fcp.co: Free Update for Merge X: Make Changes to Clips in the Browser and See These Changes Reflect on the Timeline.

http://www.fcp.co/final-cut-pro/news/2098-free-update-for-merge-x-make-changes-to-clips-in-the-browser-and-see-these-changes-reflect-on-the-timeline

“MergeX will merge two Final Cut Pro X events, combining keywords, ratings, metadata, etc… for every matched clip in each events. It works with every kind of clip: common, synchronized, multicam, compound. The resulting merged clips will be updated in the projects.

To take the simplest example, provided two occurrences of a same clip but with different keywords and ratings, MergeX will output a  single clip embedding all the keywords and ratings of both inputs….”

mergex_image_1024px_80pc
MergeX icon screenshot

Links

Ronny Courtens: Colour Grading Workflow in Final Cut Pro X Using Chromatic

“… In his presentation at the FCP X World event at IBC, Roger Bolton from Coremelt demonstrated how you can accelerate grading, enhance client presentations and get great results quickly using the Chromatic grading tool….”

Links

time in pixels: False Color Plugin 3

https://timeinpixels.com/false-color-plugin/

“One of the most useful tools for exposure monitoring and shot matching. Bring your camera tool to the post-processing environment!

Available for various platforms including OpenFX hosts: DaVinci Resolve, Scratch, Nuke, Sony Vegas Pro as well as Adobe CC: Premiere Pro and After Effects…..”

Link

CoreMelt Releases Chromatic High-End Colour Grading Plug-in for Final Cut Pro X

On every new installation of Apple’s Final Cut Pro X non-linear editing suite, the very first third-party plug-ins that should be added are those made by Australian specialist FCPX plug-in developer CoreMelt. Roger Bolton’s CoreMelt product range includes Lock and Load, SliceX, TrackX, DriveX,  LUTx, V2 Plugin Set as well as several free plug-ins, all of them essentials in my opinion, and now Chromatics is here as the most essential third party FCPX plug-in of them all. 

What is Chromatics and why are CoreMelt’s plug-ins different from those of other FCPX plug-in makers? To answer the second question first, CoreMelt’s arrangement with Imagineer Systems, maker of Academy Award-winning planar tracking software mocha Pro, ensures that mocha’s tracking technology is available for new CoreMelt products and so Chromatics contains mocha-based tracking.

Mocha tracking is found in other CoreMelt products including Lock and Load, SliceX, TrackX and DriveX, and its presence in Chromatic distinguishes this latest CoreMelt plug-in from the host of colour grading plug-ins on the market.

As well as its tracking capabilities, Chromatic has other essential top quality colour grading features such as LUTs, masks, auto white balance, RGB curves, HSL Curves, Lab Curves, Lift Gamma Gain, Lows Mids Highs, and colour replace. Chromatic will be gaining plenty of other features  including a grade management system, LUT export and more in the near future.

Chromatics launch special

CoreMelt is offering a time-limited launch special on Chromatics and a Full Chromatics Looks Bundle including 150+ LUTs at a bonus value of US$99.00, available at a cost of US$99.00 for one week only ending at midnight Pacific Standard Time on 7th August 2017.

The LUTx Look Collection Bundle included in the special offer contains looks LUTs collections including the LUTx LOMO Collection, LUTx Sci Fi Collection, LUTx Social Media Collection, Feature Looks Collection and the Beauty Fashion Food Collection.

A time-limited trial version of Chromatics is available to download.

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Blackmagic Design Releases DaVinci Resolve 14, Most Massive Update Yet, Adds Fairlight Audio Page, Radically Drops Studio Price

The words “gamechanging” and “revolutionary” are well overused in the realm of digital media production and writers are always warned to avoid them. But what other words best describe Blackmagic Design’s DaVinci Resolve 14 in its free and paid-for Studio versions?

The Fairlight audio page of Blackmagic Design’s DaVinci Resolve 14 non-linear editing, colour grading and audio production software suite.

Signs were Blackmagic was up to something radical when it bought pioneering computer musical and video instruments maker Fairlight and the fruits of that move are now here in Resolve 14’s Fairlight audio page.

The first beta of DaVinci Resolve 14 and DaVinci Resolve Studio 14 is now available to download in your choice of three computer platforms, macOS, Windows and two flavours of Linux, Red Hat and CentOS.

The latter option is particularly exciting, as Blackmagic Design’s press release says, “Customers running Red Hat or CentOS Linux can even build their own workstations using low cost motherboards, extremely fast processors, massive amounts of RAM and up to 8 GPUs for incredible real time performance.”

Looks like I will have a good use for the Mac Pro tower sitting next to my workstation when it finally gives up the ghost. Strip it, build a Linux workstation into the case and run DaVinci Resolve 14 in it along with other open source production software.

