Building FCP X Effects – Update

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A few weeks ago I built and posted a small FCP X color correction effect using the Motion template process. While I have no intention of digging deeper into plug-in design, it’s an interesting experiment into understanding how you can use the power of Motion and Final Cut Pro X to develop custom effects, transitions, and generators. In this process, I’ve done a bit of tweaking, created a few more effects, and gotten a better understanding of how it all works. If you download the updated effects, there are a total of three filters (Motion templates) – a color corrector, a levels filter and a DVE.

Color science

In going through this exercise, a few things have been brought to my attention. First of all, filters are not totally transparent. If you apply my color correction filter, you’ll see slight changes in the videoscopes even when each tab is at its default. This doesn’t really matter since you are applying a correction anyway; but if it annoys you, then simply uncheck the item you aren’t using, like brightness or contrast.

df2615_fcpxfilterupdate_3Secondly, the exact same filter in FCP X may or may not use the same color science as the Motion version, even though they are called the same thing. Specifically this is the case with the Hue/Saturation filter. My template uses the one from Motion, of course. The FCP X Hue/Sat filter uses a color model in which saturation is held constant and luma (a composite of RGB) varies. The Motion version holds luma constant and allows saturation to vary.

The quickest way to test this is with a solid red generator. Apply the FCP X Hue/Sat filter and rotate the hue control. Set the scopes to display an RGB parade, vectorscope, and the waveform set to luma. As you rotate the hue around the dial, you’ll notice that the color dot stays neatly in the boxes of the vectorscope and moves in a straight, diagonal line from vector to vector. The RGB parade will show a perfect combination of red, blue, and green values to achieve the correct RMBCGY coordinates. However, the waveform luma levels will move up and down with large changes.

Now compare this to the hue control in the Hue/Sat filter included in my template. This is from Motion. As you rotate the hue control around the dial, the saturation value moves in what seems to be an erratic fashion around the vectorscope; but, the luma display changes very little. If you apply this same test to real footage, instead of a generated background color, you’ll get perceptually better results with Motion’s Hue/Sat filter than with the FCP X version. In most cases, either approach is acceptable, since for the purposes of color correction, you will likely only move the dial a few degrees left or right from the default of zero. Hue changes in color grading should be very subtle.

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Expanding filter features

After I built this first Motion template, I decided to poke around some more inside Motion to see if it offered other filters that had value for color correction. And as a matter of fact, it does. Motion includes a very nice Levels filter. It includes sliders for RGB as a group, as well as individual settings for red, green, and blue. Each group is broken down into sliders for black in/out, white in/out, and gamma. Then there’s an overall mix value. That a total of 21 sliders, not counting opacity, which I didn’t publish in my template. Therefore, you have fairly large control over grading using only the Levels filter.

df2615_fcpxfilterupdate_4I thought about building it into the earlier Oliver Color filter I had created, but ran into some obvious design issues. When you build these effects, it’s important to think through the order of clicking publish on the parameters that you want to appear inside of FCP X. This sequence will determine where these values appear in the stack of controls in the FCP X inspector. In other words, even though I placed this Levels filter ahead of Color Balance within Motion, the fact that I clicked publish after these other values had already been published, meant that these new controls would be placed to the bottom of my stack once this was displayed in FCP X. The way to correct this is to first unpublish everything and then select publish for each parameter in the order that you want it to appear.

A huge interface design concern is just how cluttered you do or don’t want your effect controls to be inside of FCP X. This was a key design issue when FCP X was created. You’ll notice that Apple’s built-in FCP X effects have a minimalist approach to the number of sliders available for each filter. Adding Levels into my Color filter template meant adding 21 more sliders to an interface that already combined a number of parameters for each of the other components. Going through this exercise makes it clear why Apple took the design approach they did and why other developers have resorted to various workarounds, such as floating controls, HUDs, and other solutions. The decision for me was simply to create a separate Oliver Levels filter that could be used separately, as needed.

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More value from color presets 

An interesting discovery I made was how Color Board presets can be used in FCP X 10.2. When you choose a preset from the Color Board’s pulldown menu, you can access these settings as you always have. The downside is that you can’t preview a setting like you can other effects in the effects palette. You have to apply a preset from the Color Board to see what it will look like with your image.df2615_fcpxfilterupdate_5

FCP X 10.2 adds the ability to save filter presets. Since color correction using the Color Board has now been turned into a standard filter, you can save color presets as an effects preset. This means that if you have a number of Color Board presets (the built-in FCP X settings, mine, or any custom ones you’ve created) simply apply the color preset and then save that color correction filter setting as a new effects preset. When you do this you get a choice of what category to save it into. You can create your own, such as My Color Presets. Now these presets will show up in that category inside the effects palette. When you skim over the preset icon, your image will be previewed with that color correction value applied.

