With the release of DVShade 2.5. I reviewed DVShade Easylooks last year for MFM and this review reflects using the previous and current plug-in for over a year. DVShade EasyLooks.fxpack 4.8 MB. Gracias como siempre te amo coz, @juantv_007 el serial es cualquier numero de 30 digitos, te lo dice antes de que instales.
Mactrast review two great plugins for Final Cut Pro: Motype and DVShade EasyLooks we gave them both 45 read on to find out why! FxFactory FxPack - DVShade Easylooks FxFactory Plugins for Final Cut Pro, Premiere Pro, AE and Motion. Unsubscribe from FxFactory Plugins for.
May 11, 2009
DV Shade EasyLooks 2.5 www.dvshade.com $49.00
By Steve Douglas
Over the years, there have been a great many questions coming from editors regarding both color correction and, with growing frequency, what many companies are calling color looks, color shading or color grading. My own term is color management, but it really is all the same thing, a form of color correction to achieve a specific ambience created by that certain look and feel. This has been made easier recently by the creation of more and more color correction plug ins that go far beyond basic color correction and Final Cut Pro's 3-way color correction wheels. While some of these 'Looks' plug-ins are wonderful to have, not everyone can afford upwards of $800.00 to buy them.
When Noise Industries recently upgraded their many collections, one of their associated software companies did as well. EasyLooks 2.5 is an upgrade with some new features over the previous Easylook 2.1 and it is guaranteed not to break the bank or burn a hole in your pocket.
DV Shade EasyLooks 2.5 is a similar 'looks' color correction, creation tool similar to a few of the correction applications already on the market, but like all similar things, there are differences as well. EasyLooks 2.5 is compatible for Final Cut Pro, Final Cut Express 4+, Motion 3.0, and Adobe After Effects CS3/4. For those who are still using a Power PC G4 or G5, DVShade EasyLooks might be your ticket for a color correction tool that goes far beyond the basics as it is compatible with those machines as well as the current Intel Processor Mac Pros. The only caveat is that you do need to have the Noise Industries FX Factory software already installed to enable your use of DV Shade. That's not a hard choice to make as Noise Industries makes some of the more outstanding filters, transitions and generators on the market today, and I wouldn't hesitate to suggest any or all of their plug in collections to anyone based upon their individual editing needs.
DVShades EasyLooks comes supplied with roughly 35 different presets creating significant color environments from the start. All of them are supplemented with a large number of parameters that you will be happy to have once you start tweaking the appearances to your desired needs. Crack gmail password for free.
The numerous set of default shading presets supplies you with plenty to get started with. Once chosen, switching between preset looks was instantaneous and with no lag time as the new preset loaded. Once you have tweaked any of the presets to your satisfaction, you can save (by clicking on the 'Save As' button in the controls tab), them for future use so time will not be lost as you try to recreate a specific look. Eventually, your list of saved presets will probably grow significantly so be sure to provide your saved preset with a name that will recall for you just what it was. Should you forget to do that, no big problem as I found that switching between any of the presets was immediate. While I did not have the opportunity to try this feature out, you can also share presets with a friend or another computer by emailing or copying to an external hard drive. Once the second computer receives the preset and is copied into their preset folder, it will show up under the 'Choose Preset' drop down menu. On the left is the original frame of a goatfish and on the right with the 'Extreme Contrast' preset. While the default worked well with this image, as if you would probably need for most presets,tweaking of any of them is paramount in getting just the appearance you want. DVShades EasyLooks supplied parameters are simple to apply but, like any color correction work, they demand patience and time to get the appearance you are seeking. They are divided into 6 basic category effects: Basic 3 Way, Black Diffusion, White Diffusion, Gradient, Techni, Color Temperature and Vignette. Any of the effects parameters may be applied or not, then enabling you to adjust them as needed. The Black and White Diffusion parameters simulate many of the previous diffusion type filters I have seen in that they overlay a blur onto the original. There are many ways diffusion can be used in video clips, to create a dreamlike sequence, time travel, a transition to a past memory and plenty you can probably think of. The original image shot in DVC Pro HD on the left and with the White Diffusion enabled on the right. Below I used one of the supplied presets named 'Matrices' on this giraffe. Once the preset was applied I then adjusted the color lift, the opacity of the lows, mids and the mid gain. The original frame. With Matrices applied. Tree Forts Easy Looks Like NacerOriginal on the left and that CSI Miami look made using DV Shades 'Golden Look' preset All in all, DVShade's Easy Looks has improved from its previous version in several ways. It includes a new rendering pipeline for quicker renders resulting in improved quality. The 3-way color corrector is also new as is the new gradient overlays controls and vignette effect. Should you have the previous version, version 2.5 is a free upgrade. Version 2.5 does not step on the previous version so that when you open your DV Shades bin in the effects tab, you will see the previous version there as well. This is so that you will not lose those DV Shades Easylooks effects used on older projects. In the bin, it will say that the older version is obsolete but, again, it is there to prevent loss of your earlier work. My bottom line is that DV Shades Easylooks Version 2.5 worked flawlessly in Final Cut Pro, Motion and Adobe After Effects. If you already have Factory FX installed but do not own the DV Shade Easy Looks color correction package, nor another correction application, I would seriously suggest adding this to your arsenal of color correction tools.
