Codex introduces ColorSynth and the Keys control surface, an entirely new colour grading system

Codex creates digital production workflow tools for independent films, motion pictures, commercials, and TV productions. Within some 30 days after NAB, it will be shipping ColorSynth, a layered colour grading plug-in the Indie market can afford, and Keys, a control surface priced equally affordable.

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OWC’s blazingly fast portable drive for pros, the Envoy Pro EX VE

OWC’s portable drive, the Envoy Pro, originally came in a USB 3 version, but with the push for ever higher throughput speeds required for 4K, HDR and 8K video shooting and streaming, the company has introduced another, new 300g lightweight Envoy Pro EX that’s been equipped with a captive Thunderbolt 3 cable. The Thunderbolt 3 Envoy Pro EX actually is a series of devices, all equipped with Thunderbolt 3, but split up in the Envoy Pro EX series and the Envoy Pro EX (VE) series, which is even faster and has bigger capacities.

The ultimate colour grading plugin for Final Cut Pro X: CoreMelt Chromatic

Turning Final Cut Pro X into a grading application a la Da Vinci Resolve is what Chromatic, CoreMelt's latest plugin sets out to do. It succeeds pretty well by cramming a lot of functionality into this full-blown colour grading solution. It's the only plugin that delivers the ability to select colour ranges right in the clip viewer, but to appreciate its power to the fullest, a lowly iMac such as mine won’t do.

Professional colour grading in FCPX with Color Finale Pro

Not every colourist wants to use a separate application to quickly but professionally colour grade his footage. Why should they if you can colour grade right from within Final Cut Pro X? With Color Finale Pro, the standards are high and the level of professionalism you can attain, competes with dedicated colour grading software.

Professional colour grading in Final Cut Pro X with Color Finale Pro

Not every colourist wants to use a separate application to quickly but professionally colour grade his footage. Why should they if you can colour grade right from within Final Cut Pro X? With Color Finale Pro, the standards are high and the level of professionalism you can attain, competes with dedicated colour grading software.

Telestream’s Switch video Player/Inspector lives up to its promise

Telestream Switch

Only last month did Telestream release Switch, a new professional video player with a full-blown Inspector and Export module. Switch shows you all of the parameters a video has, including actually recorded bitrate and clean aperture size, and has the capability to modify most of these parameters. That’s what sets it apart from other players. It also lets you play movies like a pro.

Look Converter and LUT Utility for 3D LUT colour grading in Final Cut Pro X

LUT Utility

A 3D Look Up Table (LUT) strictly spoken is a colour management tool originally meant to bridge the differences between a digital workstation’s colour representation and movie film emulsions. Today, a 3D LUT is a full-scale colour grading component. The only problem is that not that many video editors support 3D LUTs while there aren’t that many 3D LUT management applications either. Look Converter therefore is a godsend for everyone who wants to create creative 3D LUTs, while LUT Utility is needed for using LUTs in Final Cut Pro X “natively”.

FxFactory plug-in Hawaiki Color enables colour grading inside Final Cut Pro X

Final Cut Pro X has a colour grading module, but the interface is non-standard and the capabilities are pretty basic. One FxFactory plug-in that tries to fix this is Hawaiki Color. It’s a plug-in that uses the traditional but familiar interface elements for colour grading: colour wheels and sliders, combined with numeric configuration fields. It extends colour grading inside Final Cut Pro X beyond the basics and is great to work with.

Final Cut Library Manager: review

final cut library manager

Working with Final Cut Pro X 10.1.x is a joy. There is one thing, however, that I don’t like that much: its built-in asset management system that was built on what used to be Final Cut Server. This DAM module enables you to manage your projects and events. With Final Cut Pro X 10.1, the system was reviewed and Libraries that hold everything together were introduced. But managing Libraries inside an editor with many windows and viewers is not efficient. Arctic Whiteness seems to have the solution: Final Cut Library Manager 2.

Crumplepop ColorKit: quickly colour grade footage

ColorKit

A couple of years ago I reviewed Crumplepop's ColorKit plug-in for Final Cut Pro X. I wasn't too impressed with it and criticised the plug-in's interface and on-screen controls. Recently, I wanted to colour-grade some GoPro Protune CamRAW clips and started working in Da Vinci resolve first, then switched to SpeedGrade CS6 and ended up with Red Giant's Magic Bullet looks. They all looked like overkill, forcing me to go through fat user guides again, because I don't use these applications often enough to remember their workflow by heart. Then I thought: why don't I try it with ColorKit again? I rediscovered that plug-in and found it fit my needs perfectly. Better yet, tuning the clips took me about 10 times less effort and time than with any of the other solutions.