Color Finale

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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.

Impressions

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.

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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.

(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

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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

A Deeper Dive into Lumetri Color

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With the introduction of Premiere Pro CC 2015, Adobe altered how color correction can be handled within its editing application. The addition of the Lumetri Color effect puts a very powerful and intuitive color correction tool at the editor’s fingertips. I touched on some of its capabilities with SpeedGrade look files in a previous post, but now I’d like to dive into a deeper explanation of the features of Lumetri Color.

Previously in Premiere Pro CC 2014, the Lumetri effect was the conduit between grades in SpeedGrade and Premiere Pro. When you sent a sequence to SpeedGrade CC via Direct Link, the correction done there would show up back in Premiere Pro CC as a self-contained Lumetri effect applied to the clip or an adjustment layer. You could add more effects to the clip, but not edit the Lumetri effect itself in Premiere Pro. If you bounced back into SpeedGrade, then you had further edit control to change the settings from the earlier SpeedGrade session.

Now in Premiere Pro CC 2015, that previous method has been altered. When a Lumetri Color effect is added in the Premiere Pro CC timeline, that is no longer editable when you send it to SpeedGrade CC via Direct Link. Any grading added in SpeedGrade is in addition to the Lumetri Color effect. When you go back to Premiere Pro, those corrections will show up as a SpeedGrade Custom group at the bottom of the Lumetri Color effect stack. It is a separate, self-contained, uneditable correction applied to the clip. It can only be disabled if desired. In other words, Lumetri Color adjustments made in Premiere Pro are separate and apart from any color corrections done in SpeedGrade.

You can apply a Lumetri Color effect in two ways. The first, traditional way is to drag-and-drop the filter from the Effects palette (Color Correction folder) onto the clip or adjustment layer. The new, CC 2015 way is to select the Color workspace, which automatically reveals the Lumetri Color panel and the new, real-time Lumetri scopes. If you change any setting in the panel, it immediately applies a Lumetri Color effect to that clip. Color corrections can be made either in the Lumetri panel or in the standard Effects Control panel. If you don’t like the Lumetri Color effect or panel, you can still use the other color correction filters, like the Three-Way Color Corrector, Luma Curve, etc. These options have not been removed. (Click on any image for an expanded view.)

Master Clip Effects

df2715_lumetri_2_smSince CC 2014, Premiere Pro has enabled Master Clip effects. These are source-side settings and any change made as a Master Clip effect will affect all instances of that clip throughout the timeline. This is important with camera raw files, like CinemaDNG or REDCODE raw, because there are color metadata adjustments that can be made at the point where the raw image is encoded into RGB video. This is in addition to any color corrections made in the Lumetri Color panel, another filter, or in SpeedGrade. Previously these controls were accessed as a right-click contextual menu option called Source Settings.

With CC 2015, source setting adjustments have been moved to the Effects Control panel. At the top of the panel you’ll see the clip name appear twice – once as the master clip (left) and once in the sequence (right). The sequence portion has all the usual controls, like motion, opacity, time remapping, and any applied filters. The master clip portion will show all the source color controls. In the case of RED files, you’ll find the full range of RED controls made available from their SDK. For CinemaDNG files, such as from Blackmagic cameras, the options are limited to exposure, temperature and tint. You should make any necessary camera raw adjustments to these clips here, before applying Lumetri Color effects.

In addition to raw adjustments, Lumetri Color effects can also be applied as Master Clip effects and/or as timeline effects. The Lumetri Color panel also displays the clip name twice – master clip (left) and sequence clip (right). Generally you are going to make your corrections to sequence clips, however, some common settings, like adding a Log-to-Rec709 LUT might be best done as a Master Clip effect. Just understand that adjustments in the Lumetri Color panel can be applied to either or both sides, but that Master Clip effects will automatically ripple to other instances of that same clip elsewhere on the timeline. When you make changes to the sequence side (right), you are only altering that one location on the timeline.

The Lumetri Color Panel

df2715_lumetri_8_smThe Lumetri Color panel is organized as a stack of five control groups – Basic Correction, Creative, Curves, Color Wheels and Vignette. The controls within each group are revealed when you click on that section. You can enable or disable a group, but you can’t change the order of the stack, which flows from Basic out through Vignette. This control method and the types of controls offered are very similar to Adobe Lightroom’s Develop page. Its control groups include Basic, Tone Curve, HSL/Color/B&W, Split Toning, Detail, Lens Corrections, Effects and Camera Calibration. There are more groups in Lightroom simply because there are more image attributes available to be adjusted within a still photo image.

Basic Correction 

df2715_lumetri_3_smThe Basic Correction group is where you’ll perform the majority of your primary color grading. It includes a pulldown for input LUTs (camera-specific color transforms), white balance, tone and saturation. White balance adjusts temperature and tint. When you move the temperature slider it increases or decreases red versus blue in an inverse relationship of one to the other, with minimal change of green. Sliding tint alters red and blue together versus green.

