FCPX 10.4 Presentation at LACPUG: Color Grading, 360 VR and HDR Features

March 9th, 2018
FCPX 10.4 Presentation at LACPUG: Color Grading, 360 VR and HDR Features

The recent Los Angeles Creative Pro Users Group (LACPUG) meeting was dedicated to the main features of Final Cut Pro X 10.4. Thanks to LumaForge this presentation has been made available on YouTube. Read on for our summary of the best parts of the presentation. 

There are basically 3 main features in version 10.4 of FCPX: 360 VR editing, advanced color grading and HDR support. Let’s discuss about them one by one.

Color Correction and Grading

The interface includes the Color wheels, Color Curves and the Hue and Saturation Curves. 

There is a new option of manual white balancing the shot in order to correct the white balance. In my opinion it’s much more preferred than previous white balancing options found on FCPX. 

Manual white balance

One of FCPX’s main Achilles’ heel regarding color grading was its inconvenient color board. It was unclear how to use it and it didn’t match the popular interface of the color wheels from other platforms like Premiere Pro and Resolve, which caused external developers to design color wheel plugins especially for FCPX, like the great Color Finale developed by Denver Riddle. Now FCPX offers its own in-house color wheels, and it’s about time. 

Color wheels

Furthermore, the Color Curves makes it a much more trivial grading tool from a user experience point of view, and looks much more similar compared to the good old DaVinci Resolve interface, which is an improvement. 

Also demonstrated was the new simplicity of adding new LUTs, which significantly facilitates the process when LUTs are needed. 

Adding LUTs

HDR feature

It seems that these days HDR is one of the hot topics in our industry (see our detailed article here). FCPX now has the option to handle HDR inside the color gamut of Rec. 2020 in order to expand the range of the reds and the greens.

Rec.2020

When grading HDR images, the scopes don’t stop at 100 anymore, but rather go up to 10,000, granting the colorist a huge range to play with while preserving image detail.

Scopes reach over 100

Judging by the presentation, it looks like handling HDR on FCPX is a piece of cake.

360 VR

FCPX 10.4 now offers the brand-new 360 Viewer, which allows you to work as if you’re viewing with a headset.

360 VR and Headset

There is also an option for 360 titles, which – when combined with the magnetic timeline – seems to make titling a straightforward and friendly process. Furthermore, there are some 360 new filters (effects) to get started with. 

360 filters and effects

Editing 8K footage

The ability to playback 8K footage on the iMac Pro was also demonstrated in the presentation, proving that the new iMac Pro and FCPX 10.4 could be a winning combination with the potential to smoothly handle 8K footage with effects applied. Indeed, playback went smooth without any drops in the timeline. 

Watch the full presentation below:

Conclusion 

Based on this presentation, it really seems like FCPX is offering some powerful new features and capabilities. However, these “new” features don’t impress me as much: the old color palette should have been replaced years ago, and Premiere Pro already offered 360 editing capabilities. 

There is, however, no doubt about the significant synergy between FCPX and iMac Pro which raises its credibility regarding demanding editing tasks. But we just have to wait and see if the 10.4 is powerful enough to edit an 8K feature. The most important “features” regarding pro editing are speed and reliability. We editors expect the software to get the job done without any delays or crashes.

What do think about these features? Have you used FCPX 10.4 yet? Let us know your thoughts in the comments.

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Stuart StuTyler WarrenJames MansonFunky Punky Monkey Junk Recent comment authors
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Caleb Genheimer
MemberMarch 9th, 2018

I’ve had trouble with the sat vs lum curve. It will super-saturate individual pixels in the shadow to 100% blue/green/red, making that tool completely worthless. Final Cut X is now also giving me the red block of death, where the timeline window is just a big blank red rectangle, rendering the entire program completely useless. Apple has no fixes. It happened on Sierra, and I upgraded to HSierra, still happening, after trashing presets and remaking events in a new library. I can’t edit, period. End of sentence. I like FCPX because of the magnetic timeline and reasonable price tag, but Apple needs to get a team dedicated to fast-solving bugs and roll out patches quicker if they’re going to keep pro customers happy. I’m currently cutting in Davinci which is free and almost comparable.

