There are three main plug-ins to use: the built-in Final Cut Pro color corrector, the built-in 3-way and/or Magic Bullet Colorista. I prefer external hardware scopes, but absent a dedicated waveform monitor and vectorscope, I have been able to use the built-in software scopes to get the job done without any issues. Of course, I open the video scopes tool and set the timeline’s RT settings to permit real-time scopes. This mode allows you to operate FCP in a manner similar to Avid’s dedicated color correction mode, except that in FCP you can also apply and tweak other effects filters with the same windows open. Working in this mode allows you to move from one clip to another, up and down the timeline, and immediately apply new filters or see which have already been applied. This loads the timeline into the viewer, so when you click on the viewer’s filter tab you will see the filters applied to the timeline clip where your cursor/playhead is parked. Once I’ve consolidated the clips to V1, then I change the playhead sync mode (located in the canvas pulldown menu) to Open. Open playhead sync – a “color correction mode” Be sure you move the clip only vertically and don’t accidentally slide the clip a few frames out of its intended position. When you do this, be careful to check the edit points to make sure you maintain the correct cuts. The exception would be multi-track composites, which require several tracks. Before I start grading, I will move all clips down to V1. The typical one I encounter (if someone else edited the project) is that video clips are spread across a number of vertical video tracks. My first step is to go through the timeline and fix any problems. I’ve developed a recipe of go-to plug-ins and a grading workflow that help me to create the ideal look. Many clients don’t budget the necessary pre-flight time nor the rendering at the back end, so for these reasons, I find myself still doing advanced color correction/grading inside FCP – even for feature length indie films. This pre-flight time is necessary with feature-length projects, multi-clip timelines, as well as sequences with speed effects and other issues. Working with Color requires some prep time inside FCP in order to correctly set up the timeline for a successful roundtrip. There are many projects for which it is one of the best grading options however, I also find that for quite a few projects, it’s still better to work inside of FCP and not use the roundtrip between Final Cut and Color. I’ve written about Apple Color before and like the application. DaVinci Resolve is available on both Windows and Mac.As an editor/colorist, I’m comfortable with grading inside a number of NLEs, ranging from Avid Media Composer and Symphony to Apple Final Cut Pro. DaVinci Resolve comes close to what Final Cut Pro offers, despite reduced functionality. DaVinci Resolve is available both in a commercial (full-featured) and a free version (reduced functionality). Later in 2009, Blackmagic Design acquired it. On the other hand, an independent entity gave rise to DaVinci Resolve, da Vinci Systems. Final Cut Pro is currently only available on macOS. From that point on, it has continued to improve. It was released in its initial version in 2011 following its acquisition by Apple. Afterward, Apple acquired the software and began developing it. Deciding between them still remains a difficult task.įinal Cut Pro was an entity of Macromedia Inc. DaVinci Resolve: Overviewįinal Cut Pro and DaVinci Resolve are both NLE (Non-Linear Editing) video editors. We'll compare them in multiple aspects to provide you with a better overview. This article will help you choose between DaVinci Resolve and Final Cut Pro.
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