Red Giant Magic Bullet Suite 12


Red Giant released Magic Bullet Suite 12 in February. Popular tools have been streamlined along with the addition of a brand new film emulation tool. The suite now includes Magic Bullet Looks 3.0, Magic Bullet Colorista III, Magic Bullet Film 1.0, Magic Bullet Mojo 2.0, Magic Bullet Cosmo 2.0, Denoiser II, and LUT Buddy. The new update adds OpenFX compatibility.

Along with feature and interface changes, Red Giant has also focused on performance improvements across the board, as well as bringing more of the tools into new hosts like Apple Final Cut Pro X. A single installation of the suite will install the plug-ins into as many application hosts as you have on your system. However, check the compatibility list for your particular NLE. For example, everything installs into Adobe Premiere Pro CC and After Effects CC, but Final Cut Pro X only gets Colorista, Looks, Cosmo, Film, and Mojo. Avid Media Composer is only compatible with Looks and Resolve gets Mojo, Film, Looks, and Cosmo. Depending on your toolkit, you might opt for one or two of the individual plug-ins rather than the entire suite. If you already installed version 12.0, you’ll need to download and reinstall 12.1 in order to add the plug-ins into new hosts, like Resolve 12.

Magic Bullet Looks (v3.1)


Magic Bullet Looks is a popular go-to plug-in for sophisticated stylization of an image. It includes tool modules for color correction, lens effects, relighting, and a lot more. The interface design has been flattened and streamlined. As before, it runs as a separate application that opens whenever you launch the interface from the clip on the timeline. The frame that you are parked on becomes the reference frame to which you apply your looks. In 3.0 and 3.1, you can now hover the mouse over the various preset looks and the larger Looks viewer will be updated to preview that look on your frame. In addition, this will also preview the various tool modules used to create the look. Red Giant has created many new preset looks based on popular film and TV show treatments. All are customizable. The 3.1 update added a Trackpad Mode, enabling you to use a laptop or standalone trackpad like a control surface.

New tool modules have been added, such as a LUT tool and a 4-way color corrector. The latter adds a very intuitive luma range graph to easily change the crossover points between lo/mid and mid/hi. Importing LUTs into Looks doesn’t seem to work perfectly. It’s pretty solid in the Adobe applications, but color management with FCP X is quirky. When I imported LUTs into Looks with FCP X, the result was a lot more extreme than in the Adobe applications. This is likely an issue with FCP X’s color pipeline when an external program is involved.

Magic Bullet Colorista III (v1.1)


The earlier version of Colorista was a feature-packed plug-in that functioned like a mini-grading application. It had master, primary, and secondary grading, plus curves, a power mask, and keyer. With Colorista III, Red Giant decided to simplify the plug-in by including one level of primary grading, curves, a keyer, and HSL secondary adjustments. The power mask is gone, because the developers decided to rely on the new built-in masking that’s part of Premiere Pro CC and Final Cut Pro X. Adobe added bezier masks with built-in tracking to all effects, so if you are using Colorista III in Premiere Pro CC, you now have a better masking capability than in the past. Apple added shape masks to all effects with the introduction of FCP X 10.2.


With FCP X, the developers were able to integrate the color grading wheels into the inspector pane, but in a vertical configuration. The response of the wheels is weighted, so that you move the mouse farther in relationship to the puck’s travel on-screen. This results in better granularity to the adjustment, but might require a bit of time for new users to get accustomed to the feel. Although it includes curves, these are not true multi-point curves, as you are limited to five control points along the line. Typically these work best when you want an s-curve correction.

A big addition to Colorista III are Lightroom-style shadow and highlight controls. Adjusting the shadows slider acts like you are adding or removing fill light from an image. There’s also a new vignette slider, so you can quickly dial in the size and darkness of an edge vignette. Most of the Magic Bullet products include a strength slider, while enables you to dial back on the amount of the color treatment. This lets you make a more extreme correction and then tone it down for the final look. One welcomed addition is an overall white balance control with a color picker to select what you determine as white in the image. This is very good news for FCP X editors in particular.

New 1.1 features, which are applicable to Adobe hosts, include support for OpenCL and Cuda. This allows for real time color correction during video playback via Adobe Premiere Pro’s Mercury Playback Engine. The Skin Overlay is back and there’s a keyer “cut out” mode to create transparency for layered color corrections.

