9/17/2023 0 Comments Color grading fcp![]() ![]() ![]() This strategy only makes sense for Apple. It does have many of the clever new editing tools that could loosely fall under the AI heading – such as morph clever edits which hide a jump cut on a talking head shot (this has been in FCP for a couple of releases now) – but this release has Apple solving FCP’s weakness in colour grading, while producing a super fast experience that covers the professional to the amateur. Adobe is betting all it’s chips on positioning itself as the software innovator, and owning AI in the professional creative users’ minds. Don’t misunderstand, Sensei is brilliant, but it is now a catch-all for ‘clever image stuff’ and not just machine learning or AI implementations. Adobe’s automatic rig removal and asset image library based deep learning is remarkable, however everything – even standard optical flow algorithms – are being labeled ‘AI’ by Adobe’s enormous marketing push of Sensei. This flows logically from it’s shared algorithmic space with After Effects, leveraged with it’s R&D Adobe MAXed Sensei. While Apple and Blackmagic eye each other’s strengths, Adobe Premiere, in contrast, is neither bragging about editing nor colour correction but talking mainly about Machine Learning and A.I. And yet, increasingly daVinci’s marketing indicates it’s desire to also be an editor. In the world of Colour Correction, daVinci has reigned supreme in recent years, having been given enormous strength from Blackmagic while redefining the price point of complex grading. FXG went shooting in NYC and tested a variety of formats from iPad Pro, iPhone X, 360 video and. But interestingly, it simultaneously offers EDL transfer from an iPad running iMovie. FCP strongly shows the DNA of coming from a hardware company, given how well it runs on the iMac Pro. If you look at the FCP X demos of this latest release, the dominant aspect is the new colour correction tools. The other 3 players, Apple, daVinci and Adobe, are all pointing in interesting directions whilst still very much displaying their heritage or their editing DNA. So where does FCP X sit in the editing landscape? AVID seems focused on ‘enterprise’ server level multi-seat installations. This version of FCP seems to straddle the divide between everyday and high end workflow pipelines. Beyond the 1:1 4K playback, Final Cut Pro users can now edit full-resolution 8K video for the first time on a Mac. It achieves this while also integrating at the other end of the camera spectrum with your iPhone X in surprisingly professional ways, by supporting wide gamut workflows. ![]() r3d files play in realtime with a clean demosaicing algorithm, 1 to 1 pixel matching and with all the crisp quality. r3d files in realtime without transcoding or specialist setups, assuming you have the Red Workflow plugin downloaded, the. FCP X on the iMac Pro is a powerful tool to use. ![]()
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