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Groups are made by clicking a colour disc at left and then clicking each clip you want to make a member of that group. Once youвЂ™ve adjusted everything to taste, you can move on to the second tab вЂ“ Shot Matching вЂ“ and set up groups and a hero clip for each group. Inside Cinema Grade youвЂ™ll now see all of the selected clips listed beneath the one youвЂ™re working on.

#CINEMA GRADE ACES PRO#

You can apply the Cinema Grade effect on multiple clips simultaneously in Final Cut Pro X by selecting the clips in the Timeline and double-clicking the icon in the Effects Inspector. But these probably are not that simple to convert elegantly into a simple interface model. In terms of basic colour adjustments, I personally believe the Hue vs Hue, Hue vs Luma, etc, curves should be added. Some very, very faint colours, however, will make the app вЂ“ literally вЂ“ see red. Even vector colours can be set by dragging on a colour in the frame.

I found it pays off to keep doing this manually as there was a slight bias to a cooler image than when using a grey card and adjusting yourself.ДЄll in all, though, the basic adjustment settings are all fast to work with, accurate and easy to do, even for someone who is grading for the first time in their life. For example, while you can set the white balance yourself using the mouse, you can also quickly and quite accurately set white balance automatically. The idea of making everything as simple and quick to perform has been taken to the limit. This works well with a card thatвЂ™s been uniformly lit.ДЄdjustments are entirely done with the mouse-drag concept or by dialling in the numbers in the right sidebar. The interface provides a grid with colour pastilles that change hue when you cover the right colour chip of the reference card.

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The next step lets you decide whether youвЂ™re grading with a computer screen or one of the professional monitors that support Rec.709, Rec.2020, DCI-P3, DCDM, etc.ДЇinally, you can вЂ“ itвЂ™s not obligatory вЂ“ select to either match the X-Rite ColorChecker Passport or the ColorChecker Video (which is the large version).

You start the grading workflow вЂ“ which is guided if you want it to вЂ“ by loading an input LUT if you have one, then select your camera from a list of SLog variants, a Panasonic cam, a bunch of Canons or a generic camera. I tested Cinema Grade with Final Cut Pro X. In a few rare cases, this operation resulted in the frame changing into a green screen instead of the desired frame. Scrubbing through the clip sometimes resulted in the spinning ball taking a minute or more to disappear again. The second caveat might be that your clips are loaded in the Cinema Grade app, which wasnвЂ™t very fast on my system вЂ“ an iMac 5K Retina 3.4GHz mid-2017 with 40GB RAM.

#CINEMA GRADE ACES UPDATE#

The last update also brought False Colour to Cinema Grade, so you can now evaluate your footage even better. Scope capabilities have now been built-in in two places вЂ“ the basic grading tab and the shot matching tab. That has since been changed by the developers who certainly seem to listen to their users. One disadvantage I originally saw to this approach was that the app lacked scopes, so you totally depended on a calibrated display and your eyes. ItвЂ™s a great model, but as with everything, there are caveats. For example, the luminance adjustment hides another icon for adjusting luminance in shadow, midtone and highlight areas. Some adjustment icons hide fine-tuning options. The basic promise of Cinema Grade is that you can do all your colour work by selecting an icon on the toolbar (or hitting the corresponding shortcut key), clicking in the working window on an area that you want to change and drag up or down to change the colour/light characteristics of the entire frame or part of it вЂ“ e.g. Upon launch, the Cinema Grade interface has three tabs at the top, a few tray handles left, bottom and right of the main panel and a seemingly randomly chosen frame of your clip in the working window. ItвЂ™s an application with a plug-in that loads the clip(s) grabbed from within the host and then spits them back into the host when youвЂ™re done editing.

With Cinema Grade, on the other hand, you just mouse-drag colour adjustments in the frame, although you can still control everything by numbers if you want to.Д¬inema Grade is actually not a plug-in in the sense that all colour editing happens within the host. The new plug-in is a radical step away from traditional colour grading where the artist either needs to control the adjustments via on-screen wheels and sliders or through an expensive control surface. His company now comes forward with a next-generation colour grading app and plug-in for Final Cut Pro X, Premiere Pro, and Da Vinci Resolve via the OFX plug-in, Cinema Grade.

#CINEMA GRADE ACES SOFTWARE#

Denver Riddle and Dmitry Lavrov are a colour grading expert and software developer who first developed Color Finale for Final Cut Pro X.

Cinema grade aces