- #Color finale vs color finale pro how to#
- #Color finale vs color finale pro mac os#
- #Color finale vs color finale pro driver#
- #Color finale vs color finale pro manual#
- #Color finale vs color finale pro pro#
#Color finale vs color finale pro pro#
Nor can Final Cut Pro 3 perform real-time operations using content stored in formats other than DV or OfflineRT. What’s more, Final Cut Pro’s real-time mode is disabled if you configure the program to display video through a connected FireWire device–a common method of working. For starters, Apple recommends you have a beefy Mac: a 500MHz or faster G4 with at least 384MB of memory, or, for mobile editing, a 667MHz Titanium PowerBook G4 with the same amount of RAM.
#Color finale vs color finale pro how to#
Learning how to do this isn’t difficult, but it isn’t something you’ll want to do in the middle of a project.įortunately, one issue that won’t affect your OS decision is performance: Final Cut Pro is just as fast and responsive in OS X as it is in OS 9.īut there are some strings attached.
#Color finale vs color finale pro mac os#
Mac OS X’s multiuser design introduces new workflow issues–in some circumstances, you have to futz with OS X privileges settings in order for each member of a team to be able to access a file or folder.
#Color finale vs color finale pro driver#
This also applies to video capture cards whose driver software hasn’t yet been updated for OS X.Įditing teams who collaborate on projects might also want to approach OS X with caution. If your projects depend on an After Effects plug-in that hasn’t been updated for OS X, you’ll need to run Final Cut Pro 3 in OS 9. Final Cut Pro can use many filters and effects plug-ins written for Adobe After Effects, but third-party vendors will need to rewrite plug-ins to run in Final Cut Pro 3 in OS X. And there are reasons why you might want to stick with the older OS, at least for a while. To X, or Not to Xįinal Cut Pro 3 also runs in Mac OS 9 (specifically, OS 9.2.2). Other users have reported problems with batch-capturing video while running Final Cut Pro 3 in OS X, but we didn’t have any trouble. For example, it would occasionally display video incorrectly if the monitor had gone to sleep due to inactivity–quitting and relaunching the program fixed this. Then it is pretty easy to make these settings available for all shot in the timeline and make adjustments when nessecary.We did encounter a couple of glitches in Final Cut Pro while it was running in OS X. The best way for me to "copy" this in FCP is to save a preset including the different plugins and their settings for the reference shot. Then you have a constant reference to the left in the event viewer and can compare the rest of your footage to that in the player to the right,
Then just open the event viewer and put your ref. You make/grade your reference shot(s), put them in a library (which you could call "ColorRef") within your working event. There is an easy way to always have a reference shot - and not a still image, but a live piece of footage - open in FCP when you want that. Interesting, I have only messed with test grades and haven't graded a finished project yet, but I know with Color Finale you can do a title grade (I forget what they call it) where you drag a Color Finale Title over top of your scene or your sequence and can do a finishing grade. The second reason why I find Resolve more suitable right now is that every saved grade has a very clear node representation that lets you see at once what stages of correction were just for the clip and should be adjusted after copying the grade to another clip. This is what I hope the still store to do in CFP. For instance, you can't directly compare the scopes which help tremendously in quickly matching shots. you can park the playhead on the reference frame and compare it quickly with "s" (skimmer on the current frame on/off). you can make a freeze frame of the reference by hitting alt+f and move it over all your other shots, making the splitscreen manually (cumbersome).Ģ. Within FCP X, there are two workarounds for this (maybe you know a better one):ġ. You start with a defining shot, and you then compare the rest to this reference and match them. You don't grade 20 shots separately, you grade the sequence.
#Color finale vs color finale pro manual#
The two most prominent for me are (1) saved grades represented by stills, as described in the Resolve manual page 600: Grading in Resolve, despite the necessary roundtrip, is still more comfortable than grading in FCP X, for different reasons. Yeah, I assume it's like LUTx, all of your LUTS are stored in a gallery format and when you go to select one you can swipe through the image to see the original image and the image with the LUT attached.