Einar Davíðsson
Einar Davíðsson
MemberMarch 11th, 2018

On what machine is this happening? Sounds like it might be a graphics card issue…

 Stuart Stu
Stuart Stu
MemberMarch 10th, 2018

Oh wow… how much of a knucklehead does one have to be to actually admit that “It was unclear how to use” the color board for him… ?? I’ve taught *8th graders* that got it after just FIVE MINUTES.

This is just another classic cinema5d, teeth-gritting Premiere-Pro user forced to TRY and say something positive about FCP, which he doesn’t even vaguely “get” and obviously feels his “pro-ness” is somehow threatened by. But then, of course, sprinkles in polemic ” But PREMIERE has…!” inserts, only to show how utterly IRRELEVANT that is and how painfully biased HE his. Because whether Premiere has had 360 VR or anything else even since 1852 or not, is completely irrelevant in this context (if you’re in fact trying to write a balanced UNbiased piece), let alone beside the entire point. It’s HOW it’s implemented, and that is where Apple shines, as always. Just like when comparing the cingeworthingly sad multicam tools PPro has in comparison to X. Ouch.

But my absolute FAVORITE? It’s this one: “The most important “features” regarding pro editing are speed and reliability. We editors expect the software to get the job done without any delays or crashes.”

LOOOOL… well, than one might want to quickly shut up about PREMIERE PRO of all things, no?? The same PPro that is SMOKED by a huge margin by FCP X in terms of speed? The same PPro that has become the poster-child for UTTER INSTABILITY, getting two new bugs for every ONE that has been fixed?? Yeah. That one.

Ah well, then I guess the only logical conclusion there, Mr. Super-“Pro”, is that you’ll be using FCP X full time from now on, hm? ? ?

Jason Brooks
MemberMarch 12th, 2018

Stuart, chill out man. It’s one thing to express legitimate critiques of a review, but there’s no need to be insulting.

The majority of your issues with the review are based on unfounded assumptions about the author, which further reinforce the feeling that you’re writing unreasonably.

Grow up a little. There’s simply no need to call someone a “knuckledhead”, just because they aren’t completely gushing about a long-overdue update your favourite piece of software.

I for one, found the preview balanced and included a refreshing degree of scepticism until we see the new version and its updates performing “in the wild”.

-jason

James Manson
James Manson
MemberMarch 13th, 2018

Hey Jason, you chill out man! I thought he expressed himself quite reasonably, just because you don’t agree YOU ATTACK HIM. You grow up.

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberMarch 13th, 2018

“The most important “features” regarding pro editing are speed and reliability. We editors expect the software to get the job done without any delays or crashes.”

If you’re scoffing at that, your credibility is zero.

 Stuart Stu
Stuart Stu
MemberMarch 14th, 2018

Bingo.

James Manson
James Manson
MemberMarch 13th, 2018

100% right. Cinema 5d is all about Canon bashing and Final Cut Pro X bashing. Normally by plebs that aint done shit!

 Tyler Warren
Tyler Warren
MemberMarch 13th, 2018

Since when did Cinema5d start attracting this type of drama? It’s childish. ‘Plebs who ain’t done shit’? What are you, five?

 Stuart Stu
Stuart Stu
MemberMarch 14th, 2018

What are you, a clueless tool? … oh yeah. :-)))

Cry us a river. Your blatherings both above, but even more so below, make PAINFULLY clear you don’t even have the first clue what you’re blindly lamenting about when it comes to X. Just another learning-by-doer student of Youtube with an inferiority complex who thinks by reciting brainless memes and various other stuff he picked up off the interwebs, as well as trolling threads he doesn’t even have the minimum requirements for, he can “establish” himself as the big video Kahuna… whilst accomplishing nothing but the exact opposite. Cringeworthy beyond anything…

 Tyler Warren
Tyler Warren
MemberMarch 13th, 2018

Stuart –

What?

The article is super fair. The author shows less of a bias than you’re displaying here as an obvious anything Apple fan. ‘It’s HOW it’s implimented, and that’s where Apple shines, as always.’

