I dont know if this is simply the implementation on Final Cut Pro, or if it’s a limitation of my system (although my 8-core Mac Pro has no such problems with FCP’s Color Corrector 3-way or with Color’s) but there’s no smooth update within the image as I drag the color balance handle. However, in practical use I find that the balance controls feel too granular. At a superficial level, I like the design of the wheels, with individual H, S, and L handles that are easy to understand and manipulate. The heart of any color correction interface is the Color Balance Control UI. That said, here are my more detailed observations.
If you’re a DIY filmmaker with more time then money, who likes to color correct your own work, and you like the workflow of keeping it real inside of your NLE, you should absolutely download the demo and give it a try. However, this is ultimately an unfair comparison. Personally, as a colorist using dedicated applications, I don’t find that Colorista II provides a persuasive argument for me to abandon Apple Color’s efficiencies, especially for client work, to go back to NLE grading. Also, through no fault of its own, Colorista II is chained to the performance, effects interface, shot comparison mechanisms, and grade management capabilities, not to mention control surface compatibility, of your host NLE’s interface. However, as well-thought out as it is overall, I do find some of the controls to be a bit unwieldy. Its ample feature set may even replace some plugins you’ve been using with a better mousetrap.
I feel that Colorista II is a worthwhile addition to the NLE colorists’s toolkit, and will live alongside the other plugins you’ve been using very nicely. However, software evolves, and a new version deserves a new look, so I downloaded the demo for Final Cut Pro, and gave it a whirl on a short scene from an old project.īefore I dive into the details of my first look, let me just give you my resulting impressions right up front.
I’m always happy about shiny new tools that threaten to make my life easier, but to be honest I wasn’t a particular fan of the original Colorista. When Stu Maschwitz started beating the drum for Colorista II, I had mixed feelings.
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