gif from AE (ME) by Christofer Kellgren Adobe After Effects Premiere Pro Lumetri Colour effect is flashing in and out by David Jackson Adobe Premiere Pro.Master Slider control other linear() by Ilya Sire Adobe After Effects Expressions.David Jackson on Adobe Premiere Pro Lumetri Color Render Issue Adobe Premiere Pro.Eric Santiago on color and quality problem – render.Walter Soyka on color and quality problem – render.Adam Greenberg on controlling 4 keyframes with sourcerectattime Adobe After Effects Expressions.Eric Santiago on Premiere Pro Lumetri Colour effect is flashing in and out Adobe Premiere Pro.Ilana Kohn’s New Fashion Campaign Created with DaVinci Resolve Studio and Blackmagic Cloud But if you do primary color correction on your BRAW clips in Resolve and then render the individual clips as Prores HQ files in a Rec709 colorspace, you can then import them into Final Cut and do all your editing and remaining color grading in there with no need to go back to Resolve. I only work with footage from BMD cameras, shooting log or raw, and everything looks better in Resolve I can’t achieve the same results in FCPX in part because Resolve offers a color-managed workflow with no need to use technical LUTs to go from log to Rec709. Resolve’s color correction/grading tools are of course much more advanced than those in FCPX, but if you don’t need all that power and flexibility (and built-in tracking ability) the color correction tools in FCPX are quite good and capable. I think the key question is whether you want to round-trip back to Resolve for color correction after editing in FCPX, or if you just want to use Resolve as a BRAW “developer” so you can render Prores HQ files in Rec709 and then work with those files from start to finish in FCPX.
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