So, you'd be working with some kind of video transfer of your film. I think most Telecine machines cost about a million dollars, so you would probably pay for someone else to do that instead of buying your own.
OPEN CINEMA GRADE WITH FINAL CUT PRO PRO
With a Final Cut Pro setup, it's not $4000 for the whole setup to be equivilant to the Avid Film Composer. You'll want some effects boards to test concepts in semi-realtime I suppose you could build a beowulf cluster to do that, and then write your own software.Įach of these adds up in time spent there, or time spent in finish, which, I might add, costs 10 times off-line in hourly costs. You'll need edit decks, most enjoy DigiBetas, but in your 'low-cost' example, 3/4"'s could suffice - you'll just be contracting to dub houses later. You'll need production grade monitors to get good color, otherwise you'll spend days in transfer doing what you could have done in off-line. You'll need some serious digitize cards to pull in video in realtime. You'll still need a terabyte or so of diskspace for video storage, so buy a NetApp or build your own disk array. Now back to gear, let's look seriously at what your 'G4 with FCP' will look like. And for good reason: who will stay at the console waiting for your consumer-grade machines to render an effect 20 times slower than the pro job? No one, not even the clients.Īmazingly, third actually is the cost, just ahead of who owes who a blowjob in the industry. Second, and closely linked is the gear: good talent won't stay that far behind the technology curve. We fly out to LA just to get the best color correction people, even for a 3 hour transfer. Bar none, the job will go to top-notch talent.
OPEN CINEMA GRADE WITH FINAL CUT PRO CRACK
But you need to put down the crack pipe if you think that rate is the single deciding factor, or even the largest factor.įirst factor is the editor. All these adjustments feel like painting, and the toolkit on the left keeps track of every change we've made so far.Yes, contracts are done flat-rate. The same can be done with our highlights.
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We'll start with our shadows and drag the node we just placed and reduce the shadows as needed. With this tool selected, we can click to drop a node onto our image where were want changes made.
Let's use the Shift-E shortcut to get selective exposure and clean up our shadows and highlights. Now we're cooking with gas.īut we're not done yet. The image is a little desaturated so we'll press the shortcut S, or click on the saturation button in the top left, and do the same. In Cinema Grade, a few adjustments get us close to a Rec.709 equivalent, with quick access to the tools for fine-tuning.īy selecting our contrast tool in the top left of the viewer, or using the shortcut C, we click on our footage and drag up to increase the contrast. While we can always use a LUT to bring the footage into a Rec.709 color space, the results aren’t always perfect. In this shot captured on the Sony F5, we need to add more contrast and saturation. In the middle top of the viewer, users will find a page for the Base Correction, a Shot Matching page, and the Final Grading page. Users can work their way from left to right in order to make changes to exposure, then color temperature, and finally finish off with saturation and color adjustments.
It covers everything you'll need for exposure, white balance, saturation, and secondary color changes.Ĭinema Grade helps with the process of color grading by providing you with a workflow using the progression that is found on the top left of the viewer. In the new viewer window, you'll see your footage, as well as a menu system on the right where all of your adjustments can be made using a Lightroom-inspired toolset. We took a look at Cinema Grade in Final Cut Pro by dropping into onto our footage like an effect and then opening the control panel in the inspector. (Sorry, Avid users.) While the workflow is similar between Adobe Premiere and Final Cut Pro, there are a few differences in the Resolve version. Cinema Grade works as a plugin for the big three NLEs.
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