Tone gives you control over the luminance of the image with sliders for exposure, contrast, highlights, shadows, whites and blacks. White and black controls move the top and bottom ends of the image up or down toward clip points, while the highlight and shadow sliders adjust the upper and lower portions of the image within the parameters set by the white and black sliders. The highlight and shadow sliders would be what you use to see more or less detail within the bright or dark areas of the image.

Creative 

df2715_lumetri_4_smThe Creative group is where stylistic adjustments are made, including the addition of creative “looks” (.look or .cube LUTs).  There are sliders for the intensity of the LUT, plus adjustment controls for a faded film effect, sharpening, vibrance and saturation. Finally, there are shadow and highlight tint controls with a balance slider to change the crossover threshold between them.

The faded film slider moves the black level you’ve established for the image higher for elevated blacks, but without opening any shadow detail. If you slide the control more to the right it will also compress the highlights, thus creating an overall flatter image. The sharpen slider blurs or enhanced detail in the image. Saturation uniformly increases the intensity of all chroma. Vibrance is a smart tool that increases the saturation of the more muted colors and has less change on the already-intense colors. The highlight and shadow tint controls shift the color balance of those portions of the image towards any area on the color wheel. The tint balance slider changes how much much of the image is considered to be the shadow or highlight range. For example, if you move the slider all the way to the left, then all of the image is affected by the highlight tint wheel only.

Curves

df2715_lumetri_5_smThe Curves group includes both standard RGB curves and a color wheel for control of the hue/saturation curve. The RGB curves offer four dots – white (overall control), plus red, green and blue for individual control over each of the R, G or B curves. The hue/sat curve is really a vector-based secondary color control and is akin to Lightroom’s HSL group. However, in the Lumetri Color panel a wheel control is used.

If you select one of the six color vector dots under the hue/sat curve wheel, then three control points are added along the circular curve. The center point is the color chosen and the points to the left and right establish a boundary. Pull the center point up or down to increase or decrease the saturation of the curve. Pulling the point left or right doesn’t change the hue of that color. The wheel works like a “hue vs. sat” curve and not as “hue vs. hue” when you compare it to the way in which other color correction tools operate. If I select red, I can increase or decrease the intensity of red, but pulling the control point towards orange or magenta doesn’t shift the red within the image itself towards that hue. You can also select one or more points along the curve without selecting a vector color first and make more extensive adjustments to the image.

Color Wheels 

df2715_lumetri_6_smColor Wheels is the next control group and it functions as an standard three-way corrector would. There are luma sliders and a color wheel for shadows, midtones and highlights. Moving the color wheel control effectively adds a color wash to that portion of the image instead of shifting the color balance. If you shift a wheel towards blue, the blue portion of the parade signal on a scope is increased, but red and green are not lowered in a corresponding fashion. Therefore, these wheels act as secondary color controls, which explains why Adobe placed them further down in the stack.

Vignette 

df2715_lumetri_7_smThe last group is Vignette and it works in much the same fashion as the Post-Crop Vignetting control in Lightroom. There are sliders for amount, midpoint, roundness and feather. In general, it acts more like a photographic vignette or one that’s a result of a lens artifact – and less like masks that you typically add in creative grading for vignette effects. Moving the amount slider controls the lightness or darkness of the vignette (yes, you can have a white vignette), but it only changes the outer edges of the frame. You cannot invert the effect. Midpoint moves the vignette edge farther into or out of the frame. Roundness adjusts the aspect ratio of the vignette and feather controls the softness of the edge.

There is no position control to move the vignette away from dead center. While the vignette group is useful for “pinching in the edges of the frame” (as a DP friend of mine is fond of saying), it’s less useful for directing the viewer’s attention. That’s the “power windows” approach, which I often use in tools like Resolve, Color, or SpeedGrade. There are other ways to achieve that inside of Premiere Pro, but just not self-contained within a single instance of the Lumetri Color effect.

It’s clear that Adobe has added a very deep toolset within this single effect and its corresponding control panel. For most color correction sessions, you can pretty well get everything done using just Lumetri Color. I believe most editors prefer to use a comprehensive grading tool that allows them to stay within the confines of the editing application. Lumetri Color within Premiere Pro CC 2015 brings that wish to reality without the need for roundtrips or third-party color correction filters.