Although these presets appear in the same palette as other Motion templates, the effects presets themselves are stored in a different place. They are located in the OS X user library under Application Support/ProApps/Effects Presets. For example, I created 40 Color Board presets that can all be turned into Effects Presets visible within the Effects palette. I’m not going to post them that way, but if you feel ambitious, I would invite you to download the Color Board presets and make your own effects presets out of them.

All of this is a great way to experiment and see how you can use the resources Apple has provided to personalize a system tailored to your own post needs.

Click here to download the Motion template effects.

Click here to download the Color Board presets.

©2015 Oliver Peters

Lumetri plus SpeedGrade Looks

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Last year I created a series of Looks presets that are designed to work with SpeedGrade CC. These use Adobe’s .look format, which is a self-contained container format that includes SpeedGrade color correction layers and built-in effects. Although I specifically designed these for use with SpeedGrade, I received numerous inquiries as to how they could be used directly within Premiere Pro. There have been solutions, but finally with the release of Premiere Pro CC 2015, this has become very easy. (Look for a full review of Premiere Pro CC 2015 in a future post.) Click any image for an expanded view.

df2515_lumsglooks_1_smOne of the top features of the CC 2015 release is the new Lumetri Color panel for Premiere Pro. When you select the Color workspace, the Premiere Pro interface will automatically display the Lumetri Color panel along with new, real-time videoscopes. This new panel provides extensive color correction features in a single panel (controls are also available in the Effects Control panel). It is based on a layer design that is similar to the Lightroom adjustment controls.

df2515_lumsglooks_6_smThe top control of the panel lets you select either the source clip (left name) or that one instance on the timeline (right name). If you select the source clip, then any correction is applied as a master clip effect. This correction will ripple to any other instances of that source on the timeline. If you select the timeline clip, then corrections only affect that one spot on the timeline. Key, for the purposes of this article, is the fact that the Lumetri Color panel includes two entry points for LUTs, using either the .cube or .look format. Adobe supplies a set of Adobe and LookLabs (SpeedLooks) LUTs. You can access built-in or third-party files from either the Basic or the Creative tab of the Lumetri Color panel.

df2515_lumsglooks_5_smIf you want to use any custom Look file – such as the free ones that I built or a purchased set, like SpeedLooks – simply choose browse from the pulldown menu and navigate to your hard drive location containing the file that you want to use. Sometimes this will require two LUTs. For example, SpeedLooks are based on corrections to a default log format optimized for LookLabs products. This means you’ll need to apply one of their camera patches to move the camera color into their unified log format. On the other hand, my Looks are based on a standard image, so you may or may not need an additional LUT. If you have ARRI Alexa footage recorded with a log-C gamma profile, then you’ll want to add Adobe’s default Log-C-to-Rec709 LUT, along with the Look file. In both examples, you would add the camera LUT in the Basic tab, since this is where the correction pipeline starts. Camera LUTs should be applied as source effects, so that they are applied as master clip effects.df2515_lumsglooks_2_sm

The next step is to apply your creative “look”, which might be a film emulation LUT or some other type of subjective look. This is applied through the pulldown in the Creative tab. Usually it’s best to apply this as a timeline effect. Simply select a built-in option or browse to other choices on your hard drive. In the case of my SpeedGrade Looks, pick the one you like based on the style you are after. Since the .look format can contain SpeedGrade’s built-in effect filters and vignettes, these will be included when applied in the Lumetri panel as part of a single LUT file.

df2515_lumsglooks_4_smAs with any LUT, not all settings work ideally with your own footage. This means you MUST adjust the other settings in the Lumetri Color panel to get the results you want. A creative LUT is only a starting point and never the final look. As you look through the various controls on the tabs, you’ll see a plethora of grading tools for exposure, contrast, color balance, curves, vignettes, and more. Tweak to your heart’s content and you’ll get some outstanding results without ever leaving the Premiere Pro environment.

Click here to download a .zip archive of the free SpeedGrade Looks file.

©2015 Oliver Peters

Building a Free FCP X Color Correction Filter

df2315_opcolor_1One nice aspect of the symbiotic relationship between Final Cut Pro X and Motion is that Motion can be used to create effects, transitions, titles and generators for use in FCP X. These are Motion Templates and they form the basis for the creation of nearly all third-party effects filters, both paid and free. This means that if you learn a bit about Motion, you can create your own custom effects or make modifications to the existing ones supplied with FCP X. This has become very easy to do in the newest versions (FCP X 10.2.1 and Motion 5.2.1).

