Posts Tagged ‘keyshots’
New color correction service: PrimaryShots
I’m pleased to announce that Fini is (finally) rolling out “PrimaryShots” (PS).
PS is an idea that’s been rolling around my noggin’ for a while. It answers my question: How do I help filmmakers who can least afford me, yet most need me?
The PS concept is simple: You’ve locked picture on your film, you’re happy with the story but you know both sound and visuals need help. You’re on a shoestring budget so you can’t afford a company like Fini. You’d love nothing more than for a professional colorist to come in, color correct a few shots for you (kickstarting your color correct) and give you some pointers on how to proceed. After that, you’ll take it from there.
That, my dear reader, is the essence of PrimaryShots!
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
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."