The switchis clips both of color correction.

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• Lumetri slows down the encoding of color correction more "obsolete."

  Based on my own informal tests, I notice that Lumetri effects on an element in a sequence slows down the process of encoding significantly compared to the same general objective realized with effects of correction of the so-called color "obsolete". Other messages on the forum seem to confirm this.

  I guess the older "out-of-date" color correction effects are far from obsolete. Looks more Adobe innovates and push this crowd of material premium to their last, Lumetri, but that the older effects are more obsolete than obsolete, probably to be there for a long time... iow, use them as you wish for you will hit all compat issues in the foreseeable future.

  Is that what that sounds right?

  My goal by asking is to better align myself as a user of first... my tendency is to take the final product as user recommendations, but that can be a trap when it is really a big innovative push who sometimes material/performance hits that make it unrealistic for all users.

  I have a portable old 5 year, the Sony Vaio VPCF215FX w/6 GB RAM, NVIDIA GeForce GT 540 M, 1 TB SSD.  I am able to do, but I really need to think intelligently avoiding external USB drives, using smart rendering, etc. When I tried an experiment with older color effects, I saw a significant reduction in the encoding time (General of my test described below). For this reason, I'm stepping back and thinking that the push 'use Lumetri' everything is beautiful for those who really need, want, and also have the material that can reasonably be taken in charge, but maybe not for someone like me, at least if I can avoid using older effects and with all the same. I just can't justify Lumetri in some cases where it slows down encoding medium.

  It is not that my hw is unable to use it but when I can use older effects and get a nice discount time coding for my not pro use, seems useful to avoid the Lumetri currently, until the upgrade hw or something. I wanted to just check-in here on the forum because everything above is me in a vacuum, I felt ready to hear some voices from the community on my point of view.

  Oh, my test...

  Create two sequences, each with the same single element from the same ~ 60 second clip of Canon EOS 70 d (ALL-I, 1920 x 1080, 23.976 FPS, MPEG-4 AVC / H.264, VBR in.) Container MOV), where each sequence has the following effects of color...

  Seq1-UsingLumetri uses the following color effects:

  • Lumetri #1 (primary): globally adjust contrast/tone/WB Correction of basic and secondary HSL to affect parts of the installation image.
  • Lumetri #2 (secondary): none other than the Secondary to affect an object moving on tracks with a circular mask.

  Seq2-NonLumetri uses the following color effects:

  • The fast color corrector: adjust overall contrast/tone/WB (identical to what Lumetri No. 1 above is without its Secondary).
  • #1 RGB color corrector: Color Correction secondary only to affect certain parts of the image (the highest Lumetri #1 only secondary HSL what).
  • #2 RGB color corrector: secondary color Correction only affect an object moving on tracks with a circular mask (what does the #2 above Lumetri).

  I coded then everyone if above with such parameters as input media, none made smart (because I want to see encoding time with effects) and out of type, etc. The result was that Seq1-Lumetri took about 225 seconds, while Seq2-NonLumetri took about 150 seconds, about 50% more time when using Lumetri on the same ~ 60 second clip entry.

  Note, part of the reason why I'm here is to ask my question above one, sort of general/summary, but it is also based on my not not having seen a single Lumetri color correction tutorial that describes these nuances... check in shades that seem to be essential for efficient use of the product by someone like me. I want to know about Lumetri, that's fine, but I also really want to know how to use the product together more effectively... to do this, seems to me, should not take account of the effects of color more older 'obsolete '. I want to at least know if there is agreement, or if I could be missing something here.

  Thank you!

  "Legacy" color tools more elderly are simpler "peripheral" in the code if I understand and don't work... especially... but as has been clearly established by colorists, especially if you do anything with the "" range"in the young or 3-way controls, you can get weird and very... results not correct not...

  That said, if you stick to their tools without using the modifiers of the range and not to push things too far, they work for the most part, kind of like what you would expect.

  Thus, on this laptop old of yours, stick to the Legacy tools is probably a good thing. And works very well for you. If you move up to a more recent material, you probably want to look more like the Lumetri Panel.

  Currently, I am working with the help of a mixture of Lumetri for the 'main' ranking, but using 3-way & RGB secondary additional & such.

  Neil

• How the color correction?