Magic Bullet Film

df1315_mbs12_6_smFilm style LUTs (color look-up tables) are all the rage and this one is particularly well thought-out. Red Giant has reverse-engineering the LUTs from actual film and includes 22 negative stocks and four print stocks. These include the typical Kodak and Fuji variations as well as settings for some imaginary custom stocks designed by Red Giant. The key to this plug-in is that it is intended to pair a film negative LUT with a film print LUT, in order to more accurately mimic a real-world film pipeline.

df1315_mbs12_7_smIn addition to the LUTs, you have a number of control sliders for tint, exposure, contrast, saturation, and skin tone. There’s a slider for the amount of built-in grain to be added, as well as an instant vignette and a strength slider. A particularly interesting control is the vintage/modern slider. Shift it all the way to modern and you get a very strong orange/teal effect, whereas going fully in the vintage direction leaves the image more reddish and faded.

Magic Bullet Mojo 2.0

df1315_mbs12_8_smMojo is for the folks who want the extreme orange/teal coloration that many blockbuster films use. This is my least favorite filter in the suite, because few films that I see actually look like the results you get here – blockbuster or not. It’s a color treatment whose purpose is to cool off the background independent of skin tones. Depending on the shot and the art direction used in production, sometimes you get great results and other times not so much. df1315_mbs12_9_smFortunately there are plenty of adjustments to derive a decent, albeit stylized, color correction. As part of the Looks refresh, there is now a set of Mojo tools built into Looks, as well. Mojo has also been GPU-accelerated. Red Giant claims it’s 20% faster in Adobe products and 80% faster in FCP X. In the testing that I’ve done, the results have been in line with these numbers.

Magic Bullet Cosmo 2.0

Cosmo is a skin smoothing filter. It’s effectively the “vaseline on the lens” trick. If you have an actress with more textured skin and you need to soften it, then Cosmo does one of the better jobs I’ve seen. It isolates skin from the background, so that you end up softening only skin without hurting background detail.

df1315_mbs12_3_smThe new version has good performance, so you can keep on working with the filter applied without having to render to continue. Cosmo is GPU-accelerated with a 20% bump in Adobe products. In addition to FCP X, it is also available in Sony Vegas Pro.

Denoiser II and LUT Buddy

Denoiser II is general solution for reducing video noise and works well with most footage. LUT Buddy is a tool included with a number of Red Giant products. It is designed to import and export LUTs, although in my testing behavior was inconsistent. I could get it to generate a LUT, but not import all LUTs that should have been compatible.

LUT Buddy is very useful for turning the grade you create in one application into a LUT that can be used in another. For example, you can use a number of different color correction filters in After Effects to grade a shot and then use LUT Buddy to turn that grade into a LUT. Then in Premiere Pro, apply the LUT that you created, without the need for using the same filters as were used in After Effects. Here’s where LUT Buddy should have worked to read its own grade, but it didn’t. When I applied the grade and played the clip, the color correction would flicker on and off. However, I was still able to import that LUT using Premiere Pro’s Lumetri filter, so the process is still functional. My initial testing was done with Adobe CC2014, but in retesting in Adobe CC2015, unfortunately I could no longer get LUT Buddy to export a LUT.

df1315_mbs12_10_smOverall, this a solid update. Better performance and new tools. In most hosts you can stack several instances of these filters and still get real-time playback, which is a significant step forward. Magic Bullet Suite 12 is the perfect package for editors that want to have plenty of control over the look of their image, yet stay inside the editing application.

To usher in Magic Bullet Suite 12, Red Giant produced another of its innovative short films, called “Old/New”. It’s directed by Seth Worley and narrated by Patton Oswalt. Along with a clever storyline, the film was produced using a wide range of Red Giant products. Make sure that you check out the behind-the-scenes video to see how they did it.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

PDFviewer for Premiere Pro


Small developers often create the coolest tools for editing. Such is the case with Primal Cuts and their PDFviewer extension for Premiere Pro CC. Ever find yourself shuffling between paper scripts and storyboards, while trying to edit? Or juggling between different apps on-screen to view electronic versions, while going back-and-forth to your NLE? That’s what PDFviewer solves for you.

df4015_pcpdf_3Adobe has created a feature called extensions, which allows a developer to create a custom, dockable panel to perform certain function right inside the application’s interface. TypeMonkey is one example of this for After Effects. The same interface feature is also available in Premiere Pro. Extensions developed for Adobe applications also have the benefit of being cross-platform compatible.