Steve Douglas is a certified Apple Pro for Final Cut Pro 6 and underwater videographer. A winner of the 1999 Pacific Coast Underwater Film Competition, 2003 IVIE competition, 2004 Los Angeles Underwater Photographic competition, and the prestigious 2005 International Beneath the Sea Film Competition, where he also won the Stan Waterman Award for Excellence in Underwater Videography and 'Diver of the Year', Steve was a safety diver on the feature film 'The Deep Blue Sea', contributed footage to the Seaworld Park's Atlantis production, and productions for National Geographic and the History channels. Steve is also feature writer for Asian Diver Magazine and is one of the founding organizers of the San Diego UnderSea Film Exhibition. He is available for both private and group seminars for Final Cut Pro and leads both underwater filming expeditions and African safaris with upcoming excursions to Kenya in Aug.09, the Red Sea and Egypt for Nov.2009, Truk Lagoon and Yap in Micronesia for July, 2010. Feel free to contact him if you are interested in joining Steve on any of these exciting trips. www.worldfilmsandtravel.com
copyright © Steve Douglas 2009
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It’s time to dive in deeper and see how Final Cut Pro X can solve your color grading issues. A lot of FCP X fans like to say that Apple rolled Color into FCP X, but that’s pretty far from the truth. Some features from Color have counterparts in X, but the two applications are completely different and the number of tools at your disposal in Color greatly exceeds the toolset in X. Furthermore, X has no real color correction workflow as you’d find in any grading tool, FCP 7 or other NLE’s like Avid Symphony. That being said, rest assured that Apple definitely improved the color processing pipeline inside FCP X. The way grading affects the image is cleaner and the final results are an improvement over FCP 7. If you can live with the current limitations, you can definitely do quality work within the Final Cut Pro X interface.
The color correction tools center on the tabbed color board section of the inspector pane. The color board offers three tabs for exposure, saturation and color (tint). There’s a submenu accessed from the gear icon for various presets. These provide a quick starting point for the editor who isn’t experienced with color correction. You can also save your own presets from this menu. A number of useful color-oriented filters can also be found in the Looks and Stylize effects categories. If you wish to expand your color board preset options, check out the Lustre Grade Presets from Color Grading Central.
The color board tabs each have four pucks or sliders for global, shadow, midtone and highlight range controls. The exposure and saturation tabs only allow the pucks to go up or down to increase or decrease each value. The color (tint) tab has pucks that can be moved over the entire color swatch range. This tab uses a split-toning approach, rather than the customary hue offset/color wheel model. Move a puck up or down and over a specific color to add or subtract that color’s intensity from one of the four ranges.
The power of the color board comes into play when you start to use more than one instance of the correction. You can apply full screen corrections or have a selection restricted by an HSL key or a shape mask. Corrections may be applied to the inside or outside of a mask. As you’ll see in the examples that follow, you can stack several full screen corrections along with several masked corrections for elaborate grading of footage. Since color board settings are clip modifiers, they aren’t very taxing on real-time playback.
I’ve previously written about the FCP X color correction tools, as well as some of the filters and filter suites available for X. In addition, check FCP.co, Alex Gollner’s site and Ripple Training for more options. When I wrote “Demystifying Color Grading II,” I used the short film Convergence as an example. Name tag template psd free download. Director Martin Scanlan and DoP Steve Lawes shot it with a pre-release Sony F3 and posted the ungraded version at Vimeo, inviting users to download it and to play with. I’ve revisited Convergence in this post. As before, I downloaded the H.264 file, converted it to ProResLT and used that inside FCP X. Since that’s a lot of compression and recompression, you’ll have to excuse some of the images if there’s a bit of crunchiness to them.
