Much of the work Color Finesse is called upon to do is subtle and nearly invisible in the finished product, which is as it should be.
But just because it's not obvious that color correction has been done doesn't mean it's not important to the final result.
We've collected samples from a number of recent projects where Color Finesse was used. Included are color corrected stills as well as some screen shots and "before and after" images where you can see Color Finesse in action.
Wanting to achieve the highest quality images while staying within their budget, Writer/Director/Producer Gene Celso and Director of Photography Justin Chin elected to shoot their short Anything Anymore using a Canon XL-1 with a PS+Technik Mini-35 adaptor for 35mm cine lenses, and perform their color grading using Color Finesse.
Check out the before-and-after images to see examples of Color Finesse in action.
For the hit indie sleeper Bend It Like Beckham, Visual Effects Supervisor Scott Billups was faced with the task of putting the head of a teenage girl onto the body of a six-foot-tall soccer player, and making it look convincing. Complicating matters was the fact that some of the footage was video and some was film.
Billups used Color Finesse's Color Match feature to make sure that skin colors matched so that the mix of film and video was invisible to the audience. Billups says "Color Finesse greatly aided our Bend It Like Beckham work" and that it has "the most sophisticated set of color tools."
Check out the screen shots of Color Finesse being used on Bend It Like Beckham.
Dust to Glory is filmmaker Dana Brown's (Step Into Liquid) feature-length documentary on the 36th Annual Tecate SCORE Baja 1000 desert race. After an off-line edit using Avid, the on-line was done with Adobe Premiere Pro, After Effects, CineForm's Prospect HD, and Color Finesse, creating an HD digital intermediate and 35mm filmout for the entire 90-minute movie, using all desktop technology.
Footage of the grueling 32-hour race was shot on a combination of 35mm, 16mm, and Super-16 film, Sony HD F900, and mini-DV video cameras. Over 55 cameras were used in all. Color Finesse was used to grade footage from all of the different sources to create an aesthetically consistent look, as well as for creative enhancement of the project's look.
Colorist Henry Santos spent two months on the Dust to Glory project. When asked about his experience with Color Finesse, Henry said "It was pretty kick-ass."
By combining 35mm film acquisition with a high-definition digital intermediate process and a 35mm film output, Le Marais combines the richness of the film image with the flexibility of digital manipulation.
The DVD extras contain several clips of Color Finesse being used to grade the film.
In this family-friendly adventure, when a mythical device from ancient times is rebuilt by a group of Confederates who feel the Civil War never ended, 12-year old Mickey Matson and his friend, Sully, must follow a series of clues left to him by his grandfather to keep the evil men away from the three mystical objects that power the device. If he fails, it could mean not only the loss of his family's home, but maybe the demise of our country as we know it. Pitting good against evil, Mickey needs to make tough choices as his adventure unfolds!
The film stars Christopher Lloyd, Ernie Hudson, and Derek Brandon.
The film was shot using a RED One Digital Cinema camera, edited on location with Premiere Pro, and color corrected in After Effects using Color Finesse 3, all at a full 4K resolution.
Dustin Solomon (VFX Supervisor/Producer) discusses the post path in detail on the MutinyFX website. Also available is a video presentation discussing the post path from Premiere to After Effects and Color Finesse 3.
Shot using the Panasonic J-HDC27 VariCam high-definition camera and starring John Glover and Faye Dunaway, Mid-Century uses green screen and CGI elements extensively, making precise color correction essential so that all elements will properly match for a convincing composite.
For one particular scene, Glover and Dunaway were to be composited together, but one had been shot against a green screen and the other a blue screen. While each looked fine on its own, put together their skin tones did not match. Visual Effects Supervisor Scott Billups used Color Finesse to achieve a match, taking advantage of Color Finesse's movable split preview to be able to directly compare the skin tones. Screen shots showing the process can be seen here.
Additional discussion on the use of Color Finesse on Mid-Century can be found in Scott Billups' article The Power of Plug-Ins in the Fall 2002 issue of MovieMaker Magazine.
An original dramatic musical from Saskatchewan, written by and starring Andrea Menard, about a Metis singer in the 40's from a small Indian community who comes to Toronto to find fame and fortune. It aired on Canada's CBC program Opening Night.
Color correction for The Velvet Devil was done by Java Post Production in Regina, Saskatchewan in 1080i HD. Company president Jack Tunnicliffe says "At Java Post we rely on Color Finesse 2 for the highest fidelity color correction available in Final Cut Pro and Adobe After Effects."
Girls meet boy. Girls like boy. Girl builds giant robot to smash other girl.
Xtracurricular combines the conventional teen comedy with equal parts action and science fiction and adds a hint of anime to create a uniquely entertaining film experience.
Shot on a Sony CineAlta HDCAM on a microbudget, finishing Xtracurricular entailed extensive post production for effects and color grading. Visual Effects Supervisor Sean C. Cunningham calls Color Finesse "an invaluable color correction tool."
A television commercial for Hotel Meson de Jobito, shot using a Panasonic GH2 by iGraph Visual Ideas, color corrected with Color Finesse 3 in After Effects.
This commercial for the SEAT Leon was shot on RED One MX and graded with Color Finesse for Champion Motors-Israel.
Director Tomer Bahat describes his experience:
"I received my training on discreet (now Autodesk) products (Flame, Inferno, etc.).
When I switched over to Adobe After Effects, first as a user and then as a director, I was somewhat dismayed by the lack of controls and the output quality offered by the native color correction tools. I was therefore very happy when Adobe started including Synthetic Aperture's Color Finesse with After Effects. Aside of the many professional tools included in Color Finesse—HSL, RGB, levels, curves, secondaries, limiter, and the excellent monitoring tools—it just felt better, color quality wise (which probably has to do with the 32-bit internal processing)." continue reading...
A promotional video for the Unleashed Youth Conference 2010, shot on Sony PMW-EX1, cut in Premiere Pro CS4, and graded with Color Finesse 2 in After Effects.
Shot in Odessa-Pervomaisk by DOP Max Gutsu, this music video for Corporation Nastroenie was shot using a Thomson Viper with Pro35 adapator. It was edited using Avid Liquid and color corrected with Color Finesse.
The color grading includes soft sepia tones and super-saturated primary colors.
Shot using a Canon 5D Mk II DSLR and Canon lenses, this debut music video for Michael Law was shot in South Australia, Australia. DP Nima Nablili Rad takes full advantage of the shallow depth of field of the format to establish a mood and keep the viewer's attention on the model.
The Vimeo page has some great before-and-after still images showing the degree to which Editor/Colourist Daniel Principe was able to manipulate the imagery using After Effects and Color Finesse 2. (You can view Daniel's colourist's reel here.)