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. It’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 – 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. It’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 you’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.Ĭinema 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.
#CINEMA GRADE SUPPORT PRO#
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. Denver Riddle and Dmitry Lavrov are a colour grading expert and software developer who first developed Color Finale for Final Cut Pro X.
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