Kettle black much? Final Cut used to be all of our favorites, but it’s implimentation has suffered more than Face ID at a keynote speech since it’s transition from 7 to 10.

I own it. Don’t use it, but I spent $300 on it and learned how to use it in case some other firm or content creator prefers it.

I also want Davinci’s NLE to work well too, for the most part it’s alright, but speed wise I need to be able to pull selects from multiple timelines and have more hot key flexibility, something it just doesn’t do yet. If it does then there might be one that rules them all some day. Different horses for different courses my man. No need to revert to insults. If you want to increase your value in the market space it’s best to use the right tool for the right job. The state of things is, even with Premiere’s admitted faults and bugginess (I mean there are errors that still swing at me from cc2015 but hey we have new titles!! And don’t get me started on how they massacred that feature) it’s still ‘faster’ to crash now and then than to have a workback in the Apple ecosystem that needs to be finished and or handed off to Adobe. It still doesn’t matter what NLE you use if you’re going to Resolve because XML/EDL round trips are still so obnoxious and clunky.

Just use the one that gets it to your client faster, tighter, and better.

Cheers

Jason Brooks
MemberMarch 13th, 2018

My thoughts exactly Tyler. One thing though, I’m surprised that you find the XML+EDL conform to DVR “obnoxious and clunky”, sure it’s not a one-click like sending clips to an AE comp, but once you’ve done it a couple of times it should be done in 1-2mins tops.

This tut illustrates the process well: https://www.youtube.com/watch?v=YV6XCXMCSQw

Just in case your frustration came from an unnecessarily complex workflow… ;-)

Cheers,

jason

 Stuart Stu
Stuart Stu
MemberMarch 13th, 2018

“Kettle black much?”…

???!
LOL… do you even know what that MEANS??! Since you could just as well have written “Chicken nuggets bucket banana screw?”, which would have made just as much sense in that context… wow.

“hot key flexibility”??! :-)))))) You have absolutely ZERO clue what you’re blathering about. OUCH. Just making **** up as you go along. Talk about desperate…

We’ll just ignore that FCPXML is in fact by FAR the most efficient and flexible exchange format on the planet. But you’re clearly SO clueless and just pulling memes out of your ***, why waste my time.

Yeah, just more of the usual “Bought it, but don’t get it… duuuh! So I’m allowed my complete IGNORANT ‘opinion'” malarkey without turning red. Bravo. Not worth my time.

 Tyler Warren
Tyler Warren
MemberMarch 13th, 2018

You are a really toxic person. Normally I’d refrain from making targeted sentiment like that, but I’m pretty positive you’re not really worth worrying about.

Calling the kettle black is a very old term, albeit obscure to some due to its root in literary context. It basically means ‘I know you are, but what am I’, you’ll get that reference, I’m sure.

Hotkeys are critical for quick editing. I cannot swap from program to timeline, to timeline, select a clip, ctrl-c, swap timelines (shift-3), paste (whether insert or overwrite), go to my source monitor, in-out, drop clip into timeline, go to a different timeline with different selects (no, we don’t put them all on one junior) rinse wash repeat and back to my timeline without ever touching a mouse. I rarely use a mouse, and this is one example, but it’s so frequent (for me, someone who does work in the field, edits work frequently for Nike, Adidas, Christie’s, Television shows/pilots, and feature films- can we see your resume please?) where timelines and turn arounds are sometimes as short as a few hours. So, no, I’m not grasping at straws, then again I own my own RED, studio, several work stations, and every tool I could want to do the job, so I must not be too bad at what I do.

And Jason, thank you. I know that workflow, which is great for absolute final delivery. My issue is revisiting these projects after the EDL has been made/colored. Probably don’t need to do that, but we are learning ACES, we also like to play with RED/Alexa footage in resolve natively, just wish there was a better option for doing that dynamically back and forth between Premiere and DVR. I am so open to your tips and tricks if you have them. I very well could be doing it a less efficient way than some.

Cheers Mate.