I decided to build a color correction filter that covered most of the standard adjustments you need with the usual types of footage. There are certainly a number of really good color correction/grading filters already on the market for FCP X. Apple’s own color board works well and with 10.2 has been broken out as a normal effects filter. However, a lot of folks don’t like its tab/puck/swatch interface and would still rather work with sliders or color wheels. So as an experiment, I built my own color correction filter for use with FCP X – and you may download here and use it for free as well.

df2315_opcolor_4_smLet me point out that I am no Motion power user. I have nowhere near the skills of Mark Spencer, Simon Ubsdell or Alex Gollner when it comes to using Motion to its fullest. So all I’ve done is combine existing Motion filters into a single combined filter with zero modifications. But that’s the whole point and why this function has so much potential. A couple of these individual filters already exist singly within FCP X, but Motion has a lot more to choose from. Once you launch Motion, the starting point is to open a new Final Cut Effects project from the Motion project browser. This will default to a blank composition ready to have things added to it. Since I was creating a color correction filter, all I needed to do was select the existing Motion filters to use from the Library browser and drag-and-drop the choices into the composition.

df2315_opcolor_5I decided to combine Brightness, Contrast, Color Balance, Hue/Saturation and Tint, which were also stacked in that exact order. The next step in the process was to determine the state of the filter when you apply it and which parameters and sliders to publish. Items that are published, such as a slider, will show up in the inspector in FCP X and can be adjusted by the editor. In my case, I decided to publish every parameter in the stack. To publish, simply click on the right side edge of each parameter line and you’ll find a pulldown selection that includes a publish/unpublish toggle. Note that the order in which you click the publish commands will determine the order of how these commands are stacked when they show up inside FCP X. To make the most sense, I followed a straight sequence order, top to bottom.

df2315_opcolor_3_smYou can also determine the starting state when you first apply or preview the effect.  For example, whether a button starts out enabled or disabled. In the case of this filter, I’ve enabled everything and left it at a neutral or default value, with the exception of Tint. This starts in the ‘off’ position, because I didn’t want a color cast to be applied when you first add the filter to a clip. Once everything is set-up, you simply save the effect to a desired location in the Motion Templates folder. You can subsequently open the Motion project from there to modify the effect. When it’s saved again, the changes are updated to the filter in FCP X.

If you’ve downloaded my effects filter, unzip the file and follow the Read Me document. I’ve created an “Oliver FX” category and this complete folder should be placed into the User/Movies/Motion Templates/Effects folder on your hard drive.df2315_opcolor_2

Applying the filter inside Final Cut Pro X is the same as any of the other effects options. It has the added benefit that all parameters can be keyframed. The Color Balance portion works like a 3-way color corrector, except that it uses the OS color picker wheels in lieu of a true 3-color-wheel interface. As a combination of native filters, performance is good without taxing the machine.

UPDATE (12 June 2015) : I have added one addition filter into the download file. The second filter is called “Oliver DVE” and designed to give you a full set of transform controls that include XYZ rotation. It comes from the transform control set included with Motion. This provides you with the equivalent of a 2.5D DVE, which is not available in the default control set of FCP X.

UPDATE 2 (15 June 2015) : These filters are not backward compatible. They will work in FCP X 10.1.2 and Motion 5.1.2 and forward (hopefully), but not in earlier versions. That’s due to technology changes between these versions. If you downloaded these prior to June 15, for FCP X 10.1.2 or 10.1.4 and they aren’t working, please download again. I have modified the files to work in FCP X 10.1.2 and later. Thank you.

Download the free “Oliver Color” and “Oliver DVE” filters here. My previously-created, free FCP X color board presets may be found here.

©2015 Oliver Peters

FCP X Grading Strategy

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I’ve expounded on ways to tackle color grading in numerous posts. Recently in “Understanding SpeedGrade” I explained a workflow combining color grading tools with LUTs to create custom looks. In this post, I’m going to follow a similar process for FCP X users. (Note: This post was written before the release of FCP X 10.2. However, the fundamental items I discuss herein haven’t changed with the update. The main differences are that the Color Board has become a standard color correction effect and that all effects filters now have built-in masking.)

The approach I’m taking is using a creative LUT to define the overall look and then color correct individual clips for consistency.  A creative LUT should only be considered as spice, not as the main course. You can’t rely solely on the creative LUT for your shot. There is no “easy” button when grading shots on a timeline. In this example, I’m using one of the SpeedLooks LUTs from LookLabs. They offer a variety of styles from clean to stylized. To use any third-party LUT with FCP X, you have to use some plug-in that reads and applies LUTs as an effects filter. I use Color Grading Central’s LUT Utility. Any .cube formatted LUT copied into its folder (located in the Motion Templates folder) will show up as a pulldown option when LUT Utility is applied to a clip in FCP X. (Click images to enlarge.)

df1715_fcpx_clrstrat_11_smSpeedLooks LUTs are based on log or Rec 709 color space. If you have log footage and it has already been corrected to Rec 709, then you could simply use one of the Rec 709 versions. However, if you want to get the most out of their looks, then it’s best to shoot log and use a log-based LUT. Since log values vary among camera manufacturers, LookLabs designed their LUTs around a universal log value used within their LUT curves. To properly use one of their looks requires two stages of LUTs. The first stage is a camera patch, which shifts the video (by camera type) into LookLabs’ intermediate log space. They even include a patch for generic Rec 709 video. Once the first LUT has been applied, you may add the second LUT for the desired look. df1715_fcpx_clrstrat_12_smIn our grading strategy, the grading filters and/or tools are sandwiched between the first LUT (camera patch) and the second LUT (creative look).

