All posts tagged: colour grading

colour grading CinemaGrade

Cinema Grade, a dramatically new way of colour grading footage or a huge marketing bubble?

Denver Riddle is a colour grading expert who first developed Color Finale for Final Cut Pro X. His company now comes forward with a next-generation colour grading app and plug-in for Final Cut Pro X, Premiere Pro, and Da Vinci Resolve via the OFX plug-in, Cinema Grade. The new plug-in is a radical step away from traditional colour grading where the artist either needs to control the adjustments via on-screen wheels and sliders or through an expensive control surface. With Cinema Grade, on the other hand, you just mouse-drag colour adjustments in the frame, although you can still control everything by numbers if you want to.

The ultimate colour grading plugin for Final Cut Pro X: CoreMelt Chromatic

Turning Final Cut Pro X into a grading application a la Da Vinci Resolve is what Chromatic, CoreMelt’s latest plugin sets out to do. It succeeds pretty well by cramming a lot of functionality into this full-blown colour grading solution. It’s the only plugin that delivers the ability to select colour ranges right in the clip viewer, but to appreciate its power to the fullest, a lowly iMac such as mine won’t do.

Red Giant Magic Bullet Suite 13, now for Final Cut Pro X too

Final Cut Pro X users rejoice: all of Red Giant’s Magic Bullet Suite modules now work as plug-in to your beloved NLE. Version 13 includes new versions of Colorista, Looks, Denoiser, Film, Mojo and Cosmo. Brand new is Renoiser 1.0. Adobe After Effects and Premiere Pro users will be happy to know that Looks 4 and Denoiser III now enjoy Mercury support — which means they now have real-time playback of the effects in their favourite composition and editing applications.

Sony A7S II with Zeiss lens

Field experiences with a Sony A7S II

The Sony A7S II is a unique all-metal full-frame system camera. It has best-of-breed features for both photography and video. Its dramatic low-light capabilities — manually from ISO 50 to 409,600 — make low-light photography accessible to everyone. It has a 35mm equivalent full frame sensor in a package the size of a compact camera. And it does 4K XAVC video with Sony’s highly acclaimed S-Log 3 curve that allows for HDR colour grading.

420 vs 422 subsampling

The mysteries of bit depth and chroma subsampling

Colour depth or bit depth is either the number of bits used to define the colour of a single pixel in a bitmapped image or video frame buffer, or the number of bits used for each colour component of a single pixel. Chroma subsampling is the practice of encoding images by delivering a lower resolution for chroma (colour) information than for luma (lightness). The two combine into what your footage looks like when it has been freshly recorded.