- #DIFFERENCE BETWEEN COLOR FINALE AND COLOR FINALE PRO HOW TO#
- #DIFFERENCE BETWEEN COLOR FINALE AND COLOR FINALE PRO PRO#
It has very useful added features like being able to track a mask. Since digital designs are generated using the RGB color system, colors used in those designs must be part of the CMYK spectrum or they will not be reproduced with proper color rendering. FCPX now has a very complete set of grading tools. Although a monitor may be able to display 'true color' (16,000,000 colors), millions of these colors are outside of the spectrum available to printers. Reproducing color can be problematic with regard to printed, digital media, because what we see is not what is possible to get. The Visible spectrum consists of billions of colors, a monitor can display millions, a high quality printer is only capable of producing thousands, and older computer systems may be limited to 216 cross-platform colors.
#DIFFERENCE BETWEEN COLOR FINALE AND COLOR FINALE PRO PRO#
Once you have a handle on using the color correction tools in Final Cut Pro X, it’s important to develop a consistent color workflow. Percentages of red, green, & blue light are used to generate color on a computer screen. He clearly explains the difference between color correction and color grading and shows how using FCPX color presets can quickly give your video project a custom look. The RGB colors are light primaries and colors are created with light. Additive color mixing begins with black and ends with white as more color is added, the result is lighter and tends to white. If we are working on a computer, the colors we see on the screen are created with light using the additive color method. Those colors used in painting-an example of the subtractive color method. The CMYK color system is the color system used for printing. Subtractive color mixing means that one begins with white and ends with black as one adds color, the result gets darker and tends to black. When we mix colors using paint, or through the printing process, we are using the subtractive color method. When a designer is utilizing the computer to generate digital media, colors are achieved with the additive color method. When painting, an artist has a variety of paints to choose from, and mixed colors are achieved through the subtractive color method. Also, even though Cinema Grade has only been out a few weeks, they've already had several big feature updates as they take in feedback from the community (they're very active in the facebook group), so it's only going to get better.Available color systems are dependent on the medium with which a designer is working. On the whole, I love Chromatic the most as it's the most powerful of the bunch, but Cinema Grade is so damn fast to get a decent looking shot, and to do it across multiple shot groupings in the project, that I'll probably be using that more and more. Many times when you look at data in the CRC Handbook, it gives you the color of the SOLID form of the compound. You will notice that the solid was blue, and the solution it made in water, was a blue color. The solution made was Cu(NO3)2 where the cation was Cu2+.
#DIFFERENCE BETWEEN COLOR FINALE AND COLOR FINALE PRO HOW TO#
It's tools look like Color Finale or the now built-in FCPX tools, but in addition, you can track masks using it's built-in Mocha tracker and also do direct-on-image click-adjusting (which is also what CinemaGrade is built around) for both adjustments and for selecting ranges, be they chroma or luma based. Watch the video below which shows how to prepare a solution. Both seal and flood coats are always 1:1 mixture by volume. This method helps seal any pores on the surface and prevents air bubbles from forming in the next flood coat. Start on one end and pour the length of the surface, zigzagging as you go. At the very least it can make for a good first pass and then you could clean up trouble shots with the built in tools.Īnother option that I really like is CoreMelt's Chromatic, which is where I turn for the heavy lifting. The Seal coat is a small batch of epoxy which is designed to penetrate and cover any porous surfaces.
I've played around with it and while it's not going to work in every situation (masking and keyframing are two notable shortcomings I've noticed at the moment) it's super intuitive and it's color-matching and shot-grouping tools are amazing. That said, the makers of Color Finale (Denver Riddle and his Color Grading Central site) have just released a new, interesting tool called Cinema Grade which is a pretty neat and novel way to accomplish quick grades. As others are saying Color Finale itself has been rendered a bit redundant with the new built-in FCPX tools.