Color correction – aka color grading – has two objectives – technical and aesthetic. For the technical, you want to make sure balance, exposure and contrast are right and that shots are consistent within a scene. Since these clips are ungraded images straight from the camera, the starting point for each shot will look a bit flat and somewhat green. A lot of my correction was simply to create a punchier image and to reduce the green cast. Or in some cases, push further in that direction as a choice. The second part of grading is to add a subjective look. Often this verges into “relighting” a shot by brightening some portions and darkening others – much like burning and dodging in photography. The point is to focus the viewer’s attention where you want it to be and to reduce or eliminate distractions.
I’ve posted grades on 21 shots. These are not meant to be consistent nor necessarily how I would actually grade this short film. These are merely an assortment of directions you can go in using the color board, plus a few other filters. Feel free to click on any of the images in this post and at the links within the steps to see a more detailed view.
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Shot 1
a. Ungraded original [Click to view]
b. Tokyo ShadowsHighlights filter for overall tonal adjustment [Click to view]
c. Color board 1 – bright and more normal flesh tone [Click to view]
d. Color board 2 – mask to create vignette – darken outside of mask [Click to view]
e. Final after vignette is applied [Click to view]
Objective – Brighten the shot and get a more natural skin tone. Mixcraft 6 portable. Emphasis lighting focus on the actor.
Shot 2
a. Ungraded original [Click to view]
b. Color board 1 – orange and teal tonal style [Click to view]
c. Color board 2 – HSL key to isolate face and make it more normal [Click to view]
e. Color board 3 – HSL key to isolate scarf and reduce intensity [Click to view]
Objective – End up with an “orange & teal” tonality, without fluorescent reds in the scarf as a byproduct.
Moviestarplanet Easy Looks Images
Shot 3
a. Ungraded original [Click to view]
b. Tokyo CrossProcess filter to alter tones and add glow [Click to view]
c. Color board 1 – adjust tonal range – more golden [Click to view]
d. Color board 2 – shape mask for gradient correction at the top [Click to view]
Objective – A more striking shot with an obvious “over-the-top” tint to the sky.
Shot 4
a. Ungraded original [Click to view]
b. Color board 1 – more contrast and more blue [Click to view]
c. Color board 2 – HSL key to isolate grass and reduce intensity [Click to view]
d. Color board 3 – shape mask to add vignette and darken edges [Click to view]
Objective – Bring the actor out of an otherwise murky shot.
Shot 5
a. Ungraded original [Click to view]
b. Color board 1 – more contrast and saturation [Click to view]
c. Color board 2 – add mask for face [Click to view]
d. Color board 2 – brighten area in mask [Click to view]
e. Color board 3 – shape mask to add vignette and darken edges [Click to view]
Objective – Add more snap to the image and brighten the actor’s face.
Shot 6
a. Ungraded original [Click to view]
b. Color board 1 – tonal change to make it more blue [Click to view]
c. Color board 2 – HSL key to isolate face and make it more orange [Click to view]
Objective – Another variation to the “orange & teal” look with definite blue casts to the dark areas.
Shot 7
a. Ungraded original [Click to view]
b. Color board 1 – more contrast, less saturation [Click to view]
Objective – Add more snap to the image. Moving in the direction of a “bleach bypass” look without going that extreme.
Shot 8
a. Ungraded original [Click to view]
b. Tokyo Tilt-Shift filter (applied twice) to blur outer edge [Click to view]
c. FCP X Teal & Orange filter for stylized look [Click to view]
d. FCP X Vignette filter to darken outer edge [Click to view]
e. Color board 1 – to adjust image tonality [Click to view]
Objective – A dreamier look suitable for flashbacks, using selective focus.
Shot 9
a. Ungraded original [Click to view]
b. FxFactory / DVShade EasyLooks for correction and glows [Click to view]
Objective – A dreamier look suitable for flashbacks, using diffusion, glows and added warmth.
Shot 10
a. Ungraded original [Click to view]
b. Octo filter to mask right edge [Click to view]
c. Set filter to blur for swing-tilt effect [Click to view]
d. Octo filter 2 set to vignette to darken right edge [Click to view]
e. Color board to change tonality towards browns [Click to view]
Objective – Feature the actor better in the shot by using selective focus and changing the overall tonality of the shot.
