Working with ACES in DaVinci Resolve

In the film days, a cinematographer had a good handle on what the final printed image would look like. The film stocks, development methods, and printing processes were regimented with specific guidelines and limited variations. In color television production, up through the early adoption of HD, video cameras likewise adhered to the standards of Rec. 601 (SD) and Rec. 709 (HD). The advent of the video colorist allowed for more creative looks derived in post. Nevertheless, video directors of photography could also rely on knowing that the image they were creating would translate faithfully throughout post-production.

As video moved deeper into “cinematic” images, raw recording and log encoding became the norm. Many cinematographers felt their control of the image slipping away, thanks to the preponderance of color science approaches and LUTs (color look-up tables) generated from a variety of sources and applied in post. As a result, the Academy Color Encoding System (ACES) was developed as a global standard for managing color workflows. It’s an open color standard and method of best practices created by filmmakers and color scientists under the auspices of the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (AMPAS, aka “The Academy”). To dive into the nuances of ACES – complete with user guides – check out the information at

The basics of how ACES works

Traditionally, Rec. 709 is the color space and gamma encoding standard that dictates your input, timeline, and exports for most television projects. Raw and log recordings are converted into Rec. 709 through color correction or LUTs. The color gamut is then limited to the Rec. 709 color space. Therefore, if you later try to convert a Rec. 709 ProResHQ 4:2:2 master file into full RGB, Rec. 2020, HDR, etc., then you are starting from an already-restricted range of color data. The bottom line is that this color space has been defined by the display technology – the television set.

ACES is its own color space designed to be independent of the display hardware. It features an ultra-wide color gamut that encompasses everything the human eye can see. It is larger than Rec. 709, Rec. 2020, P3, sRGB, and others. When you work in an ACES pipeline, ACES is an intermediate color space not intended for direct viewing. In other world, ACES is not dictated by current display technology. Files being brought into ACES and being exported for delivery from ACES pass through input and output device transforms. These are mathematical color space conversions.

For example, film with an ARRI Alexa, record as LogC, and grade in a Rec. 709 pipeline. A LogC-to-REC709 LUT will be applied to the clip to convert it to the Rec. 709 color space of the project. The ACES process is similar. When working in an ACES pipeline, instead of applying a LUT, I would apply an Input Device Transform (IDT) specific for the Alexa camera. This is equivalent to a camera profile for each camera manufacturer’s specific color science.

ACES requires one extra step, which is to define the target device on which this image will be displayed. If your output is intended to be viewed on television screens with a standard dynamic range, then an Output Device Transform (ODT) for Rec. 709 would be applied as the project’s color output setting. In short, the camera file is converted by the IDT into the ACES working color space, but is viewed on your calibrated display based on the ODT used. Under the hood, ACES preserves all of the color data available from the original image. In addition to IDTs and ODTs, ACES also provides for Look Modification Transforms (LMT). These are custom “look” files akin to various creative LUTs built for traditional Rec. 709 workflows.

ACES holds a lot of promise, but it is still a work-in-progress. If your daily post assignments don’t include major network or studio deliverables, then you might wonder what benefit ACES has for you. In that case, yes, continuing to stick with a Rec. 709 color pipeline will likely be fine for a while. But companies like Netflix are behind the ACES initiative and other media outlets are bound to follow. You may well find yourself grading a project that requires ACES deliverables at some point in the future.

There is no downside in adopting an ACES pipeline now for all of your Resolve Rec. 709 projects. Working in ACES does not mean you can instantly go from a grade using a Rec. 709 ODT to one with a Rec. 2020 ODT without an extra trim pass. However, ACES claims to make that trim pass easier than other methods.

The DaVinci Resolve ACES color pipeline

Resolve has earned a position of stature within the industry. With its low price point, it also offers the most complete ACES implementation available to any editor and/or colorist. Compared with Media Composer, Premiere Pro, or Final Cut Pro X, I would only trust Resolve for an accurate ACES workflow at this point in time. However, you can start your edit in Resolve as Rec. 709 – or roundtrip from another editor into Resolve – and then switch the settings to ACES for the grade and delivery. Or you can start with ACES color management from the beginning. If you start a Resolve project using a Rec. 709 workflow for editing and then switch to ACES for the grade, be sure to remove any LUTs applied to clips and reset grading nodes. Those adjustments will all change once you shift the settings into ACES color management.

