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FCPX and color correction tools
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[James Sullivan] “I still argue it has a long way to go before it will be on top again.”
Not sure what “on top” even means, is it number of seats sold?
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[Bill Davis] “because someone in the 1960s (maybe with experience in circular WWII oscilloscopes?) decided three round scopes”
Actually the concept of color wheels goes back to Newton.
https://en.wikipedia.org/wiki/Color_wheel
When it comes to color wheels and color correction, that’s relatively recent – or at least going back to a later versions of earlier DaVinci systems. Color correction in the 70s and early 80s largely used knobs and sliders, not track balls.
[Bill Davis] “(If you can toss a bit of friendly shade and exaggerate to make your point – I get too as well, right?)”
☺ Not a problem.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters]”When it comes to color wheels and color correction, that’s relatively recent – or at least going back to a later versions of earlier DaVinci systems. Color correction in the 70s and early 80s largely used knobs and sliders, not track balls.”
The color wheel was standard when I started grading. In 1976 I was grading live to air with Rank Telecines (Mk2). They had three joysticks set in the standard color wheel, basically instead of track balls and I can tell you they were fast to get a grade but a bit twitchy for fine adjustment. They had the double speed advantage that inside the big joystick was a pot to trim black level, gamma and white. So you could have two hands on the sticks and be trimming levels & gamma while moving balance. As well as that the board had a few rotary dials to set basically LUTs for different film stocks.
Small pic and a bit hard to see but the joysticks and three wheels were similar to this.
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[Michael Gissing] ” In 1976 I was grading live to air with Rank Telecines (Mk2). They had three joysticks set in the standard color wheel,”
Yes, you are quite right. I forgot about the joysticks. Our Rank didn’t have those and we had a Davinci panel with the knobs, which our colorist actually preferred. The early grading I did was with RCA cameras and telecines. RCA had designed color correction around RGB balance, plus 6-vector secondary color. All knobs and pots. As far as NLEs, I believe color wheels came in with Avid Symphony, IIRC.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “As you can see in this image. Lumetri’s hue offset wheels and lift/gamma/gain adjustments are all there together. In FCPX, you’d have to switch between tabs.”
I know your response is for Bill but having said that one might be a tad bit more efficient and even have a tad bit more options but I would not say one is better than the other. I think it is more personal choice and worth mentioning. I do think the color board is easy to use and does have a decent amount of control. I am not going to bad mouth the color board but I wouldn’t mind FCPX having something like the Lumetri color panel of Premiere Pro. As a FCPX user I don’t want to have buy $400.00 worth of plugins. I want Apple to add more features to the FCPX program. The link below might be useful to some of you.
https://www.apple.com/feedback/finalcutpro.html
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[Oliver Peters] “Nevertheless, Apple could do a number of relatively simple things within the existing architecture and panel layout of the color board that would improve/enhance the product. Just a few examples:
– Add a UI preference setting to use color wheels in place of the color swatches.
– Add a luma curve window.
– Add temp/tint sliders.
– Add control of the crossovers at lows/mids and mids/highs (like in Symphony and Color Finesse).
– Add a LUT importer effect (separate from the color board).
– Enable control surface support.
“But why? Is this just for you and your “wants”? I see no reason to make FCPX a color correction tool when viable options exist.
Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter -
[Scott Witthaus] “But why?”
Because it will make the product better without requiring third party solutions. But I suppose most of the faithful X users don’t care about that. That’s coming through loud and clear on this thread!
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “There are correctly several good third party color correction tools for FCPX, but of course, they are hampered by the kludgy way in which developers must integrate their plug-in into the FCPX UI.”
While I don’t have any real issue how the integration currently is (other than the best ones needing a floating window), will Apple pimp the on-board color-correction tools significantly anytime soon, rather than e.g. expand the APIs to accommodate other options and possibilities? We’ll see.
– RK
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[Oliver Peters] “You currently have to juggle three pucks. How is that different?”
Huh? How is only needing to move only on a single axis NOT considerably different and in fact easier, especially if you’re limited to using a mouse? How is having to CIRCLE your color easier, better or more efficient? It’s not. Or just because everyone does it that way, so they can’t possibly be wrong? It’s equal at best, but even that I don’t buy.
8 out of 10 times I don’t even use anything more than the color board (and I have all the relevant 3rd party tools), since it is in fact by far the fastest and most intuitive… for me. After balking a bit in the very beginning, too, at the notion of a BOARD, the color board is now my favorite tool by far for primaries.
More UP… less DOWN… left right for the color angle (which isn’t one). Simple click and a scroll of the mouse. Fast and precise. Though I would like at least one decimal place for the values.
Aside from maybe better/improved LUT support of sorts and maybe some tweaks, I don’t expect that much is going to change. And that’s a good thing imho. If I actually need curves or vectors etc., which I rarely do, I can pull them up any time. But I don’t have them in my face the whole time unless I need them. That’s what I call uncluttered and flexible.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Bill Davis] “Even in a “mixed light” shot – AI will be auto-analyzing each pixel and imbuing it with functioning color transforms as metadata “
Need this now for an upcoming nightmare of a job with multiple cameras 🙂
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