PDFviewer is an extension designed for Adobe Premiere Pro CC. Once installed, it’s accessible from the extensions pulldown menu. When you select it, PDFviewer opens as a floating interface panel that can then be docked anywhere in the interface. If you dock it, make sure to do so in all of your workspaces and save those configurations. That way, if you have a file open, it will stay open as you jump between different layouts.

df4015_pcpdf_2Any PDF file can be opened in PDFviewer, including scripts, storyboards, and other documents. If you work in scripted long-form productions, then check if the script supervisor is using ScriptE Systems products. These are ideal for generating numerous electronic versions of common filming documents, including shot logs and lined scripts. However, any PDF works, including manually scanned PDFs of handwritten reports and lined scripts. Simply open up the lined script in the PDFviewer panel and now you have it right there within Premiere Pro. It’s not exactly the same as Avid’s Script Integration tools in Media Composer, but it’s the next best thing to it.

df4015_pcpdf_4PDFviewer lets you open multiple PDFs by clicking the “+” icon and adding another file. Multiple PDFs are accessible as tabs across the top of the PDFviewer window. It also includes a “hand” tool to easily scroll and pan within larger documents. Search is another great feature, which is perfect for working with transcripts. Search terms will be highlighted throughout the document. You can also copy-and-paste text from within PDFviewer to any metadata field in Premiere Pro.

Primal Cuts’ PDFviewer is a straightforward tool that every Premiere Pro editor will find to be a handy addition to their toolkit. At $10, the price is hard to pass up, simply based on the convenience of not shuffling more paper on your desk.

©2015 Oliver Peters

Rocket Rooster


Film emulation LUTs (color look-up tables) are always a popular discussion point and I’ve covered a number of the products on the market. Some of these are plug-in effects that include 3D LUT files as part of the package, like Koji, Color Finale, FilmConvert, etc. Others are toolkits with different types of files that are designed to be mixed and matched, like SpeedLooks, Osiris, ImpluZ, and others. One of this latter group is Rocket Rooster. I’ve mentioned them before, but in this post I’d like to go a bit deeper.

Rocket Rooster offers a range of “look” products that together become a toolkit for any type of film emulation, whether we are talking about motion film (3D LUTs) or still photography (Lightroom and Adobe Camera Raw presets). For video, these include log-to-Rec709 correction, negative stocks, print stocks, combined negative/print LUTs, and various subjective “movie looks”. As with many other film emulation products, they should be viewed as a starting point and not the only process that you would apply to get your final look. The Rocket Rooster packages include LUTs in .cube, .3dl, .icc, and .mga versions to be compatible with just about any editing, grading, or compositing application. The method of importing and adding external LUT files varies with each software. For example, in Final Cut Pro X you’d need Color Grading Central’s LUT Utility. In After Effects, you’d need Red Giant’s LUT Buddy. Premiere Pro CC, Resolve, and Media Composer all enable direct access to an external file.

There are different ways you can work with these LUTs. For example, if you shoot with log profiles, then Rocket Rooster offers both log-to-Rec709 camera patch profiles, as well as LUTs that combine the log conversion with a negative film stock setting into a single file. Since many of these looks work best when you combine a negative and a print stock (as you would in real film production), the next step is to pair the negative stock LUT with a matching print stock LUT. The Rocket Rooster film stock choices include several Kodak and Fuji emulations, along with a series of in-house creative presets designed to be reminiscent of certain popular styles.

Within your application, you have to bookend both LUT filters around a color correction filter, so that the grading adjustments occur between the two LUTs. For example, in FCP X, you would apply LUT Utility and select a log-to-negative LUT. Place a color correction filter next, followed by a second instance of LUT Utility. For the second LUT, pick a print stock LUT that you like. Premiere Pro CC makes this easier with the new Lumetri Color panel. In the basic correction tab, select the log-to-negative LUT and in the creative tab, pick the print stock LUT. In both NLEs, you’d use the color correction tools to hone the desired look. Rocket Rooster also offers a set of integrated files with both negative and print stock emulations in a single LUT file. With these, you’d select the file based on the negative stock you want to use, but the built-in print emulation is standardized on Kodak 2383.

Unlike other developers, these stock emulations tend to be a bit more aggressive in matching the coloration of the stock, but are more subdued in terms of final output contrast and saturation levels. That’s to allow enough margin in the resulting color for further grading. There are variants with different contrast balances for use with higher dynamic range cameras or that are readier for final output. All of this is spelled out in their user guide.

As with most LUT packages, you have to play around to get the right combo for your desired style. A little trial-and-error is part of the fun and experimentation. Of course, this process has to be interactive with your color correction tweaks to get the right look. Below are a series of stills demonstrating some of the results that are possible. Each of these uses one or two of the Rocket Rooster LUTs along with a varying amount of Lumetri Color grading. (Click on any image for the slideshow.)

©2015 Oliver Peters

iZotope RX Loudness Control



As more emphasis is being placed on loudness compliance around the world, it’s important for editors and sound mixers to have the right tools to stay legal. iZotope offers its Insight metering to see where your levels are, but a new addition is the RX Loudness Control plug-in. This not only analyzes your mix, but fixes it to be compliant. This plug-in is designed for Avid ProTools and Media Composer, along with the Adobe Creative Cloud applications. It works with mono, stereo, or surround mixes, but is not a real-time plug-in. Instead, it quickly analyzes your final mix and performs a faster-than-real-time processing of the track.