To start with an ACES workflow, select the Color Management tab in the Master Settings (lower right gear icon). Change Color Science to ACEScct and ACES version 1.1. (The difference between ACEScc and ACEScct is that the latter has a slight roll-off at the bottom, thus allowing a bit more shadow detail.) Set the rest as follows: ACES Input Device Transform to No Input Transform. ACES Output Device Transform to Rec. 709 (when working with a calibrated grading display). Process Node LUTs in ACEScc AP1 Timeline Space. Finally, if this is for broadcast, enable Broadcast Safe and set the level restrictions based on the specs that you’ve been supplied by the media outlet.

With these settings, the next step is to select the IDT for each camera type in the Media page. Sort the list to change all cameras of a certain model at once. Some media clips will automatically apply an IDT based on metadata embedded into the clip by the camera. I found this to be the case with the raw formats I tested, such as RED and BRAW. While an IDT may appear to be doing the same thing as a technical LUT, the math is inherently  different. As a result, you’ll get a slightly different starting look with Rec. 709 and a LUT, versus ACES and an IDT.

Nearly all LUTs are built for the Rec. 709 color space and should not be used in an ACES workflow. Yes, you can apply color space transforms within your node structure, but the results are highly unpredictable and should be avoided. Technical camera LUTs in Resolve were engineered by Blackmagic Design based on a camera manufacturer’s specs. They are not actually supplied as a plug-in by the manufacturer to Blackmagic. The same is true for Apple, Avid, and Adobe, which means that in all cases a bit of secret sauce may have been employed. Apple’s S-Log conversion may not match Avid’s for instance. ACES IDTs and ODTs within Resolve are also developed by Blackmagic, but based on ACES open standards. In theory, the results of an IDT in Resolve should match that same IDT used by another software developer.

Working with ACES on the Color page

After you’ve set up color management and the transforms for your media clips, you’ll have no further interaction with ACES during editing. Likewise, when you move to the Color page, your grading workflow will change very little. Of course, if you are accustomed to applying LUTs in a Rec. 709 workflow, that step will no longer be necessary. You might find a reason to change the IDT for a clip, but typically it should be whatever is the correct camera profile for the associated clip. Under the hood, the timeline is actually working in a log color space (ACEScc AP1); therefore, I would suggest grading with Log rather than Primary color wheels. The results will be more predictable. Otherwise, grade any way you like to get the look that you are after.

Currently Resolve offers few custom look presets specific to the ACES workflow. There are three LMTs found under the LUTs option / CLF (common LUT format) tab (right-click any node). These include LMT Day for Night. LMT Kodak 2383 Print Emulation, LMT Neon Suppression. I’m not a fan of either of the first two looks. Quite frankly, I feel Resolve film stock emulations are awful and certainly nowhere near as pleasing as those available through Koji Advance or FilmConvert Nitrate. But the third is essential. The ACES color space has one current issue, which is that extremely saturated colors with a high brightness level, like neon lights, can induce image artifacts. The Neon Suppression LMT can be applied to tone down extreme colors in some clips. For example, a shot with a highly saturated red item will benefit from this LMT, so that the red looks normal.

If you have used LUTs and filters for certain creative looks, like film stock emulation or the orange-and-teal look, then use PowerGrades instead. Unlike LUTs, which are intended for Rec. 709 and are typically a “black box,” a PowerGrade is simply a string of nodes. Every time you grab a still in the Color page, you have stored that series of correction nodes as a PowerGrade. A few enterprising colorists have developed their own packs of custom Resolve PowerGrades available for free or sale on the internet.

The advantages are twofold. First, a PowerGrade can be applied to your clip without any transform or conversion to make it work. Second, because these are a series of nodes, you can tweak or disable nodes to your liking. As a practical matter, because PowerGrades were developed with a base image, you should insert a node in front of the added PowerGrade nodes. This will allow you to optimize your image for the settings of the PowerGrade nodes and provide an optimal starting point.


The project’s ODT is still set to Rec. 709, so nothing changes in the Resolve Deliver page. If you need to export a ProResHQ master, simply set the export parameters as you normally would. As an extra step of caution, set the Data Levels (Advanced Settings) to Video and Color Space and Gamma Tags to Rec. 709, Gamma 2.4. The result should be a proper video file with correct broadcast levels. So far so good.

One of the main reasons for an ACES workflow is future proofing, which is why you’ve been working in this extended color space. No common video file format preserves this data. Furthermore, formats like DNxHR and ProRes are governed by companies and aren’t guaranteed to be future-proofed.

