establish a base grade before you dive into certain stylized looks. Set the correct brightness and contrast and then adjust for proper balance and color tone. For these examples, I’ve edited a timeline consisting of a series of random FilmSupply stock footage clips. These clips cover a mix of cameras and color spaces. Before I do anything, I have to grade these to look consistent.

Since these are not all from the same set-up, there will naturally be some variances. A magic hour shot can never be corrected to be identical to a sunny exterior or an office shot. Variations are OK, as long as general levels are good and the tone feels right. Final Cut Pro X features a solid color correction tool set that is aided by the comparison view. That makes it easy to match a shot to the clip before and after it in the timeline.

2. Adding the film look. Once you have an evenly graded sequence of shots, add an adjustment layer. I will typically apply the Koji filter, an instance of Hue/Sat Curves, and a broadcast-safe limiter into that layer.

Within the Koji filter, select generic Rec 709 as the camera format and then the desired film stock. Each selection will have different effects on the color, brightness, and contrast of the clips. Pick the one closest to your intended effect. If you also want film grain, then select a stock choice for grain and adjust the saturation, contrast, and mix percentage for that grain. It’s best to view grain playing back at close to your target screen size with Final Cut set to Better Quality. Making grain judgements in a small viewer or in Better Performance mode can be deceiving. Grain should be subtle, unless you are going for a grunge look.

The addition of any of these film emulsion effects will impact the look of your base grade; therefore, you may need to tweak the color settings with the Koji controls. Remember, you are going for an overall look. In many cases, your primary grade might look nice and punchy – perfect for TV commercials. But that style may feel too saturated for a convincing film look of a drama. That’s where the Hue/Sat Curves tool comes in. Select LUMA vs SAT and bring down the low end to taste. You want to end up with pure blacks (at the darkest point) and a slight decrease in shadow-area saturation.

3. Readjust shots for your final grade. The application of a film effect is not transparent and the Koji filter will tend to affect the look of some clips more than others. This means that you’ll need to go back and make slight adjustments to some of the clips in your sequence. Tweak the clip color correction settings applied in the first step so that you optimize each clip’s final appearance through the Koji plug-in.

4. Other options. Remember that Koji or similar plug-ins offer different options – so don’t be afraid to experiment. Want film noir? Try a black-and-white film stock, but remember to also turn down the grain saturation.

You aren’t going for a stylized color correction treatment with these tips. What you are trying to achieve is a look that is more akin to that of a film print. The point of adding a film filter on top is to create a blend across all of your clips – a type of visual “glue.” Since filters like this and the adjustment layer as a whole have opacity settings, is easy to go full bore with the look or simply add a hint to taste. Subtlety is the key.

Originally written for FCP.co.

©2020 Oliver Peters

Color Finale 2.0

HDR, camera raw, and log profiles are an ever-increasing part of video acquisition, so post-production color correction has become an essential part of every project. Final Cut Pro X initially offered only basic color correction tools, which were quickly augmented by third party developers. One of the earliest was Color Finale – the brainchild of colorist/trainer Denver Riddle and ex-DI supervisor and color correction software designer Dmitry Lavrov. In the last year Lavrov created both Cinema Grade, now owned and run by Riddle, and Color Finale 2.0, owned and run by Lavrov himself under his own company, Color Trix Ltd. By focusing exclusively on the development of Color Finale 2.0, Lavrov can bring to market more advanced feature ideas, upgrades, and options with the intent of making Final Cut a professional grading solution.

For many, Blackmagic Design’s DaVinci Resolve and Fimlight’s Baselight systems set the standard for color correction and grading. So you might ask, why bother? But if you edit with Final Cut Pro X, then this requires a roundtrip between Final Cut and a dedicated grading suite or application. Roundtrips pose a few issues, including turnaround time, additional media rendering, and frequent translation errors with the edit and effects data between the edit and the grading application. The ideal situation is to never leave the editing application, but that requires more than just a few, simple color correction filters.

Over the course of eight years of Final Cut Pro X’s existence, the internal color tools have been improved and even more third-party color correction plug-ins have been developed. However, effective and fast color correction isn’t only about looks presets, LUTs, and filters. It’s about having a tool that is properly designed for a grading workflow. If you want to do advanced correction in FCPX with the least amount of clicking back-and-forth, then there are really only two options: Coremelt’s Chromatic and Color Finale.