RX Loudness Control includes presets for eight international loudness standards and correction includes three components: fixed gain to hit a specific target, optional short-term loudness compression, and True Peak limiting. By design, the intent is to leave the mix dynamics in place, but where necessary IRC II (Intelligent Release Control) limiting is used. This style of limiting is also found in iZotope’s Ozone 6 mastering suite.

Operation for editors using Avid Media Composer or Adobe Premiere Pro CC couldn’t be easier. In Media Composer, first create a mixdown clip of your timeline mix and place that on an available track. Mute all other tracks. Apply the RX Loudness Control as an AudioSuite filter to the mixdown clip. Set the loudness standard preset, analyze, and render.

With the Adobe applications, the RX Loudness Control appears as an export preset in the export module of Premiere Pro or through Adobe Media Encoder. Simply export your timeline using the RX Loudness preset. Make adjustments to the settings as needed. If you want the mixed/processed track to automatically be imported back into the same project, make sure to check that box. Now export. The new .wav file will appear in your project, so simply mute all existing audio in your sequence and drop the processed .wav onto an empty audio track.

In the current version, there is no native support for Apple Final Cut Pro X or Logic Pro X. However, if you also own, subscribe to, or have access to Avid or Adobe applications (with the RX Loudness Control plug-in installed), you could use one of those to process your FCP X mix. First export a mix from FCP X as either a self-contained QuickTime movie or an audio file. Bring that into one of the other applications to encode the file using RX Loudness Control. When that’s completed, import the processed audio track back into FCP X. Mute or detach and remove all audio from your project (edited timeline) and connect the newly processed composite mix for your final compliant audio mix.

Originally written for Digital Video magazine / CreativePlanetNetworks.

©2015 Oliver Peters

Automatic Duck Redux


Automatic Duck invented timeline translations between applications. Necessity is the mother of invention, leading Wes Plate, an Avid Media Composer editor who tackled compositing in Adobe After Effects, to team with his programmer father, Harry. The goal was to design a tool to get Avid timelines into After Effects compositions. Automatic Duck grew from this beginning to create a series of translation products that let editors seamlessly move timelines between a number of different hosts, including Media Composer, Pro Tools, After Effects, and Apple Final Cut Pro “classic”.

Four years ago Adobe licensed the IP for the original Automatic Duck Pro Import products, as well as brought the father/son team on board to develop tools for Adobe. Now they are back on their own and have decided to reboot Automatic Duck, which has been mothballed for the past four years. Seeing an opportunity in Apple’s Final Cut Pro X, the company has developed Ximport AE, a timeline translation tool to bring Final Cut Pro X projects (edited sequences) into After Effects. The team is no stranger to Final Cut Pro X’s new FCPXML format, since it was the first developer to create a companion utility that translated Final Cut Pro X 10.0 projects into Pro Tools sessions.

Knowing the market

df3915_ad_2First, let’s define the market. Who is Automatic Duck Ximport AE for? Editors who do most of their heavy lifting in Media Composer, Final Cut, or Premiere Pro might not see the attraction. On the flip side, though, there are quite a few editors for whom After Effects is the tool of choice for all effects and even finishing. For this group, the NLE is where they spend the least amount of time. They use an editing application for shot selection and assembly and then go straight to After Effects for everything else.

If you are a motion graphics designer who relies on After Effects, then your occasional need for an NLE might be best served by FCP X. The interface is fast and easy to master, compared with more traditional track-based edit software. Finally, if you are a dedicated FCP X editor, you no longer have a “send to Motion” function as in the old Final Cut Studio. This means you can’t send more than a single shot to Motion for treatment. Besides, After Effects may still be your preferred motion graphics application. Take all of these points into consideration and you’ll see that there’s a clear need to get a project from FCP X into After Effects – the industry’s dominant motion graphics application.

How it works

df3915_ad_4Automatic Duck Ximport AE is designed as a plug-in that’s installed into After Effects, including CS6 up through the current CC2015 version (and beyond). There are several other competing translation tools on the market, which convert between flavors of XML or from FCPXML into AE Scripts. Automatic Duck is the only one that integrates directly into the After Effects import menu. Ximport AE cuts out one middle step in the process and should provide for a more complete translation from FCP X into After Effects.

