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Color Correction: FCPX vs Premiere Pro
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Let’s be realistic. Speedgrade, Resolve and Color are all colorist tools that are way beyond what the average editor wants to deal with. From what I’ve seen, most FCP editors never even opened Color – or they did so once, were completely confused and never touched it again.
These are great tools, but have a steep learning curve. Any outboard colorist’s tool isn’t going to let you work in-context and interactively. For example, using a built-in NLE filter in conjunction with the color grading you are trying to achieve. Or making a quick picture trim while grading. Unless you really want to learn grading, then it makes more sense to compare one NLE’s onboard toolset to another’s. Besides, Resolve is free for SD and HD frame sizes, so its power can augment any of the options available, including Avid.
The trend these days is towards presets, so look at Sapphire Edge and MB Looks 2, as well, as you consider your options.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “From what I’ve seen, most FCP editors never even opened Color – or they did so once, were completely confused and never touched it again.”
Totally agree. Which is why Apple thought they were perfectly safe in killing it stone dead. The “outcry” has been almost non-existent, certainly in the editing community.
Although there were a few people who were using Color as a source of revenue who are pretty miffed. But they have long since moved on.
Much as I deplore their decision, it is clear that the move to build everything into the one app is one that Apple have actually got right in terms of the vast mass of editors out there.
It’s interesting that there are so many people who either think the Color Board is the answer to all grading problems, or who are happy to drop the odd $100 for some third party “grading” plug-in that promises a “secret sauce” that is in fact anything but secret.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “It’s interesting that there are so many people who either think the Color Board is the answer to all grading problems, or who are happy to drop the odd $100 for some third party “grading” plug-in that promises a “secret sauce” that is in fact anything but secret.”
Laziness.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Simon Ubsdell] “Much as I deplore their decision, it is clear that the move to build everything into the one app is one that Apple have actually got right in terms of the vast mass of editors out there. “
The all-in-one app was something I had hoped they were going for. I’ve done a fair amount of Symphony work and it’s hard to beat the true integration of having everything right there. Unfortunately Apple has always been an 80/20 company and FCP X is a very schizophrenic piece of software. I doubt that you’ll ever get any given feature that truly opens up complete access to fine-tuning an effect. The ongoing posts of inability to really control key frame attributes are an example of this. I think Apple intends to take these tools just so far and then leave the heaving lifting to something like Resolve or Smoke.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
“Totally agree. Which is why Apple thought they were perfectly safe in killing it stone dead. The “outcry” has been almost non-existent, certainly in the editing community. ”
The outcry has been small because da Vinci was on every color graders radar anyway. It just added a small push. No point in complaining about Apple deserting the marketplace with no new alternative as the successor to Color was already available and cheap.
Besides I am still using Color and none of my clients has yet asked if I can take a FCPX project as they are still using FCS3.
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“Perhaps in CS6 you can combine these seventeen colour filters into one speedy interface…”
Please don’t… 🙂
Shawn Miller
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Took the words out of my mouth. Once BMD bought DaVinci and announced the $999 price, I had no interest in Color, even though I used it a lot and liked it. Now you throw in the free version and the rest is history. Apple knew this and had no prob killing Color. Of course the same reasons didn’t exist with Shake and FCP legacy.
Lance Bachelder
Writer, Editor, Director
Irvine, California -
Download the demo and check it out. Just so many many features in a single plug-in. Besides basic color timing and temperature – you’ve got Highlight recovery, Noise Reduction and Sharpening that all produce excellent results, especially for DSLR footage. Top it off with optional legalizer so all your corrections are broadcast safe…
Tonalizer also runs in FCP7.
https://irudis.com/Products/TonalizerVFX.aspx
Lance Bachelder
Writer, Editor, Director
Irvine, California -
The Color interface wasn’t difficult it just looked it, or too many people said it was difficult and spooked the nervous. In my experience, it was an absolute pleasure to use. It was a good example of how an interface can make complex, multistage operations seem simple and intuitive. As a measure of that, I reckon I could have taken over someone else’s long-form Color project halfway through and been able to figure out in 10 minutes what they had done and where they were heading. I couldn’t say the same about FCP7.
My favourite thing about FCP8 is that the full interface of Color (with a few tweaks) is now available as a mode – FCP tools slide out and the Color interface slides in but the timeline stays the same.
Aahhh I can dream, can’t I?
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[andy lewis] “My favourite thing about FCP8 is that the full interface of Color (with a few tweaks) is now available as a mode – FCP tools slide out and the Color interface slides in but the timeline stays the same. “
What is odd, is that this is how FCPX works. Yes, it’s not as powerful as Color, and yes, there’s no color wheels, but if you hit command-6, the color board comes up with Primary, Secondary, Inside/Outside masks, Shape masks, and a rudimentary HSL keyer. And then you can stack multiple corrections on there if need be.
They have the right idea, but like with anything in FCPX, we need more control, specifically for the keyer.
Jeremy
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