  I have the official training book, but it's not much help with this.  All I want to do is correct color my sequence.  I selected all the clips because they are of the same lighting and camera set up.  I want to correct the colors them all at once.  So I go to effects and select "fast color corrector" and dragged to my sequence.  After doing all the clips have tab a little "FX" on them.  Then I go to the source monitor Panel and click on the control of the effects, and I see the color wheel and the controls for "fast color corrector.  But the right hand side that I see mentions the still image that was left in the source monitor before get me to that effect.  So I can color correct this alone, but the settings that I realize only applies to the still this picture.  How can I ask the fast color corrector to a sequence in the timeline?

  to apply a color correction to the entire clips or multiple clips at once, you can use an adjustment layer. How to use setting in Premiere Pro - YouTube layers so all the clips are basically the same, so you can color correct the and apply a 'look' to this adjustment layer. If some of the clips need to work extra, separated from the rest, you can always apply a color correction effect directly to this clip to adjust it.

  There are a lot of video on youtube for first, many on the color correction. first pro - YouTube color correction

• mask option does not work in fcpx of color correction

  The option of mask in the 10.2.3 fcpx color correction works only intermittently. When I add the color correction sometimes I can move my mouse over the color correction tab in the Inspector and the mask icon, sometimes it doesn't. If I closed and reopened fcpx he comes back for a while and works very well. Don't know what is happening with it.

  15 "macbook pro, 266 GHz, core i7, 8 GB ram

  El Capitan 10.11.6

  10.2.3 FCPX

  Intermittency of the interface is usually only a matter of pref. trash of em.

  In rare cases, you must reinstall the application to fix the weird interface glitches.

• In Adobe Premiere Elements 13 Three-Way color correction?

  Adobe has first elements 13 Three-Way Color Correction function, found in earlier versions? Really important.

  This is the tab of "FX" under "Color Correction".

  See the Image

  Best regards, Terry

  

• Exact transfer even in the 2nd image color correction?

  I photographed an art collection. The first shot of each piece shows art, mat & frame and gray reference grid background. Second shot of each piece is only work (in smaller quantity of mast). I use the median pipette of the levels on the grey grid to standardize the color balance. Every time have a slight overall distribution hot color. The pipette it removes in shots where the grey grid appears, but I'm stuck on how to transfer the same color correction exact to the second image where the grey grid does not appear. Must match the color balance of the two shots of each work. Or another method? Thank you. Three attached screenshots show.

  Well, without all the right answers, I thought to myself. The help of Adobe Photoshop CC document, update 19/06/2016, 400 page tells how to do it properly. Make sure that the adjustments and properties panels are showing. With open images, select the layers in the settings panel. This creates a new adjustment layer and switches automatically to the properties panel. Use the Central pipette, click Grid gray, color cast is removed. Before you flatten, drag the adjustment layer to the image that needs the same exact correction sister. If there are several works of art taken consecutively with even lighting & exposure, the same adjustment layer should work as well on them.

• Cannot make the fx color correction without getting the image of strobe

  Cannot make the fx color correction or blur fx with masks without getting the image to strobe. Do not return in the sequence, or export without the video strobe effect. It is clearly a problem since at least 2011 because I saw some forum posts dating back that far. Don't know how or why it is always a question 5 years later. I have the correction color fx on an adjustment layer that makes very well. Leave color and blur fx on a couple of individual clips is whats creating the problem. Does anyone have a solution? It does not appear that I can wait for Adobe.

  At this point, I would create a sequence for each clip (in the garbage, make a right click, create sequence and apply the FX it) then replace the clips in the mixture with the sequences.  -Test this point by one before they go crazy.

  OR, using the idea of sequence preceding above, return on a new clip with holiday color applied to replace as new originals in the mixture.

  Third idea: replace the clips with linked AE comp and try the color of leave which are.

  In short, do what you can to take the color of leave out of the final equation.

• Premiere Pro CC 2015 - application of clip and rendering (three-way) color correction

  -Every tutorial I see said: 'Drag the clip on the timeline and drag the effect to the element' - and in fact, when I do that, the clip changes color, indicating that the effect has been applied, I guess. But then the color correction controls do not seem to enable editing. I guess I sort of myself painted in a corner UI by freezing the arrangement of the components (or something - have no idea and don't hit FWIW, no button or options which do not seem to have the effect of blocking the UI) so that the color correction controls are hidden. I know it sounds like a silly problem, but I would greatly appreciate a clue, if you have any suggestions to offer.

  If you have your clip on the timeline and apply the color corrector effect three way, once you have dragged the effect to the clip with the clip still highlighted (selected) on the timeline, click the effect options panel.

  

  MtD

• I need to start using the color correction. Should I start by Lumetri, or go directly to SpeedGrade and save time?

  I need to start using the color correction. Should I start by Lumetri, or go directly to SpeedGrade and save time?