This brings us to the end of 2019 and the release of Color Finale 2.0, which has been redesigned from the ground up as a new and improved version of the original. The update has been optimized for Metal and the newest color management, such as ACES. It comes in two versions – standard and Pro. Color Finale 2 Pro supports more features, such as Tangent panel control, ACES color space, group grading, mask tracking, and film grain emulation. Color Finale has been designed from the beginning as only a Final Cut Pro X plug-in. This focus means better optimization and a better user experience.

Primary color correction

Color Finale 2 is intended to give Final Cut users similar grading control to that of Resolve, Avid Symphony, or Adobe Premiere Pro’s Lumetri panel. It packs a lot of punch and honestly, there’s a lot more than I can easily cover with any depth here. The user interface is designed around two components: the FCPX Inspector controls and the floating Layers panel. The Inspector pane is a lot more than simply the place from which to launch the Layers panel. In fact, it’s a separate primary grading panel, not unlike the functions of the Basic tab within Adobe’s Lumetri panel.

The Inspector pane is where you control color management, along with exposure, contrast, pivot, temperature, tint, saturation, and sharpness. According to Lavrov, “Our Exposure tool is calibrated to real camera F-stop numbers. We’ve actually taken numerous images with the cameras and test charts shot at the different exposure settings and matched those to our slider control. Basically setting the Exposure slider to 1 means you’ve increased it by one stop up.”

There are also copy and paste buttons to transfer Color Finale settings between clips, false color indicators, and shot-matching based on standard color charts. Finally, there’s a Film Emulation tab, which is really a set of film grain controls. At the bottom is a mix slider to control the opacity value of the applied correction.

Layers

The real power of Color Finale 2 happens when you launch the Layers panel. This panel can be resized and positioned anywhere over the FCPX interface. It includes four tools: lift/gamma/gain color wheels/sliders (aka “telecine” controls), luma+RGB curves, six-vector secondary color, and hue/sat curves. This is rounded out by a looks preset browser. Each of these tools can be masked and the masks can be tracked within the image. Mask tracking is good, though not quite as fast as Resolve’s tracker (almost nothing is).

I suspect most users will spend the bulk of their time with color wheels, which can be toggled from wheels to sliders, depending on your preference. Of course, if you invested in a Tangent panel, then the physical trackballs control the color wheels. Another nice aspect of the lift/gamma/gain color tool is saturation management. You can adjust saturation for each of the three ranges. There is also a master saturation control with separate controls for shadow and highlight range restrictions. This means that you can increase overall saturation, but adjust the shadow or highlights range value so that more or less of the dark or light areas of the image are affected.

As you add tools, each stacks as a new layer within the panel. The resulting color correction is the sum of all of the layers. You can stack as many layers as you like and the same tool can be used more than once. Layers can be turned on and off to see how that correction affects the image. They can also be reordered and grouped into a folder. In fact, when you load a preset look, this is actually a group of tools set to generate that look. Finally, each layer has a blend control to set the opacity percentage and alter the blend mode – normal, add, multiply, etc – for different results.

Advanced features

Let me expand on a few of the advanced grading features, such as color management. You have control over four methods: 1) assume video (the default) – intended for regular Rec 709 video or log footage where FCPX has already applied a LUT (ARRI Alexa, for example); 2) assume log – pick this if you don’t know the camera type and Color Finale will apply a generic Rec 709 LUT correction; 3) use ACES; and 4) use input LUT – import a technical or custom LUT file that you wish to apply to a clip.

ACES is an advanced color management workflow designed for certain delivery specs, such as for Netflix originals. The intent of the ACES color space is to be an intermediate color space that can be compatible with different display systems, so that your grade will look the same on any of these displays. Ideally you want to select ACES if you are working within a complete ACES color pipeline; however, you can still apply it to shots for general grading even if you don’t have to provide an ACES-compliant master. To use it, you must select both the input LUT (typically a camera-specific technical LUT) and the target display color space, such as Rec 709 100 nits (for non-HDR TVs and monitors).

In order to facilitate a proper ACES workflow, Color Trix added the ability to import and export CDLs (color decisions lists). Currently this is more for testing purposes and is designed for compatibility between Final Cut and ACES-compliant grading systems, like Baselight. A CDL is essentially like an EDL (edit decision list), but with basic color correction information. This will translate to the lift/gamma/gain/saturation settings in Color Finale 2 Pro, but nothing more complex, such as curves, selective color, or masks.