df1715_fcpx_clrstrat_2Step 1. For this example, I’m using ARRI Alexa footage that was encoded with a log-C gamma profile. FCP X has built-in LUT processing to convert these clips into Rec 709 color space. Disable that in the inspector for all clips. df1715_fcpx_clrstrat_3Assuming you have installed the LUTs into the correct template folder, apply LUT Utility to the first clip. From the pulldown menu select a camera patch LUT appropriate for the camera (in this case, Alexa log-C). Now copy-and-paste-attributes for just this filter to all clips on the timeline (assuming all clips use the same camera and gamma profile).df1715_fcpx_clrstrat_10

df1715_fcpx_clrstrat_4Step 2. Add your preferred color correction effect to the clip. It will be stacked after the LUT Utility filter. I’m using Color Grade from Lawn Road’s Color Precision group. I like it because the controls are fast and I’ve grown fond of using exposure/contrast/temperature/tint controls in this type of grading. I could just as easily use one of the color wheel, color correction filters (Color Finale, Moods, Hawaiki Color, Colorista III) or even the FCP X Color Board. If the camera clips are reasonably consistent, the creative LUT you select is going to define the tonality of shadows and highlights, so there’s no reason to get carried away with big color balance changes in this grade.

df1715_fcpx_clrstrat_9Note: At this stage, you can copy-and-paste the Color Grade filter to all other clips or wait until later when you’ve actually started to make adjustments. If all shots are different, you might at well copy-and-paste now to have the filter in place with default starting values. If it’s a situation where you want to match the same cameras cutting back and forth – like A and B cameras in an interview – then you might opt to grade the first few clips and then copy-and-paste for the rest.

df1715_fcpx_clrstrat_5Step 4. Next it’s time to apply the creative LUT. Since you want to apply a single LUT across all clips, you’ll want to apply a blank, adjustment layer title effect as a connected clip. You can produce your own using Motion or download one of the free ones from the internet. The length of the adjustment layer should span the length of your timeline. To this title clip, add LUT Utility and select the desired SpeedLooks LUT (or any other you’ve added) from the pulldown menu. In this example, I used one of their Clean Kodak looks.

df1715_fcpx_clrstrat_7_smStep 5. I generally apply a slight vignette to most of my graded clips. This  is used to subtly darken the edge of the frame. FCP X won’t let you do this using a shape mask within the Color Board setting of a blank title, like the adjustment layer. (Note: This was corrected in 10.2. It is now possible to add a mask and color correction adjustment within an adjustment layer.) You will need to add a specific Vignette effect as another connected title. I’m using the Ripple Training RT Vignette in this example. Adjust the vignette’s size, shape, and darkening to taste. The RT Vignette lets you also blur of the edges and mix in an overall sepia toning to the clip as added features. I wouldn’t use these features as part of a standard vignette effect, but in some cases they might be appropriate.

df1715_fcpx_clrstrat_8_smStep 6. Finally! You’ve arrived. Now it’s time to do the real grade. Simply go clip by clip and only adjust the values of the Color Grade filter until you get the right look. Depending on the original shot and the way the LUT is being applied, part of what you are doing in this pass is adjusting the grade so that it looks optimum through the curves of the LUT. Generally you are working with smaller adjustments than without the LUT, since the creative LUT is doing most of the work to set your look.

©2015 Oliver Peters

Color LUTs for the Film Aesthetic

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Newer cameras offer the ability to record in log gamma profiles. Those manufactured by Sony, ARRI and Canon have become popular, and with them, so have a new class of color correction filters used by editors. Color look-up tables, known as LUTs, have long been used to convert one color space to another, but now are increasingly used for creative purposes, including film stock emulation. A number of companies offer inexpensive plug-ins to import and apply common 3D color LUTs within most NLEs, grading software and compositors.

While many of these developers include their own film look LUTs, it is also easy to create your own LUTs that are compatible with these plug-ins. A commonly used LUT format is .cube, which can easily be generated by a knowledgable editor using DaVinci Resolve, AMIRA Color Tool or FilmConvert, to name a few.

Most LUTs are created with a particular color space in mind, which means you actually need two LUTs. The first, known as a camera profile patch, adjusts for a specific model of camera and that manufacturer’s log values. The second LUT provides the desired “look”. Depending on the company, you may have a single filter that combines the look with the camera patch or you may have to apply two separate filters. LUTs are a starting point, so you will still have to color correct (grade) the shots to get the right look. Often in a chain of filters, you will want the LUT as the last effect and do all of your grading ahead of that filter. This way you aren’t trying to recover highlights or shadow detail that might have been compressed by the LUT values.