©2015 Oliver Peters

Rampant Design Tools

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Many editors are on the constant journey for just the right, cool set of plug-ins. By doing so, they often lock themselves into a single host application and often even a single machine to which the plug-ins have been licensed. If that sounds familiar and you are looking for an alternative, then moving to a package of drag-and-drop effects is the way to go. One of the best developers for such effects is Rampant Design Tools.

df1215_rampant_3_smRampant was founded by veteran visual effects artist Sean Mullen, so the effects have been created from the standpoint of what actually works. The beauty of these drag-and-drop effects is that you can use them with any nonlinear editing or compositing application, regardless of whether this is on Mac or Windows. As long as the system is running QuickTime and includes a playback component for Apple ProRes codecs, you are ready. Since the actual effects are media files, they can be archived with the project and moved between systems, without any need to license a plug-in on another machine.

df1215_rampant_6_smThe Rampant Design Tools website offers a lot of options for how to purchase the effects, but their latest endeavor is Studio Essentials, Volume 1 and 2. These include paint effects, film grunge, distortion, flares, light transitions, fire, smoke, bokeh, snow, dust, and so much more. Nearly all of these elements originate from real and not synthetic footage, which Rampant has actually produced using RED cameras. The effects packages are available in 2K, 4K, and 5K resolutions. Even if you are only working in HD, you might still want a 4K package, because it permits you to reframe the effect to get a unique look, rather than by simply dropping in a stock effect “as is”. The elements are designed to be modular. For instance, you can build up layers of the distortion elements to create a different look. The files come as Apple ProRes 4444 media that works well when keyed or composited using blend modes. By combining, reframing, and adjusting blend modes, you avoid the rut of effects that can’t be modified or plug-in presets.

Rampant Drives

df1215_rampant_4_smThese collections are large enough, that delivering a 4K version of one of the Studio Essentials volumes would be unwieldy as DVD-ROMs or as a download. Instead, Rampant Design Tools sells these complete with their “Rampant Drives”. These are 4TB, USB 3.0 drives containing the complete volume. When you purchase the collection with this delivery option, you may select either Mac or PC formatting. Simply plug it in and start using the effects straight from the drive. Although there is no technical limitation to moving the files around on a SAN, simultaneous shared use is prohibited by the EULA. It states that the contents may only be used on one computer at any one time.

df1215_rampant_9_smAs there are a lot of effects in the contents of each volume, Rampant includes a PDF preview file for each set of effects. This is a quick starting point to decide which effects group to explore, without having to bring everything into your edit project at once. These PDFs can also be downloaded from the website, if you are trying to decide what to purchase. Effects may be purchased as part of a complete Studio Essentials volume or by individual categories in 2K, 4K or 5K sizes. That may still be a bit much for many users, so Rampant also offers a smaller set of HD effects for $29 each through its BudgetVFX companion site.

Pieces and Parts

df1215_rampant_2_smMost of the effects can be used as a single transition or overlay effect, but some in the Studio Essentials collections have been designed as toolkits. For example, there’s the Monster Toolkit, which is intended as a drag-and-drop creature kit. It contains over 1500 elements (stored as Photoshop files), made up of various body parts, such as eyes, ears, mouths, skin textures, and so on. The download size is a whopping 35.6 GB simply for that kit! One of the newest collections is a set of organic paint effects. This set includes 62 effects clips and features a wide range of real paint drip and splatter effects, which will easily blend with video using Overlay or Multiply modes.

df1215_rampant_8_smTo use the effects in an NLE, you would typically place the clip on a higher track above your main video. In FCP X this would be as a connected clip over the primary storyline. A transition effect would be positioned so that the meatiest part of the effect clip would be lined up over the cut to hide it. This is particularly true of lens flare and light blast transitions where the center of the clip often completely fills the screen. This technique has been used for years by After Effects compositors to add a transition between clips on separate layers.

Letting the effect control your video

df1215_rampant_7_smA particularly cool trick that Mullen has posted as one of his tutorials (youtube.com/user/RampantMedia) is how to have the effect actually modify the video beneath. This is an aspect of many plug-ins and something not often associated with stock effects clips. His example uses one of the glitch effect clips. Typically this would be an overlay above the video that would obscure the image, but not necessarily distort or bend it with the effect. If you composite in After Effects, however, you can use its tools to have one layer affect the other. This is accomplished by adding two effects to the base video layer: Stylize – Motion Tile and Distort – Displacement Map. Motion Tile is set to wrap the image as it is stretched and mirrored, so you don’t see black on the edges. Displacement Map is linked to the layer with the glitch effect clip. Displacement is based on channels, so that the lower video is displaced where the effect is visible and not displaced where the glitch clip is black. The last step is to set keyframes for the start and stop of the displacement, so that the video isn’t displaced when you want it to be normal. This trick also works for other effects, such as lens flares.

df1215_rampant_11_smThere are many stock effects vendors on the market. A quick internet search would pull up a page-full. However, most are still offering effects in older codecs or are limited to HD sizes at best. Many don’t offer a wide selection of effects. You might find some great lens flares from one company, but do they also offer fire effects? Quality, breadth of product offerings, and high-resolution is what sets Rampant Design Tools apart from these others. It’s a great way to add eye candy to any production with tools that give you total control in sculpting a unique look.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

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.

For some additional resources for free plug-ins, check out Ripple Training, Alex4D and FxFactory.

©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