![]() Back in Final Cut Pro, apply a Log-C LUT in the inspector or use the Custom LUT effect. If you select the Log-C color space, then the result is a flat, log-encoded clip. ![]() ![]() If you are concerned about preserving dynamic range for later color correction, then you can transcode to an HDR color space or also ARRI Log-C (BRAW or ARRIRAW files). These settings will be “baked” into the new, optimized media file. Copy and Paste buttons appear at the bottom of the interface, so if you have a folder of files of the same format, simply adjust one file and then copy-and-paste those settings to the other files. Consequently the Color Finale Transcoder parameters differ for each format. The available raw controls depend on the camera format and are determined by the SDK provided by the camera manufacturer. BRAW files can also make use of six of the Blackmagic-specific color spaces. Since you are working with camera raw formats, you can transcode in SDR, as well as several HDR color spaces. These include the desired ProRes format (from Proxy to 4444 XQ) for optimized media, along with size (resolution) and color space. The business side of Transcoder in on the right side of the panel, where you adjust the transcoding parameters. The full sequence is then displayed as a movie clip in the viewer. If you select image sequence files (CinemaDNG or ARRIRAW), the browser will automatically detect the first frame of the image sequence. There’s a display color space selector and a toggle to resize anamorphic footage. ![]() You can scrub or step through the clip and trim the in and out points. Select any supported clip and it will be displayed in the viewer. Then navigate to the folder of camera raw clips using Transcoder’s file browser. Select Transcoder from your installed extensions to open its import window. However, CinemaDNG is also common for older Blackmagic cameras and a favorite for drones.Ĭolor Finale Transcoder is not an effects plug-in, but an application that is accessible as a Final Cut Pro workflow extension linked to the Transcoder application that’s running in the background. Since the majority of users will most likely be concerned with BRAW files, that’s obviously the sweet spot. Or you have to use a separate application to convert the camera files prior to the edit, such as DaVinci Resolve for BRAW or the ARRIRAW Converter for ARRI’s format.įinal Cut Pro currently supports Apple’s ProRes RAW and RED’s REDCODE. Installing Color Finale Transcoder adds integrated support for BRAW, ARRIRAW, DNG, and CinemaDNG to Final Cut Pro. For any NLE to support a raw format, it must integrate the components necessary to turn the sensor data into RGB video. The exception is CinemaDNG, which is now considered an open standard, but was originally developed by Adobe. Expanding camera raw format supportĬamera raw formats are proprietary recording methods controlled by the original manufacturer. Although Transcoder was still in development, those beta builds were quite stable, which makes for a solid release product. As a result I had a chance to test out several advanced builds prior to the release of the final product. I’ve had a chance to establish a relationship with the company after my review of Color Finale 2. The developer of the Color Finale product line of professional color tools for Final Cut Pro has just released Color Finale Transcoder, a camera raw import utility. Sure, you could use DaVinci Resolve, but you’d rather stay within your preferred editing ecosystem. Oops! Final Cut Pro doesn’t support BRAW. You’ve just purchased a shiny new Blackmagic URSA Mini Pro or Pocket Cinema Camera and are looking forward to the benefits of shooting camera raw.
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