An ACES archival master file needs to be exported in the Open EXR file format, which is an image sequence of EXR files. This will be a separate deliverable from your broadcast master file. First, change the ACES Output Device Transform (Color Management setting) to No Output Device and disable Broadcast Safe limiting. At this point all of your video clips will look terrible, because you are seeing the image in the ACES log color space. That’s fine. On the Deliver page, change the format to EXR, RGB float (no compression), and Data Levels to Auto. Color Space and Gamma Tags to Same As Project. Then Export.

In order to test the transparency of this process, I reset my settings to an ODT of Rec. 709 and imported the EXR image sequence – my ACES master file. After import, the clip was set to No Input Transform. I placed it back-to-back on the timeline against the original. The two clips were a perfect match: EXR without added grading and the original with correction nodes. The one downside of such an Open EXR ACES master is a huge size increase. My 4K ProRes 4444 test clip ballooned from an original size of 3.19GB to 43.21GB in the EXR format.


Working with ACES inside of DaVinci Resolve involves some different terminology, but the workflow isn’t too different once you get the hang of it. In some cases, camera matching and grading is easier than before, especially when multiple camera formats are involved. ACES is still evolving, but as an open standard supported globally by many companies and noted cinematographers, the direction can only be positive. Any serious colorist working with Resolve should spend a bit of time learning and getting comfortable with ACES. When the time comes that you are called upon to deliver an ACES project, the workflow will be second nature.

UPDATE 2/23/21

Since I wrote this post, I’ve completed a number of grading jobs using the ACES workflow in DaVinci Resolve. I have encountered a number of issues. This primarily relates to banding and artifacts with certain colors.

In a recent B-roll shoot, the crew was recording in a casino set-up with an ARRI Alexa Mini in Log-C. The set involved a lot of extreme lights and colors. The standard Resolve ACES workflow would be to set the IDT to Alexa, which then automatically corrects the Log-C image back to the default working color space. In addition, it’s also recommended to apply neon suppression in order to tone down the bright colors, like vibrant reds.

I soon discovered that the color of certain LED lights in the set became wildly distorted (see image). The purple trim lighting on the frames of signs or the edges of slot machines became very garish and artificial. When I set the IDT to Rec 709 instead of Alexa and graded the shot manually without any IDT or LUT, then I was able to get back to a proper look. It’s worth noting that I tested these same shots in Final Cut Pro using the Color Finale 2 Pro grading plug-in, which also incorporates ACES and log corrections. No problems there.

After scrutinizing a number of other shots within this batch of B-roll footage, I noticed quite a bit more banding in mid-range portions of these Alexa shots. For example, the slight lighting variations on a neutral wall in the background displayed banding, as if it were an 8-bit shot. In general, natural gradients within an image didn’t look as smooth as they should have. This is something I don’t normally see in a Rec 709 workflow with Log-C Alexa footage.

Overall, after this experience, I am now less enthusiastic about using ACES in Resolve than I was when I started out. I’m not sure if the issue is with Blackmagic Design’s implementation of these camera IDTs or if it’s an inherent problem with ACES. I’m not yet willing to completely drop ACES as a possible workflow, but for now, I have to advise that one should proceed with caution, if you intend to use ACES.

Originally written for Pro Video Coalition.

©2020, 2021 Oliver Peters

FilmConvert Nitrate

When it comes to film emulation software and plug-ins, FilmConvert is the popular choice for many editors. It was one of the earliest tools for film stock emulation in digital editing workflows. It not only provides excellent film looks, but also functions as a primary color correction tool in its own right. FilmConvert has now been updated into FilmConvert Nitrate – a name that’s a tip of the hat to the chemical composition of early film stocks.

The basics of film emulation with Nitrate

FilmConvert Nitrate uses built-in looks based on 19 film stocks. These include a variety of motion and still photo negative and positive stocks, ranging from Kodak and Fuji to Polaroid and Ilford. Each stock preset includes built-in film grain based on 6K film scans. Unlike other plug-ins that simply add a grain overlay, FilmConvert calculates and integrates grain based on the underlying color of the image. Whenever you apply a film stock style, a matching grain preset, which changes with each stock choice, is automatically added. The grain amount and texture can be changed or you can dial the settings back to zero if you simply want a clean image.

These film stock emulations are not simply LUTs applied to the image. In order to work its magic, FilmConvert Nitrate starts with a camera profile. Custom profiles have been built for different camera makes and models and these work inside the plug-in. This allows the software to tailor the film stock to the color science of the selected camera for more accurate picture styles. When you select a specific camera from the pulldown menu instead of the FilmConvert default, you’ll be prompted to download any camera pack that hasn’t already been installed. Free camera profile packs are available from the FilmConvert website and currently cover most of the major brands, including ARRI, Sony, Blackmagic, Canon, Panasonic, and more. You don’t have to download all of the packs at first and can add new camera packs at any time as your productions require it.