Performance and workflow

Overall, I really liked how the various tools worked. Response was fast and I was able to get good grading results with a build-up of several layers. In addition, I prefer the ergonomics of a horizontal layout for color wheels versus the cluster of controls used by Apple’s built-in tool. I had tested the betas of both Color Finale 1.0 and now 2.0 and I remember that it originally took a while to dial in the RGB curves for the 1.0 release. In general, curves can be quite destructive, so if you don’t get the math right, you’ll see banding with very little change of a curve. That was fixed before 1.0 was ever released and the quality in 2.0 looks very good.

Color Finale 2.0 beta had an issue with color wheels. For some users (myself included) the image didn’t update in real-time as you moved the color wheel pucks with a mouse. This was fixed right after release with an update. So if you are experiencing that issue, make sure you have re-installed the update.

The difference between grading and simple clip-based color correction is workflow. That’s where a good colorist using a dedicated grading application will shine. Unfortunately the “apply color correction from one (two, three) clip(s) back” command in Final Cut Pro X can only be used with its own built-in correction. So if you intend to use Color Finale 2 for a full timeline of clips, then you have to develop a workflow to quickly apply the Color Finale or Color Finale Pro effect, without constantly dragging it from the effects browser to each individual clip.

One solution is to apply the effect to the first clip, copy that clip, select all the rest, and then apply “paste effects” or “paste attributes” to the rest of the clips in the timeline. As you move from clip to clip, the Color Finale effect is open in the Inspector so you can tweak settings and edit layers as needed. I have found that by using this method the layers panel often doesn’t stay open persistently. The second method is to designate the Color Finale or Pro effect as the default video effect and map “apply default effect” to a key. Using this second method, the panel stayed open in my testing when go through successive clips on the timeline. Documentation and tutorials are a bit light at the moment, so hopefully Color Trix will begin posting more tips-and-tricks information to their support page or YouTube channel.

One can only run a valid test of any plug-in by using it on a real project. As an example of what you can do with Color Finale 2, I’ve graded Philip Bloom’s 2013 “Hiding Place” short featuring actress Kate Loustau. This was shot on the London Eye in “stealth” mode using the Blackmagic Pocket Cinema Camera. Bloom made the ungraded cut available for non-commercial use. I’ve used it a number of times to test color correction applications. Click the link to see the video, which includes two different grading looks, achieved through Color Final 2 Pro.

Color Finale 2.0 is a huge improvement over the original, but it’s not a one-click solution. It’s designed as an advanced, yet easy to use color correction tool. I find the toolset and visual results similar to the old Apple Color. The graded images appear very natural, which is a good fit for my aesthetic. DaVinci Resolve is better for extreme “surgical” grading, but Color Finale 2.0 certainly covers at least 90% of most color correction needs and styles. If you want to stay entirely within the Final Cut Pro X environment and skip the roundtrips, then Color Finale 2 Pro should be part of your arsenal. It’s this sort of extensibility that FCPX users like about the approach Apple has taken. Having powerful tools, like Color Finale 2.0, from independent developers, like Color Trix, definitely validates the concept.

Check out the Color Finale website for the various purchase and upgrade plans, including add-ons, like the Ascend presets packages.

The article was originally written for FCPco.

©2020 Oliver Peters

Did you pick the right camera? Part 1

There are tons of great cameras and lenses on the market. While I am not a camera operator, I have been a videographer on some shoots in the past. Relevant production and camera logistical issues are not foreign to me. However, my main concern in evaluating cameras is how they impact me in post – workflow, editing, and color correction. First – biases on the table. Let me say from the start that I have had the good fortune to work on many productions shot with ARRI Alexas and that is my favorite camera system in regards to the three concerns offered in the introductory post. I love the image, adopting ProRes for recording was a brilliant move, and the workflow couldn’t be easier. But I also recognize that ARRI makes an expensive albeit robust product. It’s not for everyone. Let’s explore.

More camera choices – more considerations

If you are going to only shoot with a single camera system, then that simplifies the equation. As an editor, I long for the days when directors would only shoot single-camera. Productions were more organized and there was less footage to wade through. And most of that footage was useful – not cutting room fodder. But cameras have become cheaper and production timetables condensed, so I get it that having more than one angle for every recording can make up for this. What you will often see is one expensive ‘hero’ camera as the A-camera for a shoot and then cheaper/lighter/smaller cameras as the B and C-cameras. That can work, but the success comes down to the ingredients that the chef puts into the stew. Some cameras go well together and others don’t. That’s because all cameras use different color science.

Lenses are often forgotten in this discussion. If the various cameras being used don’t have a matched set of lenses, the images from even the exact same model cameras – set to the same settings – will not match perfectly. That’s because lenses have coloration to them, which will affect the recorded image. This is even more extreme with re-housed vintage glass. As we move into the era of HDR, it should be noted that various lens specialists are warning that images made with vintage glass – and which look great in SDR – might not deliver predictable results when that same recording is graded for HDR.