Shot 11
a. Ungraded original [Click to view]
b. FCP X Aged Film filter to add grain [Click to view]
c. Color board 1 – more contrast, less saturation [Click to view]
d. Color board 2 – shift tonality towards blue [Click to view]
Objective – Create a distressed look by adding grain and more blue tones for a cooler look. Also added touches of the “bleach bypass” look (more contrast, lower saturation).
Shot 12
a. Ungraded original [Click to view]
b. Pomfort AlexaLook2Video LUT filter – misused for effect [Click to view]
Objective – Adding more snap to the image. In this case, I’m pushing it to an extreme by using an ALEXA LUT filter not intended for this purpose.
Shot 13
a. Ungraded original [Click to view]
b. Tokyo ShadowsHighlights for tonality, glow and diffusion [Click to view]
c. Color board 1 – more contrast and more orange skin tones [Click to view]
d. Color board 2 – HSL key to isolate face – more orange tones [Click to view]
Objective – Adding more snap to the image. In this case, I’m pushing it to an extreme by using highlight glows and a push to the orange with her skin tones.
Shot 14
a. Ungraded original [Click to view]
b. FCP X Super 8mm filter for tonal style and grain [Click to view]
c. Color board 1 – slightly darker and less saturated [Click to view]
Objective – A more “filmic” look, with a touch of distress.
Shot 15
Eric prydz presents pryda deluxe edition rapidshare library. a. Ungraded original [Click to view]
b. Tokyo CrossProcess filter to tonal, glow and vignette effects [Click to view]
Objective – This is a cross-process look. The idea stems from film processing where chemicals for one film stock are used to process a different stock, resulting in color contamination. In this case, a shift towards blues and greens.
Shot 16
a. Ungraded original [Click to view]
b. Color board 1 – tonal adjustments [Click to view]
c. FCP X Colorize filter to make image warmer [Click to view]
d. Alex4d Soft Focus filter to add diffusion [Click to view]
Objective – A more romantic feel, using diffusion and warmth.
Shot 17
a. Ungraded original [Click to view]
b. Color board 1 – tonal adjustments [Click to view]
c. Color board 2 – shape mask for vignette to darker right half [Click to view]
d. Color board 3 – HSL key to isolate and change contrast on face [Click to view]
Objective – Relight the shot to focus in on the actress.
Shot 18
a. Ungraded original [Click to view]
b. Color board 1 – tonal adjustment [Click to view]
c. Color board 2 – shape mask to highlight woman [Click to view]
d. Color board 2 – brighten inside of mask – woman’s face [Click to view]
e. Color board 3 – shape mask to highlight and brighten man [Click to view]
f. Color board 4 – HSL key to isolate and reduce intensity of lights in background [Click to view]
g. Color board 5 – HSL key to isolate blues in sky and change the tonality [Click to view]
Objective – Relight the shot to focus in on the two actors. Also darken the sky for a more brooding feel.
Shot 19
a. Ungraded original [Click to view]
b. FxFactory / PHYX Techni2Color filter to shift tonality [Click to view]
c. FxFactory / PHYX BleachBypass filter to brighten image [Click to view]
d. FxFactory / PHYX GlowDark filter to diffuse image [Click to view]
e. Color board adjustment to shift tonality for stylized effect [Click to view]
Objective – Change the entire style of the shot. The pseudo “Technicolor” process adds a blue shift and the “bleach bypass” can be used for color correction with less obvious effect. The Glow Dark filter controls local contrast adding subtle diffusion.
Shot 20
a. Ungraded original [Click to view]
b. FCP X Glow filter to brighten highlights [Click to view]
c. Color board 1 – tonal adjustment [Click to view]
d. Color board 2 – shape mask to isolate and darken bright light in background [Click to view]
e. Color board 3 – shape mask to isolate area outside of face [Click to view]
f. Color board 3 – darken area outside of mask for vignette [Click to view]
Objective – Relight the shot to focus in on the actress. Also to de-emphasize the large light source in the background.
Shot 21
a. Ungraded original [Click to view]
b. Color board 1 – tonal adjustment [Click to view]
c. Color board 2 – shape mask to isolate person [Click to view]
d. Color board 2 – brighten area inside of mask [Click to view]
e. Color board 3 – HSL key to isolate background lights and make them more yellow [Click to view]
f. Color board 4 – shape mask to darken edge for vignette [Click to view]
Objective – Focus attention more on the actor. Change highlight tones in the background.
©2012 Oliver Peters
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