  Lumetri Panel/workspace in PrPro is designed as a quick Fixer & able to mainly simple elements you may need to. And it has some limitations so built-in types experienced low editor/colorist can't screw up at all times of their videos. If this tool has everything you need, so it is very convenient. You do not need to learn a lot of ranking 'thought process', just look at your scopes & your program monitor.

  If, however, you'll need to tell secondaries 'Key' on some shades at certain levels of brightness/saturation to change just THE color, hue, brightness, saturation data, or a number of other things more important to the image, then SpeedGrade would be necessary. For me, I use the Lumetri Panel on the simple things, but... as Jim pointed out, if I want to hit secondary or make major changes, I'm more the Sg. Because after I learned that the app rather... unique... minimalist... UI, I'm actually able to move quicker on things over there than in the Lumetri Panel.

  SpeedGrade is not the same as applications other colorist/ranking, didn't say the vast-toolset of determination... but link Direct saves a TON to prepare sequences & projects on XML/EDL out and return & tel. If you go to work with her, I suggest strongly to e-book by Alexis Van Hurkman "Adobe SpeedGrade."... Getting started» It is still CS6... BUT... It covers quickly and directly how SpeedGrade works and how to do things you want to do, better than anything else I've seen. The big change is in the CC versions using the Direct link that you don't have any EDL input/output, and as all the scenario changes you make through PrPro, both the chronology controllling/replacement parts of Sg is grayed out in a project of direct link (directly using a project file PrPro). The interface... different color... is almost identical to the versions CS6.

  In addition, there are some good programs on service tutorial lynda-dot-com, and some that are quite useful on SpeedGrade in AdobeTV that will give you the look more recent Sg and Di-link process. Maybe you spend a few hours in watching & playing around, but once you get this thing is pretty easy to use.

  I do not recommend having a ramp... a block of neutral gray tones will generally from left to right black (0) to white (100) that you can put on a timeline, see to the Sg, and then look at what is happening where when you change what... so that you get a feel for say overall "initial" three color wheels/luma sliders , which left elevator control, controls gain way Gamma and right hand do... and you need to see that the elevator is * not * the shadows... and then, when you change moves on the shadows, mediums and highlights and always looking three combos of luma/color controls, now what region they change? What control on how these controls affect the image data pivot controls provide?

  It sounds more complicated than it needs to use, really... you just can't guess what they are doing and being puzzled at the first/frustrated when things do not respond as you expect. A few graphics and several simple explanations & examples... and you'll be off and running.

  Neil

• I can't for the life of my apply any correction of color or any other effect to a png logo I dragged into my Premiere Pro project.

  Someone please help. I can't understand how to apply a color correction or really no effect to a png logo. I could have sworn that I did before, but perhaps you simply can't.

  Hmmm... strange... (I'm scratching my head). What happens if you move the playhead through the clip? will he change then? I wonder if there is a screen refresh problem maybe?

  The other thing you could try is to add a layer of setting above the clip.

  • In the project bin, click the button new item (next to the trash)
  • Select the adjustment layer
  • Click OK
  • Drag the adjustment layer from the bin to a video track above the fixed image of PNG
  • and now try to add some effects to the layer setting instead.

• listen to samples and restore corruption when adding to clip color correction

  I'm almost at the end of my edit, no problems so far. But I added some color and some of my clips correction appear to be made out damaged once the effects are applied. If I turn the effects off it disappears, but their failover on once again and he's back. I rebooted the machine several times and corruption persists in the same places. Y at - it a cache I need to mix? When I visited or export the file corruption remains. The effects I use are basic, color corrector of color fast, automatic,

  and brightness / contrast. Here's what it looks like.

  

  I know that some of these 'auto' color effects have had problems in the past. I use the concealer of luminance and color corrector 3 channels without any problem. Try one or two of them and see if the problem goes away.

• Removal of the dominant color and color correction to match the reference documents? the tutorial/guides/videos

  I searched some tutorials showing how to use SpeedGrade. I'm now comfortable with the UI enough to use after seeing these: http://www.youtube.com/user/AdobeTV/videos?query=speedgrade

  I am looking for tutorials that explain how to do a couple of things, first of all, I want to be able to remove color casts. In photoshop to do this you can use a curves layer and the use of the whole white point color chart and click somplace that is supposed to be white. and to the Prime Minister, you could do something similar with the color correcting fast. So basically that I'm looking for a way to target an area within a framework that should generally be grays, in the Anime, the eyes always be shades of gray, is as well as