Find the right pairing

If you want the best match, use identical camera models and matched glass. But, that’s not practical or affordable for every company nor every production. The next best thing is to stay within the same brand. For example, Canon is a favorite among documentary producers. Projects using cameras from the EOS Cinema line (C300, C300 MkII, C500, C700) will end up with looks that match better in post between cameras. Generally the same holds true for Sony or Panasonic.

It’s when you start going between brands that matching looks becomes harder, because each manufacturer uses their own ‘secret sauce’ for color science. I’m currently color grading travelogue episodes recorded in Cuba with a mix of cameras. A and B-cameras were ARRI Alexa Minis, while the C and D-cameras were Panasonic EVA1s. Additionally Panasonic GH5, Sony A7SII, and various drones cameras were also used. Panasonic appears to use a similar color science as ARRI, although their log color space is not as aggressive (flat). With all cameras set to shoot with a log profile and the appropriate REC709 LUT applied to each in post (LogC and Vlog respectively) I was able to get a decent match between the ARRI and Panasonic cameras, including the GH5. Not so close with the Sony or drone cameras, however.

Likewise, I’ve graded a lot of Canon C300 MkII/C500 footage and it looks great. However, trying to match Canon to ARRI shots just doesn’t come out right. There is too much difference in how blues are rendered.

The hardest matches are when professional production cameras are married with prosumer DSLRs, such as a Sony FS5 and a Fujifilm camera. Not even close. And smartphone cameras – yikes! But as I said above, the GH5 does seem to provide passible results when used with other Panasonic cameras and in our case, the ARRIs. However, my experience there is limited, so I wouldn’t guarantee that in every case.

Unfortunately, there’s no way to really know when different brands will or won’t create a compatible A/B-camera combination until you start a production. Or rather, when you start color correcting the final. Then it’s too late. If you have the luxury of renting or borrowing cameras and doing a test first, that’s the best course of action. But as always, try to get the best you can afford. It may be better to get a more advanced camera, but only one. Then restructure your production to work with a single-camera methodology. At least then, all of your footage should be consistent.

Click here for the Introduction.

Click here for Part 2.

©2019 Oliver Peters

Did you pick the right camera? Intro

My first facility job after college at a hybrid production/post company included more than just editing. Our largest production effort was to produce, post, and dub weekly price-and-item retail TV commercials for a large, regional grocery chain. This included two to three days a week of studio production for product photography (product displays, as well as prepared food shots).

Early on, part of my shift included being the video shader for the studio camera being used. The video shader in a TV station operation is the engineering operator who makes sure the cameras are set up and adjusts video levels during the actual production. However, in our operation (as would be the case in any teleproduction facility of that time) this was a more creative role – more akin to a modern DIT (digital imaging technician) than a video engineer. It didn’t involve simply adjusting levels, but also ‘painting’ the image to get the best-looking product shots on screen. Under the direction of the agency producer and our lighting DP/camera operator, I would use both the RGB color balance controls of the camera, along with a built-in 6-way secondary color correction circuit, to make each shot look as stylistic – and the food as appetizing – as possible. Then I rolled tape and recorded the shot.

This was the mid-1970s when RCA dominated the broadcast camera market. Production and gear options where either NTSC, PAL, or film. We owned an RCA TK-45 studio camera and a TKP-45 ‘portable’ camera that was tethered to a motor home/mobile unit. This early RCA color correction system of RGB balance/level controls for lift/gamma/gain ranges, coupled with a 6-way secondary color correction circuit (sat/hue trim pots for RGBCMY) was used in RCA cameras and telecines. It became the basis for nearly all post-production color correction technology to follow. I still apply  those early fundamentals that I learned back then in my work today as a colorist.

Options = Complexity

In the intervening decades, the sheer number of camera vendors has blossomed and surpassed RCA, Philips, and the other few companies of the 1970s. Naturally, we are well past the simple concerns of NTSC or PAL; and film-based production is an oddity, not the norm. This has introduced a number of challenges:

1. More and cheaper options mean that productions using multiple cameras is a given.

2. Camera raw and log recording, along with modern color correction methods, give you seemingly infinite possibilities – often making it even harder to dial in the right look.

3. There is no agreement of file format/container standards, so file-based recording adds workflow complexity that never existed in the past.

In the next three blog posts, I will explore each of these items in greater depth.

©2019 Oliver Peters