Color Grading Central’s LUT Utility

df_lut_2a_smThe LUT Utility has become a “go to” tool for Final Cut Pro X editors who want to use LUTs. It installs with eleven basic LUTs, which include a number of camera log to Rec 709 patches, as well as several film looks for Fuji, Kodak, 2 Strip and 3 Strip emulation. LUT Utility installs as a Motion template and also appears as a System Preferences pane. You may use this pane to install additional LUTs, however, you can also install them by placing the LUT file into the correct Motion template folder. Since it uses LUTs in the .cube format, any application that generates a 3D LUT in that format can be used to create a new LUT that is compatible with LUT Utility. When you apply a LUT Utility filter to a clip or an adjustment layer inside FCP X, the inspector pane for the filter gives you access to all recognized LUTs through a pulldown menu. The only control is a slider to adjust the amount of the LUT that is applied.

Color Grading Central also has a partnership with visionColor to bundle the Osiris film emulation filters separately or together with LUT Utility. The Osiris set includes nine film emulations that cover a number of stocks and stylized looks. They are provided in the .cube format. Although both the Color Grading Central and Osiris filters are offered for FCP X, it’s worth noting that the LUTs themselves are compatible with Avid Media Composer, Adobe Creative Cloud, Autodesk Smoke and DaVinci Resolve. One thing to be careful of in FCP X, is that Apple also includes its own log processing for various cameras, such as the ARRI ALEXA, and often applies this automatically. When you apply a LUT to log footage in FCP X, make sure you are not double-processing the image. Either use a LUT designed for Rec 709 imagery, or set the FCP X log processing for the clip to “none”, when using a LUT designed for log color space.

In addition to Osiris, visionColor and Color Grading Central developed the ImpulZ LUT series. ImpulZ comes in a Basic, Pro and Ultimate set of LUTs, based on the camera profiles you typically need to work with. It covers a mixture of stock brands and types, including negative print and still film stocks. The Ultimate collection includes about 1950 different LUT files. In addition to camera profiles, these LUTs also cover four gamma profiles, including film contrast, film print, VisionSpace and Cineon Log (Ultimate only). The VisionSpace profile is their own flatter curve that is more conducive to further grading.

Koji Color

df_lut_2b_smAnother LUT package just released for Final Cut Pro X – but also compatible with other applications – is Koji Color. This is a partnership between noted color timer Dale Grahn (Predator, Saving Private Ryan, Dracula) and plug-in developer Crumplepop. This partnership previously resulted in the Dale Grahn Color iPad app. Unlike many other film emulation packages that attempt to apply a very stylized look, Koji Color, is design to provide an accurate emulation of a number of popular print stocks.

As implied by the name (Koji appears to be a mash-up of “Kodak” and “Fuji”), three key stocks from each brand are covered, including Kodak 2383, 2393, 2302 (B&W) and Fuji 3514, 3521, 3523. Each print stock has specific contrast and color characteristics, which these LUTs seek to duplicate. In FCP X, you select and apply the correct version of the filter based on camera type. Then from the inspector, select the film stock. There are extra skiers to tweak saturation and exposure (overall, hi, mid, shadow). This helps you dial in the look more precisely.

Koji Color comes in three product packages. The basic Koji DSLR is a set of filters that you would apply to standard HD cameras running in the video and not log mode. The output format is Rec 709 video. If you shoot with a lot of log profile cameras, then you’ll want Koji Log, which also includes Koji DSLR. This package includes the same LUTs, but with filters that have built-in camera patches for each of the various camera models that shoot log. Again, the output format is Rec 709.

The most expensive bundle is Koji Studio, which also includes the other two packages. The main difference is that Studio also supports output in the DCI-P3 color space. This is intended for digital intermediate color correction, which goes beyond the needs of most video editors.

SpeedLooks

df_lut_3_smLookLabs is the development side of Canadian post facility Jump Studios. As an outgrowth of their work for clients and shows, the team developed a set of film looks, which they branded under the name SpeedLooks. If you use Adobe Creative Cloud, then you know that SpeedLooks comes bundled for use in Adobe Premiere Pro CC and SpeedGrade CC. Like the other film emulation LUTs, SpeedLooks are based on certain film stocks, but LookLabs decided to make their offerings more stylized. There are specific bundles covering different approaches to color, including Clean, Blue, Gold and others.

SpeedLooks come in both .cube and Adobe’s .look formats, so you are not limited to only using these with Adobe products. LookLabs took a slightly different approach to cameras, by designing their looks based on the starting point of their own virtual log space. This way they can adjust for the differences in the log spaces of the various cameras. A camera patch converts the camera’s log or Rec 709 profile into LookLabs’ own log profile. When using SpeedLooks, you should first apply a camera profile patch as one filter and then the desired look filter as another.

