The color adjustment: Speedgrade or creation?
Hello!
I am sure that this discussion has already been discussed, so please direct me to the good discussion if it exists.
But I'm curious to know if there is a bigger difference in the colors quality when using Speedgrade lavis Lumetri in first?
I starts to enter the color adjustment, since I upgraded my equipment and started firing on the D - Log 4 k images.
I am currently using Premiere Pro CC 2015 and have used the LUTs OSIRIS what color ranking my films.
I did not export any to Speedgrade again, since the first has the ability to apply LUTS/effects through Lumetri.
Is there a significant increase in quality if I have everything on send to Speedgrade and finish my grading color there?
Also, after the application of any type of LUTS, you apply other effects or corrector color to make your Cinematic sequence more?
Thank you! I hope you guys can help out me!
-Marty
With the change of version of the project which was the 2015.3 version, the team of Adobe Pro/SpeedGrade first deleted the option 'Direct link' within the PrPro send a draft of 'direct' to SpeedGrade. To use Sg now, he must either use only the PrPro 2015.2 version over the version Sg 2015.1, or have PrPro create an EDL from the project from a flattened chronology and which opens in Sg, restoring links to media. Or export a full resolution/quality of the PrPro project, then import this file into Sg for the classification.
Those are the "officially approved" ways of moving PrPro Sg at the present time.
For a good... fuller... discussion of the options, I suggest go during the Forum of SpeedGrade.
There are several wires he and a couple that include manually "hack" around the issue and a small application (with supplement) that a user has created and made available. Those who are NOT officially approved tactics, of course. But as you mention using media 4 k and D - log, I'll give you the... more... large photo.
As for the notation between PrPro and SpeedGrade... a layer of primer.
SpeedGrade is a ranking program, pure and simple. It is not nearly as "broad and deep" in total tools know 12.5 to solve, but it's still a beautiful app ranking. There are some things like saying followed by masking that aren't always what we prefer, of course.
Premiere Pro is a software for editing , with panels or 'modules' to do certain things and the Lumetri Panel is a really wonderful creation... as it goes. To take a single element or a series of clips with similar "must" and apply a LUT tech, do some basic fixes and a secondary (1) to the, with perhaps a second READ/look, we do quite a bit and this quite quickly.
When I acquired a Ripple tangent Control Panel, I was amazed how my... appreciation... for the Lumetri Panel has progressed. I can not stress how much more intuitive and faster, is to work with such a group with the help of the mouse or trackball or Wacom pen - tab. With the ability to move several things at the same time, you can get 'for' places moving something at once just is not... go.
That all said... and I enjoyed the Lumetri Panel... it has some serious limitations for the complete rankings. Complete rankings, I mean if you really need to get and your work supports. Several secondary, corresponding to the shooting and heavy grading without bringing your machine to stop.
As only a secondary by 'cases' of Lumetri. As you become more experienced in assessment, using secondary as a tool to affect a certain range of tones, either color or brightness or saturation or a combination of the three, is rather Basic. Most of the shots that I work in my simple studio, interviews, the occasional wedding or event, will have at least a secondary school. Sometimes, I might have three or four. One to soften the sharpness of skin tone while slightly warming color, one to cool down a back wall and one to shoot the sky to the land values more "I think it should be", for example.
Or after the warming or cooling of the shadow using a secondary antibody to desaturate most dark tones such as can still be seen deeper shades will be devoted to charcoal and black, without a visually unusual color tint in the shadows. While working with the other secondary skin tones. And making dirt look less magenta in a third. All the things I've done. On a regular basis.
In a comprehensive program of ranking, also used several... "primary"... combined with the secondary as well as with the LUT/glance application layers. The Lumetri Panel can kind of imitate a few different, but no layers... completely. And to the techno-parler, the location of the LUT/Look of Lumetri slots is not quite... good. For your D - log, for example... you need a READ 'above' of your media slot and use the primary that your support is to neutralize the whites, blacks and contrast/gamma general (including white base balancing here) for the media BEFORE the application of the LUT, but doing everything by watching the media through the conversion READ. In Lumetri, the LUT slot is the first, neutralize you the balance of color & tone after.
You can get around these "stacking" Lumetri effects on a clip. First of all, just use the Lumetri sign '' integrated '' for what you can accomplish in a 'pass '. Go into the effect controls panel, and then drag and drop an Lumetri effect on the clip, which appears in the Panel below (so after application) effects the first Lumetri and you can then use the Panel 'ordinary' to Lumetri to change your media. And... more secondary drop LUTs/eyes on clips... and drag and drop an another Lumetri...
The problem with this stream of work, is double: first, add Lumetri effects in multiple batteries may start slowing down a machine... the third or the fourth on a clip, you can easily get a bar of red warning above him. Second, the ONLY way to change everything, but the last effect in Lumetri (at the bottom of the effects Panel) is via the effect controls panel, twirling in various sections of the tools and commands and their setting via mouse, because no 'external control' works within the ECP and... only the last Lumetri are "seen" by the Lumetri Panel.
There is another process that gets around the second question above, but not the first... If you put a layer of setting above your clip, and then select and use the color Lumetri workspace Panel, these corrections will be applied after those on the clip, as on the effect of the bass track chronology is processed first... so you can do your work based on the timeline, additional work on one or more A - l above the clip.
Each of these... If you use only the Lumetri Panel... will be achievable from the main panel of Lumetri and any control surface, you can have. Who even once, work around this limitation. However... put Lumetri three or more on a clip can still bring your computer to its knees.
Shooting-correspondent... uh, sort of... not... really. Well, sort of... If... sigh.
Shooting match aligns clips to one or the other, to obtain the sequence of shots in a scene at the search as they came from the same "eyeball" and not 3 different cameras of 3 different manufacturers with different settings on cameras. In general you rank turned a 'Hero', and then match other shots at him using several playheads on the timeline, with your monitor look a split in mode "2 - up" or "3 - up. You are both watching the same scene on your monitor calibrated reading two or three cameras, or maybe you still have a shot as a reference in one or two playheads showing. While you are the ranking.
In general, there is even a control to 'match' the two places in the read head. Who, in the last "ish" of SpeedGrade, sometimes did a pretty decent job. At least you got a quick ways to correspondent.
PrPro, you must use the Source, reference and reading monitors to do a stills & "reading head 1, head 2" sort of look. If you have two monitors, you can deselect by using the second monitor reading dedicated and drag the panels & monitors autour to create a new custom workspace and... basically... especially the kind of correspondence shot. It feels a little awkward, but... it can work.
You do not have to "match the master read head" available, of course.
What it is is that you can do many things based Speedgrade crushed just do in Lumetri in PrPro. And some he will wonder, no doubt.
But the way the situation of orders works within PrPro, and also... the way enough Lumetri to begin to match what we're doing in stacking SpeedGrade slows a computer are low, both a bit of a drag IF you are regulars, or need, main work classification.
In the good old days of yore, you could work a project PrPro, visit Sg in few seconds in the lead a few minutes hand five primaries, several secondary, and a couple of LUTs/looks back on PrPro and most of the time I never had any kind of reading 'touched' by the work of the color. Within the PrPro well... There may be.
Then... Choose your poison, I guess!
Neil
Tags: Premiere
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