Blackmagic Design Press DaVinci Resolve 14 Images

From the Blackmagic Design press release for DaVinci Resolve 14 public beta:

The free version of DaVinci Resolve is also available with the same powerful new editing and audio post production features. The $299 DaVinci Resolve 14 Studio version adds the new collaborative multi user tools, over 20 new Resolve FX including the advanced face enhancement tools, 4K and 120fps project support, stereoscopic 3D, optical quality blur and mist effects, film grain, de-noise tools and much more. Best of all, DaVinci Resolve 14 Studio does not require a connection to the internet or a cloud subscription to work.

Free or Studio version?

That is your decision but it is made easier by looking at the features for each of the current five different versions of DaVinci Resolve 14 in the Compare page. If you have a dongle for a previous version of DaVinci Resolve Studio than you can download the version 14 beta. If you don’t then choose the appropriate free version of DaVinci Resolve.

For the most part each version has feature parity with the exception of the more sophisticated creative and production tools and effects. If you are a proud new owner of a Panasonic Lumix DC-GH5 camera and will be working in 10-bit 4:2:2 high bitrate modes, or DCI 4K rather than UHD 4K, shoot video in 6K Photo mode using H.265 HEVC (though Divergent Media’s EditReady transcoder can help there), will be recording to HDR or value Camera LUTs in colour grading nodes, then you will need to consider purchasing a Studio license.

Screenshot from the Compare page, still missing from the linked pages line-up at Blackmagic Design’s DaVinci Resolve 14 webpages. I am informed that HEVC decoding and High 10 Profile H.264 decoding are required to work with some types of footage from Panasonic’s Lumix DC-GH5 camera.

Given that DaVinci Resolve Studio 14’s price has dropped to less than a third of version 12.5’s, comparing it to the combined price of another brand non-linear editing software plus third party colour grading plug-ins plus an audio editing suite, whether paid-for on a monthly subscription or once-off basis, DaVinci Resolve Studio 14’s once-only USD299.00 is starting to look like a bargain.

Don’t forget that we are only seeing the first beta version. Blackmagic Design may make radical changes to each version’s feature set by the time the release versions appear some months hence.

The one thing that DaVinci Resolve 14 in all its versions is currently missing is motion graphics and VFX capabilities, but your needs may be taken care of with Blackmagic Design’s Fusion 8 or Fusion 8 Studio software.

I have not had the time to try DaVinci Resolve 14 out yet so the best thing I can do is link below to an overview of some of its most exciting new features and improvements, written by colourist Joey D’Anna for colour grading website and online training providers Mixing Light.

Consider Time in Pixels’s False Color Plug-in for use in DaVinci Resolve

Cinematographer/photographer Tomasz Huczek makes what is, to my knowledge, the only false colour plug-in for any editing or colour grading platform. False Color Plugin by Time in Pixels is available in two versions, the free evaluation version without time limit, and the full professional version.

Time in Pixels' False Color Plug-in includes industry standard presets and presets for skin tones, highlights and shadows.
Time in Pixels’ False Color Plug-in includes industry standard presets and presets for skin tones, highlights and shadows.

Both come in macOS or Windows versions, and both work in Adobe’s After Effects CC and Premiere Pro as well as OpenFX plug-in hosts such as DaVinci Resolve, Nuke, Sony Vegas Pro and more.

Time in Pixels' False Color Plugin appears in the Scopes section of DaVinci Resolve's Color page, at upper right.
Time in Pixels’ False Color Plugin appears in the Scopes section of DaVinci Resolve’s Color page, at upper right.

If you are familiar with false colour in monitors/recorders such as those made by Atomos, then using False Color Plugin within DaVinci Resolve, After Effects or Premiere Pro should be a doddle, as it were. A Final Cut Pro X version of False Colour Plugin is on its way, according to Tomasz Huczek who informed me that “I am planning to start working on the FCPX version once v3.0 of the plugin is out”.

Links:

Alien Skin: The Exposure X2 Advanced Layers Update Is Here!

https://www.alienskin.com/blog/2017/advanced-layers-update-exposure-x2-available/

“… The new non-destructive layering system is something that many of you have asked for. You can now stack effects more intuitively and with greater creative control. Layers can be copied and pasted, blended, applied to multiple images, saved as custom presets, and more. There’s no limit to the number of layers you can create, and it’s easy to manage them.

New Presets and Overlays
New vintage platinum presets provide delicate, rich platinum tones that imbue your images with warm blacks and expanded mid-tone grays….

Exposure now supports the following cameras and lenses:

  • Fujifilm XF 10-24 f4 and XF 35mm f2 lenses
  • Canon 5D Mark IV and Canon 80D cameras
  • Manual lens correction enables you to adjust lens distortion, select a lens profile, and turn off lens correction….”

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