Next to the settings where you select your camera and output device are three controls: exposure, temperature and tint. With the SLog3 footage from a Sony A7S II, the ACES “correction” looked quite dark and contrasty. By the way, the profile differed only slightly from a regular RGB display profile. My monitor is calibrated to a Rec.709 space, so I chose a Rec.709 output profile. I had SLog3 and Protune footage to test with. I also hope the developers of Ctrl+Console, the iOS app that lets you control Premiere Pro, Lightroom and Final Cut Pro X from an iPad, will make an effort and develop a new module for Color Finale. I found a couple of resources that refer to experiences with a Ripple and which show how easy it is to set up and use with Color Finale. I was hoping to get a Tangent Ripple to try Color Finale Pro with, but Tangent Wave had no demo units available for me to play with. X-Rite’s i1 Profiler software lets you calibrate a computer monitor for Rec.2020. As with any colour management system, you best calibrate your monitor to the output profile you choose. The plug-in has output profiles for RGB monitors, Rec.709 monitors, Rec.2020 displays and DCI-P3 monitors. The Color Finale implementation of ACES includes half a dozen cameras, with others having been promised to be added soon. ACES also supports the creation of digital cinema and HDR footage. It uses a target display profile to show you what the end-result will look like. It helps colourists achieve consistent colour across multiple camera brands and types. ACES is a colour management system that has been developed by the organisation that hands out the Academy Awards. The most interesting new features are ACES grading and the Tangent Wave support. Color Finale is a Final Cut Pro X effect.
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