Plugin used: Cineplus CCP V1.6 in Adobe Premiere Pro
Watch the 1 min. Get Started Tutorial : youtube.com/watch?v=J7ObcfHZgfw
12 primary and secondary tools in one smart plugin:
As pro filmmaker, sometimes you don't want to export your work into external color grading suites, creating too many steps in the editing workflow. The CCP, does it all in the box and at a highly pro quality. And it offers great quick start presets for instant satisfaction, plus 18 sliders mapped to complex primary and secondary color grading algorithms, to fine tune your movie's look. CCP Works with any footage: Red, Blackmagic, DSLR, ENG, Prosumer and Consumer cameras. Unlike LUT's based engines, CCP is highly versatile: You choose your movies' look up to the finest detail.
In Adobe Premiere Pro, before applying the CCP plugin, set the video and still playback resolution to 1/4 to allow for a snappier tweaking. CCP is a 12 layers grading suite and can be CPU hungry. Then choose a Quick Start preset and tweak it at your taste
Works with almost any footage.
No resolution or codec restrictions
IT'S ALL ABOUT COLOR RICHNESS
Film saturation looks diametrically different from digital saturation. The "Add film saturation" and "Remove Video Saturation" allow for a much richer color detail.
THE KODAK VISION 2 LOOK
We were the first on the market to create the Teal-Orange look for Canon DSLR with the Cinema Picture Style. The CCP's Teal-Orange algorithm respects the skin tones and the hair colors.
THE SKIN TONES MAKE THE DIFFERENCE
Film look means gorgeous skin tones. The CCP removes pink and green color casts typical of most digital cameras.
MORE LIGHT WITHOUT CLIPPING.
High-key a' la carte without overexposing. Highly professional tool for the serious
SAVE THE LATITUDE!
You spent money and time to achieve the best latitude possible. The Safe Contrast parameters will always preserve the highs and lows, as film does.Image courtesy of
EVEN 18 STOPS COULD NOT BE ENOUGH..
Overexposed film is cute! Overexposed sensors are ugly! The Highlights Recovery will try to hide some ugly overexposed highlights, very naturally and elegantly. Image
Safe White Balance
LESS IS MORE.
The subtractive white balance will preserve highlights and blacks from being crushed.
THE PROJECTOR'S LIGHT
Projector's light passes though film, even if it's totally black. Black lift makes your footage look as you were in the theater, and helps recovering a lot of shadow detail.
THE TIME MACHINE
Celluloid is there to add some age to the emulsion, Handle with care!
Get it here: cineplus.ch/index.html
Loading more stuff…
Hmm…it looks like things are taking a while to load. Try again?