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I've been testing a late-stage beta version of Connect and Color Finale 2.2 Pro and the system works well.

#Colorfinale dmg update#

This in turn would update back on the colorist's system, as well as for all the other participants. The colorist can enable remote control for the DP, which would permit them to make tweaks on their own system. Let's say the session leader is the colorist and the director of photography is a participant. The session leader can enable any participant to also have control. In that case, the data applied to the placeholder frame is updated, but you won't see a reference image. The 'in-place' frames support all native Final Cut media formats, such as H.264, ProRes, and ProRes RAW however, formats that require a plug-in, like RED camera raw files, will not transmit 'in-place' frames. All grading must happen within the Color Finale 2 Pro plug-in, not FCPX's native color wheels or other plug-ins. The data communication is between Color Finale on one system and Color Finale on the others. As more changes are made, the frames are updated in near-real-time. It is peer-to-peer and doesn't live anywhere 'in the cloud.' If a participant doesn't have local media installed, then as the session leader makes a color correction change in Color Finale 2 Pro, an 'in-place' full-resolution frame is sent for that clip on the timeline. Everyone needs to keep their Connect panel open to stay in the session (it can be minimized).ĭata transfer is very small, since it consists mainly of Color Finale instructions therefore, crazy-fast internet speeds aren't required. If they don't have media, then the timeline is populated with placeholder clips. If they have the matching local media, the timeline will be populated with the initial graded clips. Once a session is joined, the participants drag the Project icon from the Connect panel into an open FCPX Event. This generates a session code, which can be sent to the other participants to join the session from within their Connect extension panels. Whoever starts a session is the 'broadcaster' and others that join this session are 'followers.' The session leader (who has the local media) drags the Project icon to the Connect panel and 'publishes' it. To start a session, each participant launches the Color Finale Connect extension within Final Cut. For example, interact with your director via Skype or Zoom on an iPad while you separately control Final Cut on your iMac.

In order to operate smoothly and keep the infrastructure lightweight, person-to-person communication is handled outside of Connect. You can work in a Connect session with or without local media on every participant's system.

#Colorfinale dmg install#

Download and install Color Finale Connect, which shows up as a Final Cut workflow extension. This review is in the context of long distance sessions, but Connect can also be used within a single facility where the participants might be in other parts of the building or in different buildings.Ĭolor Finale Connect requires each user in a session to be on macOS Catalina, running licensed copies of Final Cut Pro X (not trial) and Color Finale 2.2.8 Pro (or higher). Connect enables two or more Final Cut Pro X users to collaborate in near-real-time in a color grading session, regardless of their location.

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The result is Color Finale Connect, which is a Final Cut Pro X workflow extension currently in free public beta. Many editors are working from home these days, so the team decided to leverage the frameworks for macOS and FCPX to enable remote grading in a far simpler method than with other grading solutions. The Color Finale team has been on a quest to bring advanced grading tools to the Final Cut Pro X ecosystem with last December's release of Color Finale 2. High-end remote grading comes to Final Cut Pro X But the investment in workflow development, hardware, and grading environments to make this happen is not inconsequential. This allows a director in Los Angeles and a colorist in London to conduct remote, real-time, interactive grading sessions. That's often a very interactive process that happens on premises between a colorist and a client, director, or cinematographer.Įstablished high-end post facilities, like Compan圓 with locations in the US, Canada, and England, have pioneered remote color grading sessions using advanced systems like Resolve and Baselight. While editing collaboration at a distance can be a challenge, it's a far simpler prospect than remote color grading. Remote workflows didn't start with COVID, but that certainly drove the need home for many. Want to colour grade remotely with a client or colorist in Final Cut Pro X? Now you can with the popular Color Finale 2 Pro plugin running with the new Color Finale Connect workflow extension.