Archive for February, 2010
Premium Color Grading
rollover with your mouse to see Before / After
Grading delivers:
- Color Grading elicits emotions,
Emotions connect you to your audience,
Fini grades for emotion - Hand-craft your images, shot-by-shot
- Select your look: Natural, Stylistic, Something else?
- Deeper, more impactful adjustments than basic fixes and contrast tweaks
- Complete confidence in your Broadcast, Cable, Festival, and BluRay deliverables
Fini Delivers:
- RED and HD workflows designed to preserve color fidelity
- Final Cut Studio expertise
- Compatible with Avid workflows
- We love solving problems
- We love exploring the possibilities with our clients
No surprises:
- No hidden fees or surprise chargebacks
- Firm bids, clear quotes
- External scopes for quicker corrections and Broadcast Legal assurance
- Colorist Control Surface ensures speedy work with better results
Cost Control:
- Functional room without frills
- Off the shelf systems
See It For Yourself
Watch our demo reel, judge for yourself
PrimaryShots: Color Correction HelpDesk
PrimaryShots: Control Your Color Correct!
Designed for: FCP Do-It-Yourself’ers (DIYers), the DV Rebel crowd, guerilla filmmakers, ultra-low budgets, or those wanting to learn color correction. This is new and unique service, offered first and only at Fini. The process uses only the default installation of Final Cut Studio 2 or Final Cut Studio 3, with the default plug-ins. If you have Colorista installed on your machine, you can take our work and finish up in After Effects.
Color Correction for Do-It-Yourselfers:

- Color Correct with confidence – Fini kickstarts your Final Cut color correct!
- We set the initial look for a few PrimaryShots in a scene, you match the rest
- We’ll match multiple cameras, different camera models, Master/Singles/Reverse Angles
- Entirely a Final Cut Pro workflow. No 3rd party plug-ins required.
- Want us to use Colorista? No problema.
- Packages start at 15 shots
Pricing starts at $500.
Get the details!
The Workflow:
- Once you sign up, we’ll send you a hard drive. Follow the enclosed instructions to transfer the footage and send it back (via UPS, we provide a return shipping label).
- We’ll color correct PrimaryShots from each of your selected scenes.
- Once you get back your project, you’ll Cut & Paste those settings to the rest of the scene. Additional tweaks (by you) for more precise and acceptable shot matching will be required. But no sweat, we’ve set the look on a calibrated monitor in a optimized color grading suite.
- You’ll use our color corrected shots as your reference and match the look
Correct with Confidence
- We bundle 30 minutes of telephone “Correction Support” after we deliver your files back to you
- Additional Support Packages available.
- We’ll help you understand how to use FCP’s ‘Tri-window’ color correction workflow
- We’ll get you reading FCP’s RGB scopes to improve your corrections
- An ideal service for filmmakers with more Time + Energy than Money
Pesky Details
- The fundamentals of color correction are simple. The execution is hard. We’re here to help you but once you run out of your initial 30 minutes of support, you’ll need to buy additional time. We suggest being prepared when calling.
- PrimaryShots Office Hours: We have Office Hours 2-3 times a week to handle PrimaryShots support. If those hours don’t work for you, email us and we’ll do our best to find a mutually acceptable time. Keep in mind, your footage is being color corrected by a professional colorist who often has clients in-session. PrimaryShots Support Hours are scheduled around those hours. Hours change from week to week.
- (COMING SOON: Download link for PDF of How to Prep for a PrimaryShots.)
- Supported FCP versions: Our corrections will work with almost any project after Final Cut Pro v3.
- If you are on a version earlier than the most recent version of FCP 6 or FCP 7, we’ll XML our color corrections for you to import. If you don’t know what that means – no problem. We have a tutorial for that.
- About Your Display: What happens if we send you back your footage and everyone looks green? Then your monitor/tv/computer display is too green. Simple, yes? Our settings are created on a calibrated multi-standard display. You can have complete confidence that we’re not giving you back Umpa-Loompa skin tones. And if that’s what you’re seeing, we can help you adjust your monitor until the images look good to your eye. After that, you can match your shots all day long!
Next Step: Select Your Plan
Online Finishing

Online Editorial:
- More than just gear… Experience
- RED and ProRes Workflows
- Network & Festival Deliverables: DVD to HDCamSR to Blu•Ray
- HD/SD Hardware Up/Down Conversions
- Legalize, Outboard HD Scopes
- Graphics & Title Integration
- Audio Mixing in Final Cut Pro
- Audio Relay, Re-Slates
Network & Festival Deliverables
- BetacamSP, Digital Betacam, DVCPro
- DVCProHD, HDCam, HDCamSR, D-5
- Rundown Sheets
- Graphics Sheets
- Textless, Split Tracks, International Outputs
- Without A Box submission management
Optical Deliverables
- DVD Screeners
- DVD Authoring, Duplication
- BluRay Authoring, BluRay Duplication
Dubs by Pam

(a Fini sister company)
- Media Moving Specialists
- Move between tape, hard drive, DVD/BluRay and the internet
- HD/SD Up/Down Converts
- Without A Box festival submission service
- Dubs by Pam handles the bits
You focus on the big picture
More info at the Dubs by Pam website…
Join Us


Meet Your Colorist: Patrick talks Color Grading, Finishing, Workflows, Final Cut Color
via Digital Production Buzz
Testimonials
Guto Barra, Director/Producer
Beyond Ipanema
"Your expertise and patience proved to be essential assets to finalizing our documentary, especially under the huge time crunch for our MoMA world premiere."
Chris Ripper, Director
Ressurection Man (in post-production)
"I love how you add production value to the feel of a shot not just "color"and create a mood appropriate to the content. And pushing your color a certain direction so cleanly. Impressive."