If you use Premiere Pro CC, all you need to do is apply the Lumetri color correction effect. A standard OS dialogue opens to let you navigate to the right LUT file. Need to change LUTs? Simply click the set-up icon in the effect control window and select a different file. If you use SpeedGrade CC, then you apply the camera patch at the lowest level and the film look LUT at the highest level, with primary and secondary grading layers in between. LookLabs also offers a version of SpeedLooks for editors. This lower-cost package supplies the same film look LUTs, but intended for cameras that are already in the Rec 709 color space. All of these filters can be used in a number of applications, as well as in FCP X through Color Grading Central’s LUT Utility.

Like all of these companies, LookLabs has taken time to research how to design LUTs that match the response of film. One area that they take pride in is the faithful reproduction of skin tones. The point is to skew the color in wide ranges, without resulting in unnatural skin tones. Another area is in highlight and shadow detail. LUTs are created by applying curve values to the image that compress the highlight and shadow portion of the signal. By altering the RGB values of the curve points, you get color in addition to contrast changes. With SpeedLooks, as highlights are pushed to the top and shadows to the bottom, there is still a level of detail that’s retained. Images aren’t harshly clipped or crushed, which leaves you with a more filmic response that rolls off in either direction.

FilmConvert

df_lut_4_smFilmConvert (an arm of Rubber Monkey Software) is now in the 2.0 version of its popular film emulation application and plug-ins. You may purchase it as a standalone tool or as filters for popular NLEs. Unlike the others that use a common LUT format, like .cube, FilmConvert does all of its action internally. The plug-ins not only provide film emulation, but are also full-fledged, 3-way color correction filters. In fact, you could use a FilmConvert filter as the sole grading tool for all of your work. FilmConvert filters are available for Adobe, Avid, Final Cut and in the OFX format for Resolve, Vegas and Scratch. The Resolve version doesn’t include the 3-way color correction function.

You may keep your setting generic or select specific camera models. If you don’t have that camera profile installed, the filter will prompt you to download the appropriate camera file from their website. Once installed, you are good to go. FilmConvert offers a wide range of stock types for emulation. These include more brands, but also still photo stocks, such as Polaroid. The FilmConvert emulations are based on color negative film (or slide transparencies) and not release print stocks, like those of Koji Color.

In addition to grading and emulating certain stocks, FilmConvert lets you apply grain in a variety of sizes. From the control pane, dial in the amount of the film color, curve and grain, which is separate from the adjustments made with the 3-way color correction tool. New in this updated version is that you can generate a 3D LUT from your custom look. In doing so, you can create a .cube file ready for application elsewhere. This file will carry the color information, though not the grain. The standalone version is a more complete grading environment, complete with XML roundtrips and accelerated rendering.

Originally written for Digital Video magazine / CreativePlanetNetwork

©2014, 2015 Oliver Peters

Stocking Stuffers 2014

df_stuff14_1_smAs we head toward the end of the year, it’s time to look again at a few items you can use to spruce up your edit bay.

Let’s start at the computer. The “tube” Mac Pro has been out for nearly a year, but many will still be trying to get the most life out of their existing Mac Pro “tower”. I wrote about this awhile back, so this is a bit of a recap. More RAM, an internal SSD and an upgraded GPU card are the best starting points. OWC and Crucial are your best choices for RAM and solid state drives. If you want to bump up your GPU, then the Sapphire 7950 (Note: I have run into issues with some of these cards, where the spacer screws are too tall, requiring you to install the card in slot 2) and/or Nvidia GTX 680 Mac Edition cards are popular choices. However, these will only give you an incremental boost if you’ve already been running an ATI 5870 or Nvidia Quadro 4000 display card. df_stuff14_2_smIf you have the dough and want some solid horsepower, then go for the Nvidia Quadro K5000 card for the Mac. To expand your audio monitoring, look at Mackie mixers, KRK speakers and the PreSonus Audiobox USB interface. Naturally there are many video monitor options, but assuming you have an AJA or Blackmagic Design interface, FSI would be my choice. HP Dreamcolor is also a good option when connecting directly to the computer.

