![]() no matter if the result for us will be accepting those changes by adapting to new tools/new technics, or changing main tool.Īs for Color Finesse there is also third way - buy that plugin from its developers and use it as before. So as you see - there can be many reasons and we as a users can only accept those decisions and live with them. Plugin/function can also dissapear due to obsolete technology (f.eg. Plugin/function can become obsolete (we can say that Color Finesse as underused and underrated tool become obsolete when Lumetri Color came on board of AE), function is not being used any more by most of users (so developing it and adapting to new versions is not wort the time and money for developers to spend), third party plugins can disspaear because od just contract between companies just finished or there are some other issues that make further cooperation impossible. But from time to time some features can dissapear (will be removed) and that can happen by many reasons. If you check history of AE or any other piece of software from any developer - most of the time during lifespan of that software you et nev features with updates. Certainly a whole lot more than the software plug-in version of Color Finesse but a whole lot less than a Da Vinci! Information isn’t yet available on the Synthetic Aperture site.I doubt that, but technicaly it is possible. Full Path: C:Program FilesAdobeAdobe After Effects CS5Support FilesPlug-insEffectsSynthetic Aperture(Color Finesse 3 Support)Color Finesse 3SA Color Finesse 3 UI.exe.Located in C:Program FilesAdobeAdobe After Effects CS5Support FilesPlug-ins subfolder.The most important facts about SA Color Finesse 3 UI. This Mac application is a product of Synthetic Aperture. SA Color Finesse 3 UI for Mac lies within Design & Photo Tools, more precisely Viewers & Editors. SA Color Finesse 3 UI 3.0 for Mac can be downloaded from our website for free. Pricing isn’t set but you can expect that the standalone software with a full set of control surface modules will be "well under $10K". The application comes as a plug-in for Adobe After Effects and Premiere Pro. The control surface is modular with separate trackball and jog/shuttle modules: you’ll need the trackball module to make it useful but the jog/shuttle is optional but it’ll give you a lot of useful knobs and buttons beyond the basic timeline related playback options. The control surface will work with either stand alone or plug-in versions of Color Finesse 2. Synthetic Aperture were also previewing Color Finesse 2 with an optional colorists control surface using familiar trackball, knob and slider controls. In standalone mode, Color Finesse 2 will read 8, 10, 12 or 16 bit RGB or YUV data directly from the media file and write back to the same formats, or for those doing digital cinema, Cineon and DPX image sequences are supported for full 32 bit floating-point processing. ![]() Of course, Color Finesse 2 will continue to work as a plug-in in Final Cut Pro with the 8 bit limitation on media data. In the standalone version of Colore Finesse all shots are independent in the timeline and retain all information during the round trip. This has huge advantages over traditional tape-based grading which loses all project metadata and completely eliminates the tape-based requirement to set timecodes for each shot on the tape. Not everyone has the luxury of a dedicated grading suite, but when you do, and you want a control surface that makes a statement to your clients, then Arc is the panel to choose. After grading you re-import the XML to Final Cut Pro for output. All sequence detail on cuts, transitions and layers will be preserved while you grade your "locked" picture in Color Finesse. Version 2 will be able to function as an stand-alone application reading image data directly from the media files.Ĭolor Finesse 2 gets its information for the standalone timeline from an EDL or, for Final Cut Pro users, directly from an XML export. While Color Finesse now calculated internally in 32 bit floating-point, and will continue to do so in version 2, Final Cut Pro will only pass it 8 bit RGB data and accept back 8 bit RGB data. Version 2 of Color Finesse frees the colorist from the limitations of the host, particularly important for Final Cut Pro users where After Effects plug-ins are limited to 8 bits-per-channel. Synthetic Aperture’s unnanounced "sneak preview" of Color Finesse 2 during DV Expo attracted a lot of buzz: in fact one of the few innovations at DV Expo that wasn’t related to Sony’s HDV offerings! Unreported elsewhere we reveal what’s coming for Color Finesse in early 2005.
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