I’ve been beta testing the product for a few months and it certainly hits the mark for serious users. The steps are simple. Just cut your sequence in Final Cut Pro X and then export an FCPXML for that project (sequence). When you open After Effects, select File > Import > Automatic Duck Ximport AE. This opens a dialogue box with a few settings and it’s where you navigate to the correct FCPXML file. Settings include whether to let your clips cascade up or down in the After Effects timeline, as well as an option to create pre-comps from Final Cut’s secondary storylines. The question mark icon also launches the user guide.

In the timelines I’ve tested, the translation is quite good. Compound clips are packaged as pre-comps. The active angle of Multicam clips and the selected pick of Audition clips are translated. Alternate angles aren’t.  Generally transform, crop, opacity, and blend functions are supported, as are audio and video keyframes. A number of third party filters are accurately translated between applications, assuming that the same filter is installed into each host. At launch, these include selected plug-ins from Boris FX, Digital Anarchy, Noise Industries/FxFactory, PHYX, Red Giant, and Yanobox. Check the user guide for a detailed list with specific filters.

Some caveats

df3915_ad_3It’s worth noting, however, that just about all of the built-in FCP X filters are not translated into an equivalent filter in After Effects. For example, the color board metadata is included in the FCPXML, but there’s no way to read that info on the After Effects side. This is true even when there are filters that appear to be the same. For example, both hosts include a native Gaussian blur filter, yet that doesn’t get translated. On the other hand, if you apply a Flipped filter in FCP X, it will be correctly translated into the -100 transform scale value in After Effects. So again, read the user guide and do a little experimentation to see what works and what doesn’t in your projects. Whenever an effect is not supported, a note is made in the companion HTML file created at import. A marker is also placed on that clip in the After Effects timeline, naming the missing plug-in.

df3915_ad_6I tested a number of supported third-party products, staying mainly within the Red Giant family. Translation was good between the Magic Bullet tools, but not without issue. For example, Universe ToonIt Expressionist Noise was available in both hosts, yet the effect was not applied in the After Effect composition. That’s because at the time I tested this using a beta build, that specific Universe filter had not been included. This has since been corrected. Other effects, like Looks, Colorista III, Mojo, Universe Glow, and others worked flawlessly. According to Wes Plate, the plug-in has been architected in a way to easily add support for new effects plug-ins. The bottom line is that if you stay within the supported features, you will get the richest translation experience from FCP X into After Effects that’s currently available in the market.

Automatic Duck Media Copy 4.0

df3915_ad_5Along with Ximport AE, the company will also introduce Automatic Duck Media Copy 4.0. The original Media Copy grew out the need to collect, copy, and move sequences and their associated media. The original version worked for Avid Media Composer and Apple Final Cut Pro “classic” sequences. It would read either the AAF or XML file and copy all associated media, plus the timeline edit info. This new folder could then be moved to another system for more editing or used as a back-up archive. Media Copy 4.0 has been updated to add FCPXML support. As before, it collects media and timeline files for use elsewhere. It does not trim or transcode the media, but you have the choice to copy media all into a single folder or to maintain a folder hierarchy matching the original paths within the newly created location. Media Copy works well as a standalone application or as a companion to Ximport AE. It supports Avid Media Composer, Final Cut Pro X, and Final Cut Pro 6/7.

With the reboot of Automatic Duck, they’ve decided to partner with Red Giant Software to provide marketing, sales, and customer support. Red Giant will offer Automatic Duck Ximport AE for $199 and Media Copy 4.0 for $99. If you still have need for Automatic Duck’s legacy products, the company is posting them again on their own website for free, with an optional “donate” button. These include Pro Import FCP, Pro Export FCP (for FCP 7 users), and Pro Import AE (for importing AAF and XML into AE CS 5.5 or earlier).

Regardless of which NLE you use, I’ve found Media Copy to be an essential tool, whether or not you work with effects or motion graphics. It’s great to see Automatic Duck update it, as well as launch their next great product, Ximport AE. Adobe After Effects will continue to be the ubiquitous compositing and motion graphics choice for most editors, so this marriage between Final Cut Pro X and After Effects make great sense.

For more, here’s a good interview with Wes Plate at Red Shark News.

©2015 Oliver Peters

Color Finale


When Apple launched Final Cut Pro X, one of the items that users missed from previous versions was the popular three-way color corrector. Most built-in color correction modules and plug-ins use the common color wheel method for changing color balance. It’s based on the principle that to reduce a certain color cast you push the wheel in the opposite direction of that color. This decreases the color you want to reduce by shifting the balance towards the colors that are on the opposite side of the wheel.

Apple replaced the color wheel model in FCP X with the color board – a set of tabs for exposure, saturation and color (tint or hue). In the color tab, which controls balance, you see a color swatch field divided into positive and negative halves. To decrease one color, you simply move the puck into the negative range for that color. Although this may be intuitive to users who don’t know anything about color theory, it’s contrary to how most other color tools work.