The video plug-in market is prolific, with plenty of packages and/or individual filters from FxFactory, Boris, GenArts, FCP Effects, Crumplepop, Red Giant and others. I like the Universe package from df_stuff14_3_smRed Giant, because it supports FCP X, Motion, Premiere Pro and After Effects. Red Giant continues to expand the package, including some very nice new premium effects. If you are a Media Composer user, then you might want to look into the upgrade from Avid FX to Boris Red. Naturally, you can’t go wrong with FxFactory, especially if you use FCP X. There’s a wide range of options with the ability to purchase single filters – all centrally managed through the FxFactory application.

df_stuff14_4_smFor audio, the go-to filter companies are iZotope, Waves and Focusrite to name a few. iZotope released some nice tools in its RX4 package – a state-of-the-art repair and restoration suite. If you just want a suite of EQ and compression tools, then Nectar Elements or Nectar 2 are the best all-in-one collections of audio filters. While most editors do their audio editing/mastering within their NLE, some need a bit more. Along with a 2.0 bump for Sound Forge Pro Mac, Sony Creative Software also released a standard version of Sound Forge through the Mac App Store.

df_stuff14_5_smIn the color correction world, there’s been a lot of development in film emulation look-up tables (LUTs). These can be used in most NLEs and grading applications. If that’s for you, check out ImpulZ and Osiris from Color Grading Central (LUT Utility required with FCP X), Koji Color or the new SpeedLooks 4 (from LookLabs). Each package offers a selection of Fuji and Kodak emulations, as well as other stylized looks. These packages feature LUT files in the .cube and/or .look (Adobe) LUT file formats and, thus, are compatible with most applications. If you want film emulation that also includes 3-way grading tools and adjustable film grain, your best choice is FilmConvert 2.0.

df_stuff14_6_smAnother category that is expanding covers the range of tools used to prep media from the camera prior to the edit. This had been something only for DITs and on-set “data wranglers”, but many videographers are increasingly using such tools on everyday productions. These now offer on-set features that benefit all file-based recordings. Pomfort Silverstack, ShotPut Pro, Redcine-X Pro and Adobe Prelude have been joined by new tools. To start, there’s Offload and EditReady, which are two very specific tools. Offload simply copies and verifies camera-card media to two target drives. EditReady is a simple drag-and-drop batch convertor to transcode media files. These join QtChange (a utility to batch-add timecode and reel IDs to media files) and Better Rename (a Finder renaming utility) in my book, as the best single-purpose production applications.

df_stuff14_7_smIf you want more in one tool, then there’s Bulletproof, which has now been joined in the market by Sony Creative Software’s Catalyst Browse and Prepare. Bulletproof features media offload, organization, color correction and transcoding. I like it, but my only beef is that it doesn’t properly handle timecode data, when present. Catalyst Browse is free and similar to Canon’s camera utility. It’s designed to read and work with media from any Sony camera. Catalyst Prepare is the paid version with an expanded feature set. It supports media from other camera manufacturers, including Canon and GoPro.

df_stuff14_8_smFinally, many folks are looking for alternative to Adobe Photoshop. I’m a fan of Pixelmator, but this has been joined by Pixlr and Mischief. All three are available from the Mac App Store. Pixlr is free, but can be expanded through subscription. In its basic form, Pixlr is a stylizing application that is like a very, very “lite” version of Photoshop; however, it includes some very nice image processing filters. Mischief is a drawing application designed to work with drawing tablets, although a mouse will work, too.

©2014 Oliver Peters

Boris Continuum Complete 9

df_BCC9_3WayClrBoris Continuum Complete has been the flagship effects package for Boris FX. With each new version, the company makes it better, faster and even more useful. They have recently released BCC 9 for Avid Media Composer, Sony Vegas Pro, Adobe After Effects/Premiere Pro, FCP X/Motion and DaVinci Resolve. This has been a two-year effort to build upon BCC 8, which was initially released in 2012.

Boris Continuum Complete 9 sports over 30 new effects, including 23 new transitions. In total, BCC 9 versions for Avid Media Composer, Adobe After Effects and Premiere Pro each offer over 230 filters, including 3D extruded text, particle effects, image restoration tools, lens flares, keying and compositing and much more. Specific new filters include a lens vignette, 2-strip color process, sharpening, lens correction, grunge, edge grunge, a laser beam effect, an improved pan & zoom filter with perspective and a one-stop chromakey “studio”.

df_BCC9_DmgdTVDissWhile new filters are always fun, the two big changes in BCC 9 over previous versions are OpenCL and CUDA acceleration, plus the addition of an FX Browser. Boris FX claims as much as a 2X improvement with some filters, when comparing the rendering of BCC 8 versus BCC 9 (tested on Avid Media Composer running under Windows). From just casual use, you’ll definitely see an improvement when applying and manipulating such processor-intensive effects as lens flares and glows.

FX Browser

df_BCC9_FXBrowserThe FX Browser is new for Continuum Complete. While it’s not unique to have a filter browser within an effects package, this one has an edge over those of competitors, because the clip is displayed in a viewer. You can play or scrub through the clip and sample the various filter presets. You aren’t tied to a default thumbnail image or a single still frame of the clip that you’ve sent to the browser. Nearly all of the BCC filters and transitions come with a set of presets.

