The easiest way to support Prolost is to begin your Amazon, iTunes, Mac App Store, Zacuto or B&H shopping here. You can drag those links to your bookmarks bar so you never forget. It costs you nothing and it really helps. Thanks!
I've been a Final Cut user since its first release, and it's great. But when I got my MacBook Pro I decided to quit cold turkey and learn Premiere Pro, for the simple reason that its integration with After Effects stands to create some kind of Voltron-like super robot of editing and effects capability. I haven't been sorry—and now I'll be able to enjoy the Production Studio goodness Macside.
I'm filing this under The Guide because a seamless path between NLE and AE is a big part of the workflow. FCP users will either require Automatic Duck or some serious time on their hands (I've done both myself).
Way to go Adobe. Welcome back where you belong Premiere!
Why did we make a 3-way color corrector to sell to people who, with the exception of After Effects users, already have a built-in 3-way CC tool? Six reasons:
Correct Like The Pros Colorista works like Final Touch, Da Vinci, Discrete Lustre, iQ, and other professional grading systems that use the industry standard color model of Lift, Gamma and Gain. The ASC is even working towards codifying this into a system that can be communicated as universally as an EDL. Lift/Gamma/Gain allows you to correct highlights, midtones and shadows, respectively, but without the need to define the value ranges, which means you spend more time color correcting and less time fiddling with controls. In other words…
Fewer Controls, More Power Colorists need to work fast and efficiently, so having fewer knobs is a good thing. We took the most-used aspects of professional grading systems and packed them into an efficient, easy to use package. Colorista does more than most built-in 3-ways, and with fewer controls.
Power Masks Isolating areas of the frame to correct is one of the power tools in the colorist’s kit. What can you do with piddly little circles and squares? Ask a Da Vinci operator. Sure, sometimes you need deeper masking, but for that you can jump into After Effects. Face lights, vignettes, and spot corrections should be fast, easy, and render in realtime.
Realtime? Depending on your hardware and video resolution, yes! Works especially well in host applications that lead the market in realtime operation, such as Apple Motion and Adobe Premiere Pro 2.0.
Grade, Don’t Degrade In After Effects 7, Colorista is a 32-bit floating-point plug-in. Stack as many of them on top of each other as you want, you cannot hurt your image. Finally, a tool you can use to effortlessly color correct HDR images.
Three Rings to Rule Them All Just when you started to master Levels, you need to do some color work in Final Cut Pro. Just when you learn to produce decent results with FCP’s 3-way, you take a freelance gig using Avid. Colorista works the same in every host application, meaning that you can learn it once and use it everywhere. And one seat of Colorista licenses you to use the plug-in in every one of the host applications, on Mac or Windows.
Wanna know a secret? I've been working with Red Giant Software on a new color correction product. It's going to be wicked awesome, something every reader of this blog will want.
Thursday, January 4, 2007 at 11:48AM 