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Wherever you see a light area in the mask is where that color correction will be applied. The mask controls include black and white level sliders, blurring, and the ability to invert the mask. This is a monochrome version of the image in which the dark-to-light contrast range acts as a qualifier or matte source to restrict the correction being applied to the image. The second major addition is that of image masks. Once you get used to this grouping strategy with inside and outside masks, you can achieve some very complex results. The parent mask around the model maintains that the sky gradient is applied behind her rather than in the foreground. In that group I could add additional masking, such as an edge mask to create a gradient. Then I applied a new group with an inverted mask to adjust for the sky. In the example image, I first applied a mask around the model at the beach and color corrected her.

Now you can add new layers to grade the area outside of the same mask. Then add a new mask that is an invert of the parent mask. If you want to also grade the area outside of that mask, simply apply a new group inside the first group.

Grading would then be done within that mask. The new version 2.1 feature allows a mask to be applied to a group, which then becomes the parent mask. But in version 2.0, grading occurred either inside or outside of the mask, but not both. ( Right-click images to see enlarged view.)Д¬olor Finale 2 launched with trackable, spline masks that could be added to any group or layer.

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Color Finale 2.1 is a free upgrade to Color Finale 2 owners and adds several new features, including inside/outside mask grading, an image mask, a new smoothness function, and the ability to copy and paste masks between layers.

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In keeping to that goal, Color Trix just released Color Finale 2.1 вЂ“ the first major update since the December launch.

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Color Trix launched the revamped Color Finale 2 this past December with the goal of building Final Cut Pro X into a competitive, professional grading environment. Most editors want high-quality solutions that keep them within their favorite editing application. The release of the Transcoder is the first new launch for the company since December 2020, with plans for the company to launch additional advanced products later this year.Color grading roundtrips are messy and prone to errors. With thousands of daily users, Color Trix has developed multiple Final Cut Pro plug-ins, including Color Finale, for professional colour grading, Color Finale LUTs and Color Finale Connect. In its initial incarnation the newly created add-on, the first of its kind globally, is to quickly import the unsupported camera media into Final Cut Pro, with plans for more media to be compatible in the future. It really is a completely streamlined approach that provides seamless integration that, to the frustration of many filmmakers, has not previously been possible.вЂќ

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For example, BRAW footage, shot on a Blackmagic camera, requires an external third party application to transcode files before the start of the editing process.Д¬ommenting on Color Finale Transcoder, founder & CTO, Dmitry Lavrov said, вЂthis is the very first time that users of FCP have been able to have an instant preview of their ingested footage and with a full range of camera settings. Having to transcode media prior to importing it adds an extra and time consuming stage to the workflow. There are a full range of camera setting adjustments directly within the import interface and it also allows the handling of multiple clips at once and choice of SDR or HDR colour space. The Color Finale Transcoder extension significantly streamlines the workflow, allowing the user to import raw camera media BRAW, ArriRAW and CinemaDNG directly into Final Cut Pro making them immediately available for editing. Color Trix has announced the launch of its latest product, Color Finale Transcoder, a new workflow extension enabling camera media to be imported directly into the Final Cut interface.

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