Many users simply apply a filter, use its default and tweak the sliders a little. In doing so, they miss the wide range of looks that can actually be achieved. With this new FX Browser, you can apply a filter, open the FX Browser and see what each of the Boris presets will look like on your image. In the left pane you see thumbnails for each preset. As you click on the options, the viewer displays your clip with that preset applied to it. At the bottom of the browser is a history panel that shows the choices you’ve already reviewed. Once you find the desired look, click the “apply” button, which returns you to the host’s effects controls. Now adjust the sliders to fine-tune the effect to taste.

df_BCC9_MagicSharpAnother useful way to work with the FX Browser is to apply the standalone FX Browser filter to a clip. When you open the FX Browser, you’ll now see all of the effects categories and individual filters available within BCC 9. This is a great way to preview different filters when you just need some creative inspiration.

Transitions

df_BCC9_LensFlareDissIn the past, filters within the Boris Continuum Complete for After Effects version would also show up and work in Premiere Pro; however, the transitions functioned like they did in After Effects and not like a built-in Premiere Pro transition. You would have to stack adjacent clips onto overlapping vertical tracks and transition between them, just like in After Effects. Now with the changes in Premiere Pro CC and CC2014, transitions in packages like BCC 9 behave as native effects – the same as in other NLEs. This means you can now apply a transition to the cut between two clips on the same track, just like a standard cross-dissolve.

df_BCC9_SwishPanAs with any of the filters, transitions may also be previewed in the FX Browser. Boris Continuum filters feature on-screen controls (heads-up display or HUD) to vary filter adjustments, in addition to the sliders in the control panel. With BCC 9, some of the transition effects also gain appropriate HUD controls. For example, overlay curves let you make nonlinear adjustments to wipes and dissolves without the need to add keyframes.

Focus on quality and efficiency

df_BCC9_RaysOver the last few versions, Boris FX has focused on improving the overall quality of all of the filters. The new BCC Vignette effect doesn’t just darken the edges of the frame, it also adds a slight defocus to more closely approximate real-world lens issues. Their BCC 2-strip Color filter is designed to accurately mimic the look of classic Technicolor films. The new BCC Lens Correction filter is mathematically designed to “unwarp” the characteristic wide angle lens distortion of cameras like the GoPro.

Some of BCC 9’s strength is in a packaging of old favorites, such as its chromakeying tools. Many editors swear by the Boris keyers. Tools in this group include a matte choker and light wrap, which are typically used to finesse a key. Most editors end up applying a stack of these various filters to a clip, in order to get the cleanest result. New with BCC 9 is a chromakey studio filter, which combines all of the keying tools into one panel. This first made its introduction years ago in BCC for Final Cut Pro (“legacy”), but it’s now a part of all the BCC 9 versions. An improvement in this version is the addition of a built-in set of garbage masks to isolate the area needing to be keyed.

Extras

df_BCC9_ScatterizeWhile most of the filters and effects are consistent across hosts, there are some host-specific variations. For instance, in the AVX package for Avid Media Composer, each filter is more complex, because Boris FX adds a geometry function for image transforms (scale, position, etc.) to most AVX filters. These are not standard clip attributes built into the native Media Composer architecture, like they are in After Effects, FCP 7/X and Premiere Pro. Unfortunately, since these are extra functions required to augment Media Composer, it makes the AVX set more expensive than the AE version. For FCP X, filters must be built for Motion and then packaged as Motion templates to be used inside FCP X.

df_BCC9_PinArtBCC filters, in general, add more controls within each filter than do many of the competitors. Nearly all BCC filters include Pixel Chooser, which is an internal masking control. If you only want a filter to alter the bright areas of an image, you can use Pixel Chooser to mask the image according the luminance values and then the effect is limited to that portion of the image.

Another unique BCC feature is Beat Reactor. Let’s say you want a glow filter to pulse the intensity of the glow in sync with the beat of a music track. Simply enable Beat Reactor in that filter’s control panel, select and link the track that you want as a reference and adjust accordingly. Beat Reactor displays an overlay graphic of color bars for the music. These bounce up and down like a digital VU meter in response to the track. The bars may be used for reference and hidden – or they can also be rendered into the final output as an extra visual element. The Beat Reactor controls let you select the portion of this graph that is to affect the filter and the specific parameters to be controlled. Select a range that includes just the musical peaks and you’ll get a smaller variation to the changes in the filter than if you had selected the entire graph.

df_BCC9_LEDlightsLast, but not least, is a new online help system. Having trouble figuring out a filter? Click on the “help” button in the control panel to access a web page (stored on your computer) for tips and tutorials about using that effect. Boris FX continues to improve and advance what has to be the best all-around editor toolkit on the market. Boris Continuum Complete 9 is cross-platform and covers the most popular NLEs. Now that Avid Media Composer no longer comes bundled with a full set of BCC filters, new Avid editors will certainly want to invest in this package. For Adobe Premiere Pro CC customers, it adds capabilities that far surpass what comes with Premiere Pro. Best of all, the single purchase for the Adobe version covers you for After Effects, as well.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2014 Oliver Peters