Koji Advance film grading vs. FilmConvert

There are two film emulator plug-ins for Final Cut Pro X, Premiere Pro and After Effects that are competing for your attention. Both are developed with care and lots of features to please users. Why then would you prefer one over the other? Is it just personal preference, or is there more to it? FilmConvert has been available for some time now. Koji Advance has the advantage of a big name behind it (Dale Grahn, a famous colour timer), some unique features and speed.

The FilmConvert plug-in lets you emulate film using a trimmed down interface. One of the plug-in’s greatest appeals from an amateur’s point of view probably is that you can download a dazzling range of camera profiles, including GoPro Protune. With Koji Advance, the list is a bit shorter, but you get all of them at once. Protune isn’t included yet, but will be in the very near future, so that’s one reason less why you would choose FilmConvert over Koji Advance. The latter does use unique high-quality film emulation LUTs that yield better results than anything else I’ve seen in a wider range of footage.

I’m covering Koji Advance in Final Cut Pro X here. It has a user-friendly interface using the regular Inspector elements. FilmConvert (tries to) offer(s) you colour wheels in a tiny form factor, which renders them virtually useless.

Koji Advance has printer point controls — unique for a grading plug-in. They allow you to fine-tune the results by the colour pair. Another unique feature that works exceptionally well is Koji Advance’s Auto White Balance. I tried it with different clips and it gave better results than my own adjustments. Finally, Koji Advance’s grain is adaptive to contrast. It will look different in light vs. dark areas.

For film emulation I prefer the Koji Advance plug-in over the FilmConvert plug-in because the former has unique features, Dale Grahn’s insights and printer point controls. And my tests revealed it’s 20.28% faster than FilmConvert.

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