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• The Color Finesse preview displays now automatically adjust to footage pixel aspect ratio, giving you a correctly formatted preview when working with anamorphic footage. • The Vectorscope has been enhanced with a zoom capability, making it easier to see detail when white and black balancing. • Color Finesse now supports the Tangent Wave control surface, in addition to our own Colorociter Colorist's Workstation control surface.

Download Color Finesse 3.0. Is an advanced and powerful color correction and enhancement software which can be used as a standalone utility or as a plug-in for. Short details of Color Finesse: Now you can have telecine-style color correction that fits your workflow rather than imposing a new one. Color Finesse 3 gives you the high-end color correction and enhancement tools you need both as a plug-in for your favorite applicationa€”including After Effects, Final Cut Pro, Motion, and.

Of course *saying with a sense of humor*, I can't tell what my colorbars are with these colorbars since I'm at the point right now where I don't trust my After Effect scopes!:) 'If they were encoded 0-255, the color bars would have the color channels maxing out at 191 and the black bars would be at 0. But then you'd lose the 'blacker-than-black' portion of the PLUGE.' I'd have different colorbars for Rec 709. But, I'm trying to work in Rec 601 which as you rightly noted is why my colorbars are 75% saturation.

Color Finesse gives you full creative control over the color, mood, and look of your images quickly, easily, and accurately. The difference is visible when you use the best tool for the job. Full Specifications What's new in version 3.0.14 • Fixed issue where the full UI could not be launched if more than one adjustment layer had Color Finesse applied (Mac/Win). • Expressions affecting Color Finesse parameters were not always updating the Color Finesse controls (Mac/Win).

You show it in your second image. I still can't find for certain any reference about this, but it makes sense that 16-235 would change whatever video that is handled by Finesse.

• The plug-in has a simplified interface giving you access to the most commonly used color correction controls directly in the host application. • Scrub through the clip you're correcting and preview your work with realtime playback. • Direct communication with video preview hardware without additional software. Supported hardware includes FireWire/DV (Mac), Blackmagic (Mac/Windows) and AJA (Mac).

Yes, I agree! Of course *saying with a sense of humor*, I can't tell what my colorbars are with these colorbars since I'm at the point right now where I don't trust my After Effect scopes!:) 'If they were encoded 0-255, the color bars would have the color channels maxing out at 191 and the black bars would be at 0. But then you'd lose the 'blacker-than-black' portion of the PLUGE.'

I have no idea! I've given up. Can someone please verify this for me.

Scopes show everything as I would expect. I put the same into After Effects, and was shocked by how I couldn't get it to show correctly on the scopes. I then spent hours re-starting my machine, trying different settings, and verifying everything I could. I attached my preferences I set in Color Finesse to help show that. Finally, I threw my hands in the air. I have no idea what the issue is.

You will need the serial number to install the upgrade.) To address some of the other issues raied in this thread: SMPTE bars were developed for an analog NTSC world, where color is encoded as YCbCr color difference signals. That's why they have a tough time making the transition to the digital, RGB, world. The bars you posted are set up as 75% saturation, encoded into RGB in the range 16-235 (thinking of them as 8-bit). Because they are RGB, they can't encode the I and Q patches (the purplish/bluish patches in the lower left). You can tell that they are at 75% saturation because the color bars do not ever reach 255 in any color channel. They should max out at 180 for 75% encoded 16-235. You can tell that they are 16-235 because the black bars are at a value of 16 (not 0).

You do get bars overlaid with the name of any missing footage, but I've never been sure how 'correct' they are. So, if you are using a still image to create bars, then you might find that the original is not exact, or that whatever compression scheme used caused some variation from the standard. FYI - Premiere Pro does generate bars that look pretty accurate on my hardware scopes. Many camera manufacturers also create their own version of color bars that are very similar to SMPTE bars, but they are not called 'SMPTE Color Bars' and might not exactly match the standard.

