DSC Labs is a Canadian company that makes colour reference charts for the video and movie industry. Their ChromaDuMonde colour charts are the industry standard for professional colourists. A new range of products consists of DSC Labs’ less expensive and easier to use ChromaMatch Pro and ChromaMatch Lt charts. The colour patches on these charts are arranged in a dramatically different way, making these charts simpler to use. Even if you have no experience with colour calibration for video, ChromaMatch charts are quite intuitive to use. I had a chance to try a ChromaMatch Pro “Handy” sized chart.
The Akurat Lighting on-camera LED lights are robust and colour accurate video lamps. The newest addition is the A1, which has dual colour balance using two sets of diodes (warm 3200K and cold 5600K) and the ability to mix the two colours together in various colour temperature combinations. The A1 has the highest CRI values in the industry with an Ra of 98 and an R9 of 97. It is capable of throwing about 1100 lux onto your subject and features innovative white LEDs based on violet chip technology, called V-WHITE.
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.
ImpulZ LUTs allow you to replicate the colour processing of a film workflow digitally, with the added convenience and accuracy of open format 3D LUTs. The ImpulZ LUTs package comes with a dazzling array of LUTs, categorised into different camera systems and emulation types. Also delivered with the ImpulZ LUTs package are three types of film grain emulation. Combined with LUT Utility or Color Finale from Color Grading Central, ImpulZ LUTs is a complete colour grading solution that brings the charm of analogue film to digital footage.
Final Cut Pro X and Premiere Pro users rejoice: colour grading just got a lot easier. Thanks to Hawaiki Analyzer, a FxFactory plug-in that works with Final Cut Pro X, Premiere Pro, Motion and After Effects, you can now pinpoint problems with colour areas that you just can’t seem to get right using the vectorscope or RGB parade.
Colour grading for professionals usually consists of complex stand-alone applications such as Da Vinci Resolve. Few developers make an effort to come up with a truly professional colour grading solution for Final Cut Pro X. Denver Riddle from Color Grading Central did. The result is Color Finale, a plugin specially developed by colour scientists for colour scientists using Final Cut Pro X.
With Red Giant Magic Bullet Suite 12, you get a myriad ways to create perfect video in terms of colour accuracy, colour creativity and film emulation — in any editing environment, including Final Cut Pro X. You don’t need Adobe After Effects anymore to get perfect skin colour or to work with Colorista. Magic Bullet Suite apps are also faster and the interface fonts finally look perfect.