It doesn’t matter If you’re shooting your footage with a DSLR or professional cameras like Arri, RED, BlackMagic, Sony - our mLut grades will work on your shots perfectly. What is more, you can change presets, adjust them and customize the settings in real-time! You can also import your own.MLUT PROMOWith the FCPX LUT Cinematic Loader you can easily add a subtle 35mm grain texture to your footage inside Final Cut Pro X, giving the illusion that your video was chemically processed onto real film. Film grain is a great way to add style and depth to your video.Use the benefit of GPU acceleration and work in real-time on DaVinci Resolve and Assimilate Scratch. Export your fine-tuned False Color overlay as 3D LUT and use in your camera monitor on set New features included in version 3.0: Work in real-time. Note: Final Cut Pro preserves the full dynamic range of the log media as long as color processing for the library is set to Wide Gamut HDR.If the library is set to either Standard or Wide Gamut (Deprecated) when you apply a camera LUT, the media is tone mapped (downgraded) to the narrower standard dynamic range (SDR).Description GRADE YOUR FOOTAGE, JUST LIKE PROS DO IN THE LARGEST PRODUCTIONS A color look-up table is a matrix of data containing information used to change an input range of colors into another one. It converts the hue of each pixel into a counterpart from the source pattern. LUTs are widely used in professional image processing applications, e.g.Premiere for a Feature I started typing and realized it was so big I might as well make it into an article. This is in response to this question from a current FCP 7 user, 7Presley, looking to update: FCP X vs. 13 high quality and accurate presets.Files mLUT Plugin/how to load LUTS for mLUT.png (140.1 kB) mLUT Plugin/mLUTs/.DS_Store (10.24 kB) mLUT Plugin/mLUTs/Annihilator.cube (343.9 kB) mLUT Plugin/mLUTs/Annihilator.jpg (61.24 kB) mLUT Plugin/mLUTs/Black Mamba.cube (343.9 kB) mLUT Plugin/mLUTs/Black Mamba.jpg (41.85 kB) mLUT Plugin/mLUTs/City Of Crime.cube (328.3 kB) mLUT Plugin/mLUTs/City Of Crime.jpg (20.02 kB) mLUT Plugin/mLUTs/Fight Gang.cube (343.8 kB) mLUT Plugin/mLUTs/Fight Gang.jpg (17.10 kB) mLUT Plugin/mLUTs/For Freedom.cube (343.8 kB) mLUT Plugin/mLUTs/For Freedom.jpg (51.50 kB) mLUT Plugin/mLUTs/Galaxy Battles.cube (343.9 kB) mLUT Plugin/mLUTs/Galaxy Battles.jpg (44.28 kB) mLUT Plugin/mLUTs/Gangster Story.cube (343.9 kB) mLUT Plugin/mLUTs/Gangster Story.jpg (44.49 kB) mLUT Plugin/mLUTs/Hammer Lord.cube (328.2 kB) mLUT Plugin/mLUTs/Hammer Lord.jpg (58.22 kB) mLUT Plugin/mLUTs/In Search Of A Brother.cube (343.9 kB) mLUT Plugin/mLUTs/In Search Of A Brother.jpg (48.46 kB) mLUT Plugin/mLUTs/Initiation.cube (343.9 kB) mLUT Plugin/mLUTs/Initiation.jpg (18.69 kB) mLUT Plugin/mLUTs/Lucky Fool.cube (328.2 kB) mLUT Plugin/mLUTs/Lucky Fool.jpg (29.99 kB) mLUT Plugin/mLUTs/Metal Suit.cube (343.9 kB) mLUT Plugin/mLUTs/Metal Suit.jpg (54.99 kB) mLUT Plugin/mLUTs/Monarch's Voice.cube (343.9 kB) mLUT Plugin/mLUTs/Monarch's Voice.jpg (15.12 kB) mLUT Plugin/mLUTs/Scam.cube (343.9 kB) mLUT Plugin/mLUTs/Scam.jpg (49.83 kB) mLUT Plugin/mLUTs/Shapeshifters.cube (343.9 kB) mLUT Plugin/mLUTs/Shapeshifters.jpg (58.51 kB) mLUT Plugin/mLUTs/Shy Girl.cube (343.9 kB) mLUT Plugin/mLUTs/Shy Girl.jpg (25.35 kB) mLUT Plugin/mLUTs/Space Generation.cube (343.9 kB) mLUT Plugin/mLUTs/Space Generation.jpg (57.11 kB) mLUT Plugin/mLUTs/The Claws.cube (343.9 kB) mLUT Plugin/mLUTs/The Claws.jpg (27.45 kB) mLUT Plugin/mLUTs/The Don.cube (328.3 kB) mLUT Plugin/mLUTs/The Don.jpg (26.76 kB) mLUT Plugin/mLUTs/The Nasty Lawman.cube (343.9 kB) mLUT Plugin/mLUTs/The Nasty Lawman.jpg (48.75 kB) mLUT Plugin/mLUTs/The Navigator.cube (343.9 kB) mLUT Plugin/mLUTs/The Navigator.jpg (54.43 kB) mLUT Plugin/mLUTs/The Prison Atonement.cube (343.9 kB) mLUT Plugin/mLUTs/The Prison Atonement.jpg (49.33 kB) mLUT Plugin/mLUTs/The Salvation Book.cube (343.9 kB) mLUT Plugin/mLUTs/The Salvation Book.jpg (44.16 kB) mLUT Plugin/mLUTs/The Spartans.cube (343.9 kB) mLUT Plugin/mLUTs/The Spartans.jpg (24.42 kB) mLUT Plugin/mLUTs/The Splendid Resort.cube (343.9 kB) mLUT Plugin/mLUTs/The Splendid Resort.jpg (23.99 kB) mLUT Plugin/mLUTs/The Villain.cube (343.9 kB) mLUT Plugin/mLUTs/The Villain.jpg (18.02 kB) mLUT Plugin/mLUTs/The Well.cube (343.9 kB) mLUT Plugin/mLUTs/The Well.jpg (55.67 kB) mLUT Plugin/mLUTs/Transatlantic.cube (343.9 kB) mLUT Plugin/mLUTs/Transatlantic.jpg (24.54 kB) mLUT Plugin/mLUTs/Virtual Reality.cube (343.9 kB) mLUT Plugin/mLUTs/Virtual Reality.jpg (25.46 kB) mLUT Plugin/mLUTs/Warrior.cube (343.9 kB) mLUT Plugin/mLUTs/Warrior.jpg (38.63 kB) mLUT Plugin/mLut.pkg (1.Final Cut Pro combines unmatched scalability, precision editing tools and seamless. Templates, Plugin, Transitions, LUTs : FCPX & Apple Motion Templates. Custom LUT Plugin for Motion 5 & Final Cut Pro X included.Wether it is capable is not a question anymore. That being said I personally believe FCP X is the best option for most productions, if you know what you are doing with the tool. There are many factors to consider. This is not an exhaustive comparison, or a bashing session, these are observations and opinions based on user experience.Unfortunately I don’t know the details of 7Presley’s production workflow or cameras used. Not all productions or workflows have the same requirements so for anyone to say one program or another is the only way to go for everyone is a bit short sighted. I’ll cover 7Presley’s questions as well as my own thoughts.