• A new Highlight Recovery tool provides a visually-pleasing way to recover overbright areas of the image which would normally be clipped. • Color Finesse can now export its color correction settings as a 3D LUT in a variety of formats, including Autodesk Lustre and Smoke, Academy LUT, Assimilate Scratch, Pogle, Truelight, Cine-tal, and LUTher. • The Color Finesse preview displays now automatically adjust to footage pixel aspect ratio, giving you a correctly formatted preview when working with anamorphic footage. • The Vectorscope has been enhanced with a zoom capability, making it easier to see detail when white and black balancing. • Color Finesse now supports the Tangent Wave control surface, in addition to our own Colorociter Colorist's Workstation control surface.

A reference gallery of images make it easy to compare frames from different scenes to accomplish color matching. Previews can be directed to a second computer monitor for full size previews, or sent to an external video monitor via a video output device, including Blackmagic Design, AJA Kona (Mac only), and nVidia Quadro SDI (Windows only). Reviews “Synthetic Aperture Color Finesse 2 is a powerful tool that every editor will want to investigate. It is designed in an intuitive manner that editors will find easy to use. Whether you're just trying to fix that DV footage or doing DI on the desktop, Color Finesse is one of the tools that will make your job not only affordable but also quite enjoyable.” Oliver Peters, Videography Magazine “The new simplified plug-in interface allows for much quicker adjustments over 90 percent of the necessary color decisions without the need for launching the full interface. Improved secondary control and refined luma level controls move Color Finesse into a league of its own for color correction.” Jack Tunnicliffe, Java Post Production.

I am getting wrong SMPTE Color Bars in the scopes for the After Effect's Color Finesse 3 Plugin. Out of After Effects, I have run the SMPTE Color Bars through other scopes and they appear correct. And, I seriously have spent a few hours fiddiling with After Effects to figure out why the scope levels are so very off? I have no idea! I've given up. Can someone please verify this for me. Here is the output of the Color Finesse 3 Luma scope for the levels: The settings I have for the Color Finesse 3 in the preferences is: This is where it's wrong on the scope in Color Finesse 3: Here is the exact SMPTE Color bar I am using as my official reference in After Effects: I have no idea why I am seeing this on my scopes in After Effects!

At any time you can purchase a serial number from our on-line store, re-run the installer, and enter your serial number to activate the product. Looking for older versions of our products? Most are available on our page.

Many camera manufacturers also create their own version of color bars that are very similar to SMPTE bars, but they are not called 'SMPTE Color Bars' and might not exactly match the standard. To answer you question: I'm not absolutely sure, but you may want to try setting Video Level Coding to 0 - 255 instead of 16 - 235. Jim Colorburst Video. Hello Jim, Thanks for the info. I suppose you are right. The color bars is owned by the SMPTE.

Additional - the color bars generated inside of FCP are only absolutely accurate inside FCP (assuming that they are generated correctly.) So the idea is that 'whatever was created on this system looked good with everything set to those color bars.' When you move the material out of FCP, you would then adjust whatever environment you were in so that the bars are correct. The sequence of the seven color bars was chosen so that it runs through all seven possible combinations that use at least one of the three basic color components of green, red, and blue, with blue cycling on and off between every bar, red cycling on and off every two bars, and green on for the leftmost four bars and off for the rightmost three. The R, G, and B here are defined as completely saturated (from an NTSC standpoint.) I'm not sure you could ever save the image as any sort of compressed file, for instance, a jpeg, and have it be absolutely accurate when displayed. BTW - It has been said that NTSC stands for Never Twice the Same Color by those of us who worked with it in analog form on a regular basis. Jim, you wrote: '.Video Level Coding to 0 - 255 instead of 16 - 235.' I was referring to a Preference > Video System in Color Finesse.

And as I said, I believe mine is correct. I am hoping someone can verify the pattern or perhaps has dealt with this issue before in After Effects. Hello Dave, You wrote, 'Well, I dealt with a similar situation trying to import the SMPTE bars from Final Cut Pro into AE, and they didn't work, either. They were fine in FCP, but goofy in AE.' This is telling!

