[Matthew Celia] "I think many people talking about "accurate color" and this guys workflow have missed an important point worth repeating: his shows are airing on broadcast and the consensus is that the shows look JUST as good, if not better... He also does all his color in FCPX... I find his workflow and his drive in the spirit of moving forward, rather than clinging to "the way things are done simply because that's the way we've always done them". "... I found the article pretty exciting. Naysayers be damned.
I started the conversation about color here, so I assume you're talking to me.
Why put the quotes around accurate color? Color matters, and accuracy is important.
Color management in FCPX is an exciting feature, and
I've defended FCPX's color and rendering system before [link].
I'm not trying to nay-say FCPX at all here, and I didn't miss the part about broadcast work being cut and colored with it. I think that Mr. Hoye is using a profiled monitor, as he mentions using an "external profiling device," so his workflow looks pretty sound.
If the article is supposed to be about using FCPX to deliver for broadcast, though, it should get color right. Instead, either through poor editing or a technical misunderstanding, the article contains some bad advice.
It also ends before the final deliverable. For the sake of completeness, I'd be curious to hear about the workflow from his file masters to HDCAM tape at the external post facility -- especially if a legalizer is used.
I'm not saying that FCPX is incapable of quality output -- just the opposite! I'm trying to clarify what's necessary to do with FCPX to get quality output.
Walter Soyka
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