As a result, many FCP X editors have been on the lookout for good color correction plug-ins that use the more common three-way color wheel method. The complication is that the FCP X user interface is very restrictive for software developers, which limits the sort of custom controls they can use. The usual workaround – if they don’t utilize the space of the Inspector panel – is a of HUD (heads-up display) or an overlay on top of the viewer image. To date, plug-ins that offer color wheels have included Yanobox Moods, Red Giant Colorista III, FilmConvert, and Hawaiki Color. Some, like Ripple Tools RT Color Balance and Lawn Road Color Precision, use the Mac OS color picker in a way that functions as a color balance control.

Layer-based correction

df1115_cf_2_smThe newest color correction plug-in for Final Cut Pro X is Color Finale from Color Grading Central. This is a layer-based color corrector that combines four tools into a single filter. These include color wheels, curves, LUTs, and vectors. To solve the interface issue, Color Finale uses a floating panel that lives on top of the regular FCP X interface. When you apply the Color Finale filter to a clip and click Open in the Inspector window, the floating control panel is launched. You can move it around in case it obscures part of the regular FCP X interface. Within this panel you can select any of its four tools for as many layers as you like and rearrange them into any layer order. Each layer has a separate opacity control and the filter has an overall “mix” slider in the Inspector window. This lets you adjust the intensity of the complete filter or of individual layers.

df1115_cf_1_smThese four tools combine most of the functions offered by other individual filters into a single plug-in. The three-way color corrector works as expected with balance and level controls for shadow, mid-range, and highlight sections, plus a global saturation slider. The LUT control is like Color Grading Central’s LUT Utility. Color Finale ships with several basic camera patch and creative look LUTs (same as with LUT Utility). These are installed into a standard Motion Templates directory for FCP X. You can add any .cube format LUT file to this folder and it will show up inside FCP X as one of Color Finale’s LUT options. The curves are unique among FCP X plug-ins, because these are true multi-point curves. Other curve tools are based on an s-curve, but not here. You can add numerous control points along any of the RGB or master curves and make precise adjustments. The vector tool is based on the six color vectors: red, green, blue, cyan, magenta, and yellow. You can adjust the luminance and saturation, as well as shift the hue, for each of these vectors.

df1115_cf_3_smIn a very, very loose sense, Color Finale is a bit like having Resolve inside FCP X and is most similar to FilmLight’s Baselight Editions color correction plug-in. You can easily mix and match tools as layers within the plug-in control panel. If you apply the Color Finale filter to multiple clips on the timeline, once you’ve opened the panel, you can move from clip to clip and add or adjust correction layers within this panel, as long as it stays open. If you’ve closed it, clicking Open in the Inspector will relaunch the control panel. Using “copy” and “paste attributes” enables you to copy-and-paste Color Finale effects from one clip to another. Unfortunately there is no way within the filter to split-screen the uncorrected and corrected image nor to store grades as presets. However, you can toggle individual layers on and off.


df1115_cf_4_smAs with any tool, how the controls work for you is a very subjective thing. Most of the tools feel very good to me, but I have a few minor issues. For me, the range of the color wheels is too extreme. Once you get about 1/4 of the way out from the color wheel’s center, you’ve made a pretty large balance change. At the edges, the change is huge and unusable for anything other than a special effect. Therefore, I’d rather see finer granularity with less extreme change at the edges of the wheel – or the ability to exceed the limits of the wheel for a more extreme change.

df1115_cf_5_smI find the vectors very limiting for secondary adjustments, because you cannot select how wide the envelope is around that vector color. For instance, the red vector will affect a red coat, but not flesh tones that tend to fall into the orange range – and orange is not a true color vector. The developers feel that adhering to true vectors results in a cleaner image as opposed to an HSL model; however, HSL secondary correction (as in Colorista III or Avid Symphony) enables you to be more selective about the colors that you are grabbing for adjustment. I’ve also become used to having contrast, pivot, color temperature, and tint controls. These are a key feature of Adobe SpeedGrade and included with many other filters. Hopefully at some point these will also be added to Color Finale.


A few key features that would be nice to have are tracking, masking, and keying. These aren’t built into the current version, but might be added natively into later versions. However, with the introduction of FCP X 10.2, filters gain a built-in shape mask function courtesy of the host application. This means that Color Finale gets a shape mask that can be use as a form of “power windows”. In addition, if you’ve purchase ColorMelt’s SliceX/TrackX package, its masking and mocha-powered tracking function can be combined with Color Finale grading.

