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version 7 rumors?
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Well it’s really a subjective thing.
If Apple cleans up the workflow, file management, consistent interface and stability issues, I will really want Color in my workflow.
At the moment, I can get away with using FCP color correction, but if the process was quicker and easier then bring on Color. The potential to have Color working in the suite effeciently is quite lucrative. At the middle to top end of the market it will compete well with Avid Symphony (which given that its cc is inbuilt, means it is killing color).
It is even viable at the bottom. At the beginning of next year i will be making a Doc with a $5,000 to $20,000 budget. Color will greatly benefit me. As I believe Walter will confirm, even in its current state, Color is a far superior CC tool if you have the time to use it.
RB
Rory Brennan
Editor
New York City -
[Rory Brennan] “If Apple cleans up the workflow, file management, consistent interface and stability issues, I will really want Color in my workflow. “
I have not seen you posting any issues in the Color forum regarding any of these issues. If Stability was a problem, we would not have been using it so much the past three years. The worst stability with Color was version 1.0 when it was first released. We have done well over 100 projects in Final Touch / Color over the past three years, including a feature film that I just finished a few weeks ago. We use Color for all our broadcast work.
The workflow is quite simple if you want to learn it. File management is fine so long as you understand the proper way to move your project to Color, back to FCP and then how to make changes to that project.
[Rory Brennan] ” The potential to have Color working in the suite effeciently is quite lucrative.”
It’s very lucrative which is why I purchased Final Touch HD three years ago. Color is extremely easy to use once you understand how it operates.
[Rory Brennan] “As I believe Walter will confirm, even in its current state, Color is a far superior CC tool if you have the time to use it. “
The only thing that adds time is prepping your timeline to go into Color. Once you’re in there, it’s faster, once you know how to use it, than anything you can do in FCP. Take Good Eats for example. I used to spend about 5-6 hours color grading a single episode in FCP because I had to keep applying so many instances of the 3 Way CC to properly grade the show. In Color I could do an entire episode in about 2 hours or less. It’s just faster and I had about 100 grades pre-set for areas in the studio.
You have to make the decision to add it to your workflow. That’s what we did, but we also charge for it.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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[Winston A. Cely] “So my question is, assuming everything you’ve said is what’s going on, why not re-introduce it as a standalone app that’s not in FCS, and either lower the price of the FCS or expand the existing apps in the suite to compensate for the cost?”
I highly doubt Apple will do that. Nothing’s impossible, but why would they remove a tool that’s free and then suddenly expect people to pay for it?
I said when they first introduced Color, it should have been a $2,500 application so those who truly wanted it and the workflow would have to pay a token fee to get it. What has happened by rolling it in for free is everyone wants it to work just like a filter where you just click a couple of buttons and you’re done.
For instance that feature film I just finished has up to 14 rooms of adjustment in play on each shot and this was a 95 minute feature. Primary In, all 8 Secondaries with some doubled up using Inside/Outside Vignette, Color FX Room and Primary Out. Each individual shot has up to 80 individual adjustments. What I was able to do could not be done in FCP with any filter out there, it can only be done with Color or go into a full color grading suite with a daVinci, Lustre, SpeedGrade or something like that.
The beauty of Color is that it is so incredibly powerful that it really puts a daVinci in your hands for no extra cost. With that power comes the responsibility to learn how the tool works, not expect the tool to bend to your abilities.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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I’ll stick my neck out here and predict that Color will get integrated into FCP. Maybe not for v7 but at some point in the future.
Having Color as a separate app raises many workflow issues whereas integrating it with FCP’s editing and effects tools would bring many benefits.
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
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Avid2FCP
For Avid editors learning FCP -
[Martin Baker] “Having Color as a separate app raises many workflow issues whereas integrating it with FCP’s editing and effects tools would bring many benefits.”
That would really really suck in my opinion. No way you could integrate it to be as powerful and useful as it is right now. Notice how Adobe doesn’t roll Photoshop or After Effects into Premiere? They just created a very tight integration between all the apps because you can’t possibly roll AE or Photoshop into Premiere and still get all the features of those individual apps.
What Apple has to do is look at that integration and bring it to FCP and Color.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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Is it too much to ask to have Luminance and RGB curves available within Final Cut? That’s all I want. Please, Apple, take just that feature only out of Color and make it available as a Filter in FCP. I’m desperate for that since leaving (mostly) the Avid.
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WOW… That would be a nice feature to have.
Something I’d like to see is Optical Flow added to the Speed settings, along with adjustment parameters for Optical Flow.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com
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