New features in FilmConvert Nitrate include Cineon log emulation, curves, and more advanced grain controls. The Cineon-to-print option appears whenever you apply FilmConvert Nitrate to a log clip, such as from an ARRI Alexa recorded in Log-C. This option enables greater control over image contrast and saturation. Remember to first remove any automatic or manually-applied LUTs, otherwise the log conversion will be doubled.

Taking FilmConvert Nitrate for a spin

As with my other color reviews, I’ve tested a variety of stock media from various cameras. This time I added a clip from Philip Bloom’s Sony FX9 test. The clip was recorded with that camera’s S-Cinetone profile, which is based on Sony’s Venice color. It looks quite nice to begin with, but of course, that doesn’t mean you shouldn’t tweak it! Other clips included ARRI Alexa log and Blackmagic BRAW files.

In Final Cut Pro X, apply the FilmConvert Nitrate plug-in to a clip and launch the floating control panel from the inspector. In Premiere, all of the controls are normally exposed in the effects controls panel. The plug-in starts with a default preset applied, so next select the camera manufacturer, model, and profile. If you haven’t already installed that specific camera pack, you’ll be prompted to download and install it. Once that’s done, simply select the film stock and adjust the settings to taste. Non-log profiles present you with film chroma and luma sliders. Log profiles change those sliders into film color and Cineon-to-print film emulation.

Multiple panes in the panel expand to reveal the grain response and primary color controls. Grading adjustments include exposure/temperature/tint, low/mid/high color wheels, and saturation. As you move the temperature and tint sliders left or right, the slider bar shows the color for the direction in which you are moving that control. That’s a nice UI touch. In addition, there are RGB curves (which can be split by color) and a levels control. Overall, this plug-in plays nice with Final Cut Pro X and Premiere Pro. It’s responsive and real-time playback performance is typically not impacted.

It is common in other film emulation filters to include grain as an overlay effect. Adjusting the filter with and without grain often results in a large difference in level. Since Nitrate’s grain is a built-in part of the preset, you won’t get an unexpected level change as you apply more grain. In addition to grain presets for film stocks from 8mm to 35mm Full Frame, you can adjust grain luminance, saturation, and size. You can also soften the picture under the grain, which might be something you’d want to do for a more convincing 8mm emulation. One unique feature is a separate response curve for grain, allowing you to adjust the grain brightness levels for lows, mids, and highs. In order to properly judge the amount of grain you apply, set Final Cut Pro X’s playback setting to Better Quality.

For a nice trick, apply two instances of Nitrate to a clip. On the first one, set the camera profile to a motion film negative stock, like Kodak 5207 Vision 3. Then apply a second instance with the default preset, but select a still photo positive stock, like Fuji Astia 100. Finally, tweak the color settings to get the most pleasing look. At this point, however, you will need to render for smooth playback. The result is designed to mimic a true film process where you would shoot a negative stock and then print it to a photograph or release print.

FilmConvert Nitrate supports the ability to export your settings as a 3D LUT (.cube) file, which will carry the color information, although not the grain. To test the transparency of this workflow, I exported my custom Nitrate setting as a LUT. Next, I removed the plug-in effect from the clip and added the Custom LUT effect back to it. This was linked to the new LUT that I had just exported. When I compared the clip with the Nitrate setting versus just the LUT, they were very close with only a minor level difference between. This is a great way to move a look between systems or into other applications without having FilmConvert Nitrate installed in all of them.


Any color correction effect – especially film emulation styles – are highly subjective, so no single filter is going to be a perfect match for everyone’s taste. FilmConvert Nitrate advances the original FilmConvert plug-in with an updated interface, built around a venerable set of film stock choices. This makes it a good choice if you want to nail the look of film. There’s plenty you can tweak to fine-tune the look, not to mention a wide variety of specific camera profiles. Even Apple iPhones are covered.

FilmConvert Nitrate is available for Final Cut Pro X 10.4.8 and Motion running under macOS 10.13.6 or later. It is also available for Premiere Pro/After Effects, DaVinci Resolve, and Media Composer on both macOS and Windows 10. The plug-in can be purchased for individual applications or as a bundle that covers all of the NLEs. If you already own FilmConvert, then the company has upgrade offers to switch to FilmConvert Nitrate.

Originally written for

©2020 Oliver Peters

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.


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.

Click this link for the Color Finale 2 Easy Reference Guide.

Originally written for

©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

©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.


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