FCP X Colour Correction Pics?

[Hector Berrebi]

[David Battistella] ”
I have always found going in and out of trim mode in FCP a bit, well, Clunky.

I liked the four image trim in AVID, something FCP never really had.

I’m as fast in FCP and I prefer it now because it has SO many advantages and the image quality is better.

The scrubbing tool is better in AVID as well.
“

Double clicking a cut is ok… It’s the way you easily lose the tool by clicking anywhere that aggravates…

🙂 people do like the 4 image display…

actually, the scrub tool in avid kind of got worse with recent versions… (except for the strange but useful multiple frame scrub) and if you saw the FCPX presentation, they showed AMAZING audio scrub that even got the crowd to cheer …

Hector Berrebi
prePost Consulting

[Brian Mulligan]

[Jose Lomeña] “Do you mix audio into Smoke?”
Yes… is it as great as a dedicated program? No.

[Brian Mulligan]

[Walter Soyka] “It’s a pity Smoke has only three secondaries in the color corrector. Having to work Resolve into the workflow complicates it a bit.”

If you use the Modular Keyer, you can work with unlimited Secondaries.
You just have to know how.

[Brian Mulligan]

[Michael Aranyshev] “First, Smoke has Source/Record layout too if you want it.”
It was only recently added to help ease the transistion from FCP and Premiere and Avid users. I personally never use it.

[Jose Lomeña]

Brian, I don’t know nothing about smoke, but can you use audio filters or control surface for audio mixing with smoke?. For me this is basic. FCP7 is fantastic for audio mixing if you know what you are doing. Maybe FCPX is better… with visual plugins…

[Craig Seeman]

[David Battistella] “They are showing primaries, secodaries, davinci style power windows and a slew of CC tools. It looks like FCP’s COLOR room, within the application itself. “

Just an unanswered question but Tracking is important in color grading so I’d hope that exists, rather than just key framing, in FCPX. While there’s no indication it exists, it might so I’m hoping.

Also, for many, a control surface is a must for fast color correcting especially if that’s the last stage in a long form production. That’s usually color wheel based.

I love what I’m seeing but it looks more like Colorista II/Magic Bullet rather than a front end for control surface color grading.

Of course the FCPX method may avoid the whole roundtrip method.

[Walter Soyka]

[Oliver Peters] “You don’t HAVE to. FCP X and Smoke can each do about 80-90% of the grading that most editors will want. “

Fair, but you mentioned using FCPX, ProTools, Resolve, and Smoke together. Smoke’s all-in-one value proposition is more compelling when it’s the last tool in the chain.

If FCPX has unlimited secondaries and a good keyer, it could actually be a powerful grading option right out of the (digital) box. Maybe FCPX’s compositing tools will also improve — and given FCPX’s floating-point linear processing, that may actually happen, though I think it would have a long, long way to go before it could match Smoke’s compositing toolset.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Craig Seeman]

I edited on Media Composer from 1989 to 2001 and while I think FCP7 is my NLE of choice, MC in 2001 was better at trimming than FCP7 in 2011. Apple never got trimming right for reasons others have already mentioned.

While there may no longer be a viewer, I still want a “2-Up” so I can see both in and out points while I trim. In FCP7 it was poorly implemented in the timeline. The 2-Up was two small and only visible when you mouse trimmed (yuck!).

[Walter Soyka]

[Brian Mulligan] “If you use the Modular Keyer, you can work with unlimited Secondaries. You just have to know how.”

I stand corrected — and thank you for clarifying. I’m still learning and I haven’t even touched the Modular Keyer yet. I am excited to get into it now!

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[Craig Seeman] “Also, for many, a control surface is a must for fast color correcting especially if that’s the last stage in a long form production. That’s usually color wheel based.”

The switch from the color wheel to the color pad (for lack of a better term) might make it more approachable for non-colorists: I just want to make it less blue — what do you mean I should make it more yellow?

Or maybe this color interface was designed with multi-touch in mind? Apple sells iPads, not trackballs.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events