While I highly prefer FCP X, I use Premiere when needed. From the smallest family movies upwards to wedding videos, web series, corporate and commercial productions, broadcast television, and Hollywood and otherwise feature films.Of course it’s worthwhile to know various tools. It’s been proven in every type of production. Though I prefer Color Finale from Color Grading Central personally. They are compatible with both Apple and Adobe suites so there’s no difference there. I would never use the adjective innovative and Avid in the same sentence though (except this one).7Presley mentioned wanting to use the Red Giant color plugins. Avid is still widely used due to its being engrained in so many long standing workflows. FCP X has the Color Board which, while not as advanced, is very intuitive and quick to work with. PPro CC just got the new Lumetri color system which is a big step up for its built in color effects. Magic Bullet has a few extra tools that are nice at times. Access to After Effects, which is a powerful, though unnecessarily complex program. Gives you video, motion graphics, design, web, and photo editing for one monthly price. All in one package that interacts and exchanges elements and media fairly efficiently between applications. Premiere has shape mask tracking built in for effects. I’ll cover a few more app specific tools below.Pros (I’ll just mention ones FCP X doesn’t have)- Subscription based business model. Custom Window layout presets. Basic audio mixer for rough mastering inside PPro. Speedgrade gives you an included color grading suite. It has ZERO to do with being able to deliver updates faster/easier. To have access to your work and to stay compatible you have to keep paying them $600 a year. Let’s be honest though, that’s the point, to keep you paying. As opposed to a license where you can always go back as long as your hardware supports the software. You can save XML for some things but you’re out of luck for the most part. If you ever stop paying them, for example if you switch to another platform, you loose access to all your work on all of their programs. The bigger it is and longer I work on it the nastier things get. Apparently on Windows it’s actually stable but for us in the Mac-sphere that’s not the case. I don’t trust the software to let me deliver on time, especially on large or complex projects. I don’t care how many features they have, if it doesn’t work, it doesn’t matter. Aside from the subscription the thing that has really turned me off to the platform has been reliability. They are so integrated into so many workflows they can get away with it but it’s dirty business to me. I definitely let people now what I think about using the NLE when I have to. It costs me money and reputation and that’s bad for business. So much lost productivity that I almost got to a point of refusing jobs that require PPro. There been so many missed deadlines, angry supervisors/producers, clients that won’t return. Accounting software for mac for small businessI appreciate how prompt they are. To Adobe’s credit they are very responsive in their forums and via email. It’s not a capabilities thing, it’s a trust issue with a tool that has failed me dozens of times in so many ways. Playback performance has been generally improved but both PPro and AE are no where as optimized to take advantage of newer hardware as the Apple applications. They’re proven and strait forward, but they are inefficient and slow you down. For more info on what happened a couple years ago when I switched to FCP X here’s that article: An Editor’s Journey to FCP X The same bugs go from one generation to the next. It literally took minutes for some nasty bugs to show up in CC2015 on a new project. Having worked with PPro consistently since CS5.5 through CC 2015 I can confidently say the problems have gotten worse not better. Lut Tool For Fcpx Free Updates SinceNot including any third party tools of course, which depend on the case, but you get the point. $600 for all four apps and free updates since. Perpetual License! FCP X and it’s companion apps came out 4 years ago (except LPX which came out a little later). Buy the base and add the accessories that fit your needs. I’ve heard FCP Compared to a RED camera. Amazing thing is for many projects the need to render is either very limited, or not needed at all. Seriously impressive export and render times. The newer, optimized, 64 bit code takes full advantage of the newer hardware and they continue to improve this aspect of FCP X. In nearly every instance, if there is a crash, I can open FCP X back up right away and I haven’t lost any work because of the autosaving database design. They are very rarely cost me any significant amount of time. Every application has bugs, no way around that, but FCP X’s bugs are almost always just annoying at their worst. The FCP X Library system combines the very best aspects of a database combined with the flexibility of a project file. Media/asset organization in FCP X is hands down the king. They always work them out though, that’s what’s important. The Magnetic Timeline takes away a lot of the track based mechanics that stood in the way of editing efficiently. The general design is excellent but also includes built in tools to sync via audio, markers, content creation date/time, timecode, or a combination of elements. It’s the best implementation of Multicam I’ve seen in an NLE. If you do learn them, you can move faster then you ever have. As long as you know the tools available to you. I’ve also heard it called a canvas. It’s more free flowing then tracks, but not to the point that you’re not in control. XoCC and 7toX are useful XML converters. PPro still uses the old FCP 7 XML language unfortunately. Smoke for example supports the FCP X XML. FCP X has an excellent, mature, and current XML that can be used to get project or clips into about any program. In the words of Yoda, “You must unlearn what you have learned.” Newer editors find it very intuitive while established editors have a harder time “getting it.” This article shows how it is an effective part of speeding up workflows: FCP X is Faster! DaVinci Resolve Lite is a very, very, powerful color correction suite and naturally fills that hole in the FCP X suite. It’s playback/rendering/export engine is so much better and I find it far more intuitive then AE. Especially with many of the plugins from MotionVFX at my disposal, one of which I mention below. For me, it’s replaced AE for most things. Motion 5 is a huge improvement over Motion 4 (which I never cared for).
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