Most importantly, the developers have done a fine job of balancing correction quality with real-time performance. Stacking seven or eight layers of various tools inside Color Finale still leaves you with real-time playback of a sequence with unrendered clips. You would not get this performance if you stacked the same number of individual color correction filters onto a single FCP X clip. Render speeds, when you do choose to render, are fast.

For many, Color Finale will be the color corrector that Apple should have made. It works well and combines a fine set of tools into a single package. Since it works as any standard filter does, you can use it in conjunction with any other effect and with Final Cut’s built-in tools. For example, you can use FCP X’s log processing to correct Log-C gamma-encoded clips upstream of the filter. You can still add a vignette or key mask on top by using the regular FCP X color board tool. As an added bonus, Color Finale also installs and works with Motion 5. If you’re an editor that prefers to do your grading inside the NLE and skip troublesome roundtrips, then Color Finale is a good addition to your Final Cut Pro X toolkit.

Denver Riddle, the developer of Color Finale, has posted an excellent grading tutorial for how you can creatively use this tool with FCP X (click this link).

(Full disclosure: I was involved in the Color Finale beta team and participated in providing testing and feedback during the development phase.)

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Greater LUT Control with Koji Advance


For folks who like to use film emulsion LUTs (look up tables), Koji Color has recently updated its product line with Koji Advance. Koji Color is a collaboration between Dale Grahnthe highly regarded film lab timer (the film equivalent of a colorist) behind many blockbusters – and plug-in developer Crumplepop. Other products have included an iPad application and an earlier version of the Koji Color plug-in. (Click on any image in this post for an expanded view.)

Typically LUT packages require camera patch LUT files (to correct for each manufacturer’s log encoding scheme) and the “look” file. Some LUT developers split these into two sets of LUTs, while others combine both into a single 3D LUT file. Koji combines their LUTs, so each file is specific to a camera manufacturer and film stock type. The original version of the Koji Color plug-in was designed for Apple Final Cut Pro X and came in the form of two products – Koji DSLR and Koji Log. The lower cost DSLR package used emulation presets designed for Rec709 video signals. The Log package cost a bit more and added files and presets to be used with log gamma encoding, like ARRI Log-C. The FCP X plug-in itself also allowed for control over shadow, mid, and highlight exposure, plus saturation and a Film Stock Mix slider. The Mix slider controlled the amount of the LUT plug-in that was mixed into the image.

df3715_ka_10_smKoji Advance has replaced both the DSLR and Log plug-ins and added more controls and film grain. It is now also compatible with Motion, Premiere Pro CC, and After Effects CC, along with Final Cut Pro X. Koji Color also sells Koji Studio, which is a package of technical versions of these same LUTs intended for facilities outputting to DCI-P3 colorspace. It includes all of the Advance features as part of the package.

df3715_ka_2_smAll packages include presets built around one black-and-white and five color print film stocks. These presets were based on research intended to faithfully reproduce the look of specific Fuji and Kodak print stocks as a medium. 2302 is a black-and-white stock. 2393 is considered by Grahn to be the best print film made. 2383 is similar, but warmer. The other three options are on the cooler side. S versions are more saturation, N versions are more neutral, and LC is low contrast. There is also a 2302 HC (high contract) black-and-white stock.

At this point, it’s important to understand that these LUTs are not designed as creative looks like you’ll find in many other LUT products on the market. The application of any of the LUTs adds the color character of that medium and forms a starting point for your color grade.

When you install Koji Advance, you can opt to install it into any or all of the available host applications. A folder of the Koji 3D LUT files in the .cube format is also installed to your desktop. These are available to be used with other applications that allow LUT files to be imported, like DaVinci Resolve, Avid Media Composer, or Autodesk Smoke. You can move or copy this folder to any location you like.

Fine-tuning the look

df3715_ka_3_smTo use Koji Advance, drop the plug-in effect onto your clip. The first two choices you need to make are the camera preset and film stock. Pick these from the pulldown menus at the top of the control panel. If your footage is from a specific camera encoding scheme, such as ARRI Log-C or RedLogFilm, select the matching choice. If it is already a Rec709 color profile, then select the generic Rec709 choice. Various DSLR camera types also have available options. The film stock selector lets you choose from a number of presets based on the six film stocks and their variants. The LC preset is a brighter version that is more conducive to downstream color correction, which may be added on top of the LUT filter. As before, there’s a Film Stock Mix slider to control how much of this look is being applied to the image.

df3715_ka_4_smThe next series of sliders in the panel turns Koji Advance into a full-on color correction plug-in. You can opt for automatic white balance or manual control. If you pick auto, the controls still let you adjust the image further. There’s a Kelvin-based color temperature slider to warm up or cool off the image. Next are the three lift/gamma/gain controls, which are similar to the exposure sliders in the previous version. These act much like level controls in other applications and plug-ins. Lift adjusts shadow/black levels. Gamma for midrange. Gain for highlights.