My point is, After Effects should work for me too. Right now, it's just not. I'll continue to investigate!

Has anyone else come across this? Last, I was shocked to see how difficult it is to find an OFFICAL SMPTE color bar on the internet. Does anyone have a direct link to an offical SMPTE color bar that I can download? I kept thinking there was something wrong with my color bars, but I've compared it to other ones I have and it seems correct.

You will need the serial number to install the upgrade.) To address some of the other issues raied in this thread: SMPTE bars were developed for an analog NTSC world, where color is encoded as YCbCr color difference signals. That's why they have a tough time making the transition to the digital, RGB, world. The bars you posted are set up as 75% saturation, encoded into RGB in the range 16-235 (thinking of them as 8-bit). Because they are RGB, they can't encode the I and Q patches (the purplish/bluish patches in the lower left). You can tell that they are at 75% saturation because the color bars do not ever reach 255 in any color channel. They should max out at 180 for 75% encoded 16-235. You can tell that they are 16-235 because the black bars are at a value of 16 (not 0).

Don't assume that bars you get from a (consumer/prosumer) camera are correct; there have been several cameras where the designed got confused. For use in AE you usually want bars that are 0-255, since that is the natural range that AE works in, and you want your bars to match the rest of the footage. In 98.3% of the cases, you want to leave the Color Finesse preference set to 0-255, and the 'Blacks are at 7.5%' preference unchecked, and use 0-255 bars.

Something so simple has become quite frustrating. So, my point was, I didn't trust anything on the internet. I trust my SMPTE calibration pattern more than what I could find.

Always greatly appreciated! Which version of Color Finesse are you running?

There was a bug fixed in version 3.0.5 on Windows which could account for this. The current version for download is 3.0.8. Adobe CC 12.2 includes Color Finesse 3.0.10. My tests with the color bars you provided display everything as expected on both Windows and Mac. (Before you upgrade, copy down your Color Finesse serial number from the dialog you get clicking CF's 'About' button. You will need the serial number to install the upgrade.) To address some of the other issues raied in this thread: SMPTE bars were developed for an analog NTSC world, where color is encoded as YCbCr color difference signals.

When you move the material out of FCP, you would then adjust whatever environment you were in so that the bars are correct. The sequence of the seven color bars was chosen so that it runs through all seven possible combinations that use at least one of the three basic color components of green, red, and blue, with blue cycling on and off between every bar, red cycling on and off every two bars, and green on for the leftmost four bars and off for the rightmost three. The R, G, and B here are defined as completely saturated (from an NTSC standpoint.) I'm not sure you could ever save the image as any sort of compressed file, for instance, a jpeg, and have it be absolutely accurate when displayed. BTW - It has been said that NTSC stands for Never Twice the Same Color by those of us who worked with it in analog form on a regular basis. Jim, you wrote: '.Video Level Coding to 0 - 255 instead of 16 - 235.'

As you wish: Here is the resulting Luma scope: Still wrong! You said, 'Additional - the color bars generated inside of FCP are only absolutely accurate inside FCP (assuming that they are generated correctly.) So the idea is that 'whatever was created on this system looked good with everything set to those color bars.'

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Color Finesse gives you full creative control over the color, mood, and look of your images quickly, easily, and accurately Now you can have telecine-style color correction that fits your workflow rather than imposing a new one. Color Finesse 3 gives you the high-end color correction and enhancement tools you need as a plug-in for your favorite application—including After Effects, Final Cut Pro, Motion, and Premiere Pro. Highlights Color Finesse as a Plug-in - Above and Beyond Built-in Color Correction The Color Finesse 3 PI plug-in works directly in After Effects, Final Cut Pro, Premiere Pro, and other hosts. You get simple access to color correction directly in the host application as well as via the specialized Color Finesse user interface. Most video editing software now has its own built-in color correction, but it's often limited in capability, accuracy, and performance.