COLOR FINALE FOR PREMIERE PRO MOVIE
COLOR FINALE FOR PREMIERE PRO 1080P
COLOR FINALE FOR PREMIERE PRO INSTALL
COLOR FINALE FOR PREMIERE PRO PRO

If you have a clip that you want to set In/Out points to, you can do that as well in the Color Finale Transcoder panel and the transcoded result will only transcode the required footage. That’s pretty fast due to everything done with your GPU and in RAM. It took 2.38 seconds for a bundle of three BMD clips totalling 2.30 seconds.

That process took about 40 seconds for a 40 second ARRI clip.

COLOR FINALE FOR PREMIERE PRO MOVIE

Once you are happy with your settings, you simply click the Import Selected Movie button and Color Finale Transcoder will start creating the transcoded files.

If the footage is anamorphic, you can also enable correct viewing on your workstation in the preview window. Another button lets you view the footage in a Rec. There’s a preview panel that initially shows you the RAW footage with no alterations, but at the top there are buttons to apply a LUT to the view. You can apply all of these settings to individual clips or to all of them at once. For ARRI files, the options included a DeBayering mode, an ISO setting that went up to 3200, a sharpness and a detail slider, and a ND filter. Finally, it supports you setting the white balance in Kelvin and Tint, an ISO setting from 100 to 1250 and an exposure from -5 to 5. It has checkboxes to turn on highlight recovery and gamut compression. 709, ARRI Log C, several BMD spaces, and Rec.

COLOR FINALE FOR PREMIERE PRO 1080P

For example, my BMD footage was 6K, but I could also transcode to half that (3072 x 1728), a quarter resolution (1536 x 864 - a resolution you would choose for a 1080p project) or even smaller.įurthermore, for BMD files, the extension lets you set your colour space to Rec. The extension gives you the option to select the transcoded resolution from ⅛ for BMD files and 1/16 for ARRI files to full. Both include return arrows next to most parameters to reset their values to the default, along with contextual pulldown selectors, and contextual menus (identified by three vertical dots).Color Finale Transcoder transcodes from RAW to ProRes 422 Proxy all the way up to ProRes 4444 XQ. These panels utilize an interface design language consistent with Final Cut Pro.

COLOR FINALE FOR PREMIERE PRO PRO

To apply Color Finale 2, drag the Color Finale 2 or Color Finale 2 Pro** effect from the Final Cut Pro effects palette onto any video clip, compound clip, title, generator, or adjustment layer (title effect) on the timeline.Ĭolor Finale 2 is divided into two sections - a control panel located in the Final Cut Pro inspector and a floating, resizable layer editing panel.

COLOR FINALE FOR PREMIERE PRO INSTALL

The user will not normally need to access this application - it is used to check for and install updates to Color Finale 2. It also installs a separate Color Finale application required to operate within the macOS framework. In addition to feature differences, Color Finale 2 Pro will also interface with Tangent hardware control surfaces.Ĭolor Finale 2 installs as a video effect filter (plug-in) into both Final Cut Pro and Motion. This guide may refer to some features only found in the Pro version, so consult our website for a feature comparison between the two versions. Color Finale 2 is available in both a Standard and a Pro version. It surpasses the built-in color correction tools and turns Final Cut Pro into a professional grading solution. Color Finale 2 is a color correction plug-in designed exclusively for Apple Final Cut Pro.

Color finale for premiere pro