Color Correction Suite(s) for PPro

[David Roth weiss]

Resolve is always a consideration, however one always needs to keep in mind that the “fidelity” of exporting and importing XMLs can be imperfect and thus time consuming.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Walter Biscardi]

Resolve is still a “must have” in my opinion for anyone color grading. Especially since it’s free, only requiring the pro version after a certain level, used to be 4k but I’m not sure what that is now. But you can try it out for free. I’ve been using the tool for probably 6 years now. Super simple to move projects from PPro and back again.

SpeedGrade is supposed to be very very good as well, though I have not gotten into that application yet. I understand there are some limits to what it can do but for much of what needs to be done in a show or film, it can handle it.

https://mixinglight.com is your best resource for all things color grading honestly. Pat Inhofer created the site with Robbie Carman and Dan Moran. Three of the best colorists in the world. I use that site for advice and training myself. They have full in depth lessons on all the tools out there plus a lot of really good practical advice on all things color grading.

As for automatically matching the look of the second camera, I still do that manually and simply save off the grade. It’s rare that auto matching actually works as well as manually doing the match.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

Craft and Career Advice & Training from real Working Creative Professionals

Blog Twitter Facebook

Tweets by walterbiscardi

[Greg Leslie]

For everything from down-and-dirty one-offs to full-blown long-form projects, I really like using Red Giant’s Colorista III. Being able to stay within the Premiere app fits better with my clients’ “picture’s not locked until the final render” philosophy, it’s really fast, and can be layered easily with Premiere’s built-in matte tools.

Granted, it’s not a LUT tool, but if you’re dealing with RAW or ungraded S-LOG you can easily load in the LUT of your choice, then tweak using Colorista.