4/10/2024 0 Comments Final cut pro color presets![]() ![]() ![]() I'm not quite sure of the differences in accessibility, reliability and value. The issue is I just learned there's more than one option, namely Colour Finale 2 Pro. Clicking and dragging on a spot in the image to shift it sounds fantastic, especially as someone that's only been using like, a couple of Colour Board layers in FCP to tint everything green like a Matrix wannabe lol.Īs excessive as it is, I was eyeing up the $199 Filmmaker package (Well, I'd get the $99 pro version first, then upgrade to get the film grain and tutorial extras later). If you made something great and want to share it, use #color.I'd say whatever may be a cut above the defaults, but mainly designed to be extremely intuitive, especially if it's your first means of Colour Grading.įor reference, Cinema Grade looked like it offered exactly that description. ![]() To see the original images and discover more from these artists, head over to the official Color.io Unsplash collection that highlights their phenomenal work. Some images may have been modified in the form of de-grading and/or subsequent color grading to showcase how Color.io works. The images and stills you see across color.io have been shot by these incredibly talented photographers, cinematographers and filmmakers: Maksim Isotomin, Spencer Sembrat, Ryan Ancill, Zeynep Guler, Robbie Herrera, Adi Constantin, Albert Vincent Wu, Aleksandr Popov, Anaya Katlego, Bruno Guerrero, Caleb George, Calicadoo Ttdio, Devin Justesen, Elia Pellegrini, Ergi Murra, Francisco Andreotti, Georgina Postlethwaite, Ihor Malytskyi, Iri Chernookaya, Ivana Cajina, Jakob Owens, Jeremy Bishop, Jed Villejo, Kai Pilger, Karina Maslina, Kate Olfans, Kevin Müller, Mantissa, Monokee, Mark Basarab, Maxim Tolchinsky, Michele Canciello, Ming Han Low, Scott Evans, Simon Berger, Simon Wilkes, Stephen Ellis, Kelly Stow, Tim Trad, Lilly Rum. Oh and we automatically debayer RAW image data from over 600 cameras not listed here into VisionLog, which you will then be able to process using Color.io. 5 - DaVinci Wide Gamut / Intermediate - BolexLog WideGamutRGB - CanonLog 1/2/3 BT2020 (Daylight & Tungsten) - CanonLog 1/2/3 CinemaGamut (Daylight & Tungsten) - DJI D-LOG D-Gamut - Fuji F-Log F-Gamut - Fuji F-Log 2 F-Gamut - Leica L-Log - GoPro Protune Flat - Kinefinity Kinelog 3 - Nikon N-Log BT2020 - Sony S-Log / S-Gamut - Sony S-Log 2 / S-Gamut (Daylight & Tungsten) - Sony S-Log 3 / S-Gamut3 & S-Gamut3.cine - Sony Venice S-Log 3 / S-Gamut3 & S-Gamut3.cine - Panasonic V-Log / V-Gamut - RED RedLogFilm DragonColor 1 & 2 - RED RedLogFilm RedColor 1 - 4 - RED LOG3G10 WideGamutRGB - Z-Cam Z-LOG 2 - ACES, ACEScct, ACEScg - ADX10 and ADX16 for the film folks This means you can create LUTs not only for all of these specific cameras, but also for every camera that outputs sRGB, Rec709, ProPhoto or Adobe RGB. At the time of writing, Color.io supports the following cameras and input color spaces: - sRGB - Rec709 - ProPhotoRGB - Adobe RGB - Apple ProRes Log - Apple ProRes HDR - VisionLog - Arri Log-C v3 - Arri Log-C v4 - Arri REVEAL Rec709 - Arri REVEAL Rec2020 - BMDFilm Wide Gamut Gen. Color.io has even extended ACES with proprietary IDTs to support cameras and workflows that are not directly supported by the official ACES version. ![]()
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