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Two new colour correcting plugins from FxFactory Hawaiki Color and Nattress Contrast

hawaiki nattress plugins

Two new plugins have been released that use the FxFactory plugin management system. Although they both do colour correction, they take a very different approach to how it's done. 

Let us start with a plea to all plugin developers out there. No more colour correction plugins please! We have had hi colour, lo colour, fast colour, colour precision, colour everything and so on. It is not as if FCPX hasn't got any built in tools is it? Surely if you are that serious about grading, you are going to export to DaVinci Resolve anyway?

OK, enough of the rant and let's get on and look at the new plugins.

Hawaiki Color is a $49 plugin from the combined talents of plugin developers Simon Ubsdell of Tokyo Productions and Rob Mackintosh of Lawn Road. It has been made exclusively for Final Cut Pro X.

It differs from many of the colour correcting plugins out there by having the majority of the controls onscreen. They have taken the idea of onscreen colour wheels which was introduced by Yanobox Moods and added a lot more control. As you can see, when the plugin is in adjustment mode it looks like a full blown grading app.

(Click for larger image)

hawaiki interface


It all looks rather cool, but you have to toggle the display on and off, it doesn't disappear automatically when you render. This could be annoying if you have a lot of clips on the timeline that you want to grade.

The guys have produced a great tutorial that shows the plugin in action. We have to give them credit for building such an intricate onscreen GUI.



The second of the two plugins is Contrast from Nattress productions. The $49 pack consists of four plugins, Bleach Bypass; Detail Preserve Contrast; Hyper Contrast; and Luma and Saturation Contrast.

Bleach Bypass produces the high contrast film processing look of the same name. The result is a black and white image imposed over the color image. This effect increases contrast and graininess, while reducing saturation.

Detail Preserve Contrast divides the image into two regions: high detail and low (coarse) detail. Each region has its own contrast control. This filter can be used to create a greater separation between the subject and background.

Hyper Contrast uses edge dependent contrast masking to preserve the integrity of edges, enabling greater contrast adjustments without ruining details of the image. An S-Gamma option adds a film-like gamma curve to mimic the contrast response of film stock.

Luma and Saturation Contrast enables you to increase or decrease the contrast levels of the luma and saturation independently. This filter is very useful when a simple contrast causes the saturation levels to bloom too much.



The pack wasn't written using Motion, so all of the plugins are available in FCP7, Motion, Adobe Premiere and After Effects. There is also a free watermarked trial.

Noise Industries has also produced this quick tutorial that shows the Nattress Contrast plugins in action.


Written by
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I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.

I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.

Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.

I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!

Current Editing

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2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.

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Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.


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BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.

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Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.

As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.

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I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.


Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook. 

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I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!


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