And I think it’s quite possible this would significantly speed up the color correction process. It seems to me it’s mostly innovation in user-interface. “I’ve only watched the demo video but I assume the plugin is a vastly more simplified approach than Resolve’s built-in tools” My expectation is that the OLED elves are working on fixing this and that we might see some decent priced solutions at NAB 2019.Īt that point - and IF the industry goes toward deep color - then I presume the color science in the new tools will be more important.
When the Apple marketing team did their demo at the LACPUG last year, Steve Bayes kept suggesting we NOT look at the iMag system – but instead watch the large (clearly super expensive) deep color monitor they had setup on stage. My 2-bit theory is that the missing piece is still affordable desktop production suite monitoring. I’m still the biggest color theory idiot here, but back when the new 10.4 Color Tools came out, it seemed to me that Apple was looking not just at grading as it’s been done in the past, but with building a toolset and interface that will gracefully deal with Rec2020 and the coming world of expanded dynamic range workflows. There’s no cross grade price for Color Finale users and that is a little irksome. Seems it’s priced to persuade and impulse purchase. We’ll have to see what the reviews look like or otherwise give it a play. It’s hard to tell from the videos I’ve seen but I’m not sure if it provides as much control as FCPX. It’s as if he’s trying to make the eye drop selection portion of curves a bit more simplified. “So… no one likes the builtin tools on X? “ Seeing how it works real world grouping and matching shot to shot would be a real test in that environment. In FCPX it looks like he had to differentiate himself from CoreMelt Chromatic.
Now if that data could be passed to Resolve “proper” for more fine tuning it might be a good first pass, have a quick look at my idea pass, to show a client.
He’s marketing emphasis is on speed (ease of use) so it seems like a “quick grade.” I don’t it replaces anything really in Resolve so much as allows you to do something fast. I think it’s a streamlined version of the vector masking Denver uses in Color Finale although it’s “automated.” Those panes/stages thingy sort of make the sequence of operation easier. It almost seem the big feature is the masking.
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