df3715_ka_6_smDensity is a film-style control that’s probably unfamiliar to most video operators. It effectively works like an offset control that moves the whole signal higher or lower as you look at the videoscope. Using the density control doesn’t affect saturation in the same way as changing a lift/shadow control. Something to keep in mind is that Lift and Gain will clip the image at 0% and 100% on the scope. Density can move the image into the overshoot and undershoot areas below 0 and above 100. This is actually a good thing, because it preserves the full dynamic range of the image during the processing pipeline; however, it needs be corrected before any broadcast output. Therefore, when you make extreme adjustments, it’s a good idea to use a broadcast safe filter on the final output.

df3715_ka_8_smSaturation controls the chroma level, but this is only true for the color of the image, not including the coloration caused by the LUT file itself. In other words, if a film stock preset is designed to increase blue in the image and is thus a cooler tone, cranking the saturation all the way down will not result in a true black-and-white image. It will still have a slight blue cast. Only the black-and-white presets will be truly black-and-white.

df3715_ka_7_smThe last three color controls are printer point sliders. Again, this is for film-style “color timing” (color correction). The controls work globally for the whole image, so there are no separate color controls for shadows, midtones, and highlights. It works a lot like a single-wheel color corrector. Colors are grouped according to their opposites with sliders for red/cyan, green/magenta, and blue/yellow. To use these controls effectively, it’s best to understand how they work by viewing a vectorscope. If you slide the red/cyan slider all the way to red, it doesn’t increase the intensity of only reds within the image. It shifts the balance of the whole image towards red. Look at the vectorscope and you’ll see the entire chroma signal slide towards the red vector. Same for the other colors.

I’ve seen a few online comments questioning why not put a color wheel here instead of sliders. Apart from the UI issue (especially with design limitations in FCP X), it’s effectively the same thing. Let’s say on a system with color wheels you want to shift the balance towards orange. That’s halfway between red and yellow on the vectorscope. In Koji Advance, you would simply adjust the sliders for more red and more yellow, which results in a combined orange look. Two different methods to achieve the same goal, but sliders offer the advantage of a numerical value, which is easier to repeat for consistent results.

df3715_ka_5_smThe last section, which is new for Koji Advance, is film grain. They’ve picked five stock choices ranging from finer to coarser grain. Since adding grain contaminates the image, the grain section includes three adjustment controls – Film Grain Contrast, Film Grain Saturation, and Film Grain Mix. These let you dial in how subtle the presence of grain is within your shot.

In use

I’ve used the Koji film emulsion looks on previous jobs and they add a nice touch when it’s appropriate. You have to view this as the equivalent to audio engineers working with digital and analog recording systems. Analog tape is said to sound warmer, but that’s because the medium adds its own sonic character to the recording. Many engineers will record digitally, but then use analog somewhere in the final stages. Or, they’ll use a plug-in that emulates the attributes and coloration that analog tape recording gives to the sound. Using a film stock emulation for the purpose of adding character is exactly the same thing. The Koji LUTs are subtle enough that you’ll use them more frequently than some of the other choices. The controls offered by the plug-in enable you to do the work all within Koji’s panel, if you choose.

That being said, LUTs should be used as part of the grading process, not to be the process by itself. Typically I use the Koji plug-in together with other color correction tools, so it’s important to see how it affects the signal when it is part of a stack of several plug-ins. In FCP X, Hawaiki Color is still one of my favorite color correction tools. I like the on-screen controls, the tools are comprehensive, and the results are very pleasing. As a test, I stacked the two filters – Hawaiki Color, then Koji Advance. This let me grade upstream of Koji and use the two filters interactively.

df3715_ka_9_smAn issue I ran into was one of signal clipping. Hawaiki Color also permits overshoot and undershoot, meaning that dark areas can be pushed below zero on the scope. Video can be crushed for extreme contrast. This caused some sparkling color artifacts once those extreme levels hit the Koji plug-in. However, this was easily solved, by selecting Legalize in the Hawaiki Color controls. If you do this with another filter that doesn’t have a “clip” or “legalize” option and you encounter the same issue, then use any filter that does level clipping, such as the Broadcast Safe filter. Place it between your color correction filter and the Koji Advance plug-in and these artifacts will disappear.

The Koji Advance plug-in performance seems fine on most systems and shots I’ve tested. It’s an easy plug-in to understand and use, and will quickly become a tool you’ll use on every production.

©2015 Oliver Peters