Jason Brooks
MemberMarch 13th, 2018

Yeah, it definitely does become more of a PITA once the client or director inevitably comes back to make “just a few small changes”, and then you have to go back in and re-export the timeline (or sections of it), re-adjust the grade, and re-export the master. I guess if that’s looking likely that will happen pre-grading then it could be worth connecting the DVR project to the original rushes rather than a flattened ‘to-grade master’, and then all that would need to be re-exported would be the .EDL, but that brings it’s own headaches too.

I totally agree that it would be great if there was an automated plugin or standalone app that would link PPro sequences to DVR dynamically, or indeed if DVR continue to develop their NLE capabilities until they keep up with PPro functionality. Unfortunately I think it’s probably a long way from that right now!

I’ve also been toying with the idea of giving ACES a spin for more colour-critical work, but am yet to understand the benefits clearly enough to justify the learning curve. From what I understand it gives more confidence when exporting for multiple colourspace deliverables, and allows interchangeable grading from HDR and SDR. Are there other advantages I should know about?

Shame about the shit-throwing side-show, but better to rise above. Jeez.

Jason

 Tyler Warren
Tyler Warren
MemberMarch 13th, 2018

Jason,

Yeah you hit the big advantages (at least from our understanding of it currently). From a practical standpoint as to what I really notice is the way it deals with latitude specifically. I’m no color scientist but I have chops ;) and as ignorantly as I can explain it, instead of stuffing the information into a rec709 container it basically operates above it. It bypasses all of the camera’s color decisions and you sort of get to choose where you want your dynamic range to live, in what stops specifically. I don’t think I said that right but yeah, we have graded FS7 aggressively next to RED, really compressed codecs out of gopros and dslrs up against 50k plus setups and it just is so easy to get everything looking like they live in the same world. Plus as ACES will simply be the new standard it’s just going to be important to know at least how to get a project in that space. Already had several people ask for ACES. Absolutely correct about HDR as well, pretty much going to be the best way to do it as HDR becomes industry standard.

As for Stewart, it’s the internet. What can we do, heh.

Jason Brooks
MemberMarch 13th, 2018

Awesome info, will definitely have to dig into it on my next low-pressure grade…

Cheers,

jason

 Stuart Stu
Stuart Stu
MemberMarch 14th, 2018

Too much of a bloated blowhard to even spell a simple name right. LOL

 Tyler Warren
Tyler Warren
MemberMarch 14th, 2018

Question, just how many smiley faces and LOL, wow’s and caps does it take to correctly spell your name? Sorry, I don’t speak 8th grade.

Speaking of 8th grade, when you were teaching your peers Final Cut X did you share your work with them? Because if you’d like to keep talking trash, trolling, I will gladly compare work, right here in front of everyone, you childish, disrespectful, ant who has done nothing but spread poison here. I’m really surprised the mods are letting it happen.

Go ahead, put your money where your mouth is, let’s see what you’ve got. I’ll let you go first teach since you seem to know it all. Then I will show you what my ‘youtube’ learning looks like.

Let’s see who’s the blowhard now.

 Stuart Stu
Stuart Stu
MemberMarch 14th, 2018

Yeah. The TRUE wriTTen WORDS of someone WITH no real arguments TO bring to THE taBle, weaseling his way out of any substance.

:-)))

b-;

^^

(╯°□°)╯︵ ┻━┻

(⌐■_■)

(____/)
( ͡ ͡° ͜ ʖ ͡ ͡°)
╭☞ ╭☞

 Tyler Warren
Tyler Warren
MemberMarch 14th, 2018

Just what I though. Another ‘seasoned’ professional angry with the rest of us because the world doesn’t take him seriously. Wonder why? My substance is in my work, not my words. When you grow a pair I’ll happily compare notes with you. Until then I’d recommend a healthy breakfast, a good lunch, and an earlier bed time, 8th grade Langauge Arts is tough but with a little perseverance you’ll get through it.

Jason Brooks
MemberMarch 14th, 2018

Yeah, I’m also surprised the C5D ADMINS haven’t decided to step in and remove this obvious trolling from their usually fairly clean and decent comments sections!

Oh well, at least it’s only words I guess…

jason

 Stuart Stu
Stuart Stu
MemberMarch 14th, 2018

Don’t be so tough on him now, Jason.

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