If you are going to the BVE Show this week, then you will one of the first to see a couple of exciting new tools for FCPX. Codex will be previewing two new colour correction products on their stand.
First of all, if you don't know who Codex are, we suggest you take a look at their website and the calibre of films their products support. Pretty impressive.
They build recording products for high-end cameras such as Arri's Alexa and Panasonic's Varicam. They also supply media stations for DIT and storage.
Now they have turned their attention to Final Cut Pro X and are previewing two colour correction products on stand P37 at the BVE show this week.
ColorSynth is a colour correction plugin for FCPX priced at £215 ($299)
Codex Keys is a hardware colour correction control surface priced at £1,075 (£1,500)
(Right click for larger images)
The ColorSynth plugin has been developed with Hollywood colorist, Yvan Lucas, whose credits include over 190 films such as Amelie, Seven, The Revenant, Shutter Island, War Horse, The Hateful Eight, and the upcoming Martin Scorsese project for Netflix, The Irishman.
ColorSynth has been designed to be easy to use for the beginner, but also offer the power and features needed to achieve some very complex grades. Codex stress that what will be shown at BVE is 'the tip of the iceberg' for the colour grading functionality that they will add to FCPX in the future. To see a company that is so involved with Hollywood production endorsing FCPX in this way is very good news.
Weather depending, we hope to attend BVE and will bring more news. In the meantime, here is the 2018 BVE Preview feature set:
- (6) pre-wired color grading layers, each with toggle, lock, reset, and blend level.
- (9) pre-wired color grading sublayers with extensive Qualifier tools, engineered to accurately isolate color bands as well as luminance ranges for Shadows, Mid-tones and Highlights).
- Multiple instances of a film grade printer lights panel, with individual control over Red, Green and Blue exposure levels, global exposure, saturation and contrast.
- Comprehensive video grade toolset, with Lift, Gamma, Gain and Offset of RGB and individual color channels.
- (3) Color EQ nodes. The Master EQ works as a parametric audio EQ, with all the necessary permutations of Hue, Lightness and Saturation remapping. The 7-band EQ is a specialized tool designed to modify the hue, lightness and saturation of complex conditional color qualities.The Colour Mixer allows super clean RGB-based remapping of (9) color bands.
- Shadows, Mid-tones and Highlights sublayers, each with a full set of Film and Video grading functions.
- Color Temperature controls across all nodes.
- An advanced Tone Curve tool that behaves properly to provide users with extremely clean tonal remapping of RGB and Luminance.
- Tools to control Vibrancy and Clarity.
- LUT import support for multiple layers.
- LUT design export.
- Look management tools to save, copy and paste snapshots, full and partial-grades to FCPX timeline.
- HDR support.
- A “Look” layer tool that will contain a large collection of high-end, predefined film looks.
BVE 2018 Update
I had the opportunity to meet two of the team from Codex at BVE in London. They were very positive about the the plugin and FCPX and gave me an insight into the development roadmap of ColorSynth:
Tracking with adjusting moving masks is planned for version 2.
GUI will be developed to utilise more available screen real estate.
A ColorSynth plugin for Adobe Premiere will be available.
A ColorSynth node will be available for Nuke & Baselight.
Looks will be able to be exchanged between different NLE plugins & compositing nodes.