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. 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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