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I believe it leans more towards advanced colorists where shot matching and grouping are less emphasized.

Currently only available in Final Cut Pro.Ĭolor Finale 2 Review Final Verdict – 8.5/10įor someone that leans towards Adobe Premiere Suite when it comes to production, I found Color Finale to be extremely easy and effective.

Instead, it is a window accessed through a button in the Corrections dropdown. That’s because it doesn’t appear in the initial drop downs. But for someone just trying to get a nice color grade quickly they may skip over this portion entirely. These tools generally perform the same function just in different ways.

On a layout note, I found the “Edit Layers” panel to be a tad overwhelming.

Certain basic tools also have slightly better presentation in the native FCP functionality.

And they’re oriented opposite of the built-in color tools within FCP which can cause confusion.

The Edit Layers controls options are labeled differently (lift, gamma, gain).

And there is a picture preview of that LUT applied to the shot in question.

In the EDIT LAYERS panel, you are able to view all the LUTS in your computer AUTOMATICALLY.

A minor but much appreciated improvement is the sharpening in the corrections panel.

This feature is not available in most color grading plugins.

When doing secondary color adjustments and masking, the blur slider gives the user a smooth adjustment and avoids artifacts.

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This means there’s no leaving the program’s built-in windows and no further clutter of the workspace.

The Color Finale 2 plugin is fully integrated into FCP.

The save preset option also is highly effective if you have a previously made grade that is applicable to future projects. The plugin does it for you automatically.

“Sync Group” control option allows for colorists who are making early and late-stage adjustments to avoid the time of having to reapply changes regularly.

It gives you a great base from which to work with. It can help one avoid looking through an endless list of LUTS they would like to use.

“ASSUME LOG” is a really powerful feature.

It gives you several options to add stylized film grain to your final look.

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This is predominantly used to determine the proper exposure for skin tones.Īnd the Color Chart step allows one to isolate a color chart within the shot and automatically color correct it to correspond to that chart.įinally, the Film Emulation dropdown is pretty self explanatory. The Image Analysis mode gives one the “False Color” option to help determine the proper exposure for elements in the frame. It allows for super accurate adjustments to entire images, or just various portions.

Note that within all of these features is the ability to create masks and motion track. This tool is also coupled with a motion tracking tool. The Filter option gives you the ability to select areas of an image to blur or sharpen. And it makes fine tune adjustments with color value bars. The Shuffle option provides some creative ways to change color values (i.e change blue channel to green). However it gives editors the ability to isolate certain colors outside of the standard 6 with high accuracy. ASSUME ACES: allows you to select from various options depending on the camera used.įrom an initial pass using the ASSUME LOG on my footage, Color Finale does a great job at getting an initial read on the proper contrast and saturation values to a REC 709 color space.Īnd the HSL Curve option does the same.ASSUME VIDEO: used when recording in a standard color space.Also, the ASSUME VIDEO, ASSUME ACES, and ASSUME LOG features will guess as to correct contrast and saturation. If the colorist has a bank of LUTs they prefer, they can be imported and modified using the MIX control in the Color Management tab. The most in-depth color tools can be found in the “Corrections” as “Edit Layers”.

Arranged from top to bottom are the steps: Like with any good color grading plugin, Color Finale is intuitively arranged to guide you through the color grading process.

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While a plugin like Cinema Grade for Adobe Premiere will open an entirely new workspace window, Color Finale 2 opens in the effect panel in the same way any other applied effect within Final Cut Pro would.

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A trial lasts for 7 days with full features.

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Note that Color Finale 2 requires Final Cut Pro 10.6.2 or Final Cut Pro 10.6.3.Ī license will allow for activation on 2 machines, with 3 transfers. The next time you open Final Cut Pro the plugin will be available in the “Effects” workspace. Installation of Color Finale 2 for Final Cut Pro was simple. Review of Color Finale 2 Coloring Plugin for Video Editors Installing Color Finale 2