That could well be in the second section of the Color Finale plug-in, the image analysis section, where you can overlay a false colour image to see where the contrast/lightness/exposure problems occur. The basic settings are not necessarily where you will start the grading process, though. All of that can be done in a very user-friendly and efficient workflow. In short, you can create a grading, save it and use it wherever and whenever you want. And even better is that you can save layers settings as a preset that is made available across projects and libraries. The best is that you can even paste the basic settings to another project. Normally, these sync groups only contain layers adjustments, but Paste Special also has an option to paste selected basic adjustments to such a sync group. It enables you to group settings, including colour wheel/curves/HSL curves/vectors adjustments - now aptly called “Layers” - by creating a Sync Group. However, Color Finale 2 lets you do more than just this simplest of pasting. Now, when you drag an instance of the plug-in to another clip, the Paste button maintains the settings and you can immediately apply settings to other clips by just clicking it - or by using the Paste Special option and only selecting those settings that you’d like to duplicate across different clips. As soon as you hit the Copy button, the Paste button gets out of its greyed winter sleep. Version 2 couldn’t be more user-friendly. You see, in version 1 you could copy and paste settings from one clip to another, but I didn’t particularly find that process user-friendly. This was also the first feature that took me by - happy - surprise. When you change any of these, you can copy their settings for future use on other clips in the timeline, for example. The Corrections section of the Inspector reveals the basic colour adjustments such as exposure, contrast and contrast pivot, sharpness, colour temperature and tint and saturation. The two others give access to more options, such as a selection of cameras and the output space.
The two last options carry the addition of “Assume” in front of them, which means that you’re supposed to use them only if you don’t have input LUTs or use an ACES workflow. I started with colour management and found support for ACES, camera input LUTs, log and simple video. The sections that point to the colour management module and colour chart matching are hinting to Color Finale 2 in no way being a simplified version 1.
Difference between color finale and color finale pro pro#
Upon opening the Inspector, you’ll see a typical Final Cut Pro X Inspector panel with sections for colour management, basic corrections, image analysis, a colour chart and film emulation. Boy, was I wrong.Ĭolor Finale 2 presents itself as a simpler version of the first release. When I launched Color Finale Pro 2, the first thing that I thought was that the people at Color Trix had turned it into a simplistic adjustment panel,perhaps thrown in the towel as Apple has updated Final Cut Pro X with its own more complete colour grading module some time ago. Color Trix has just released its colour correction and grading plug-in for Final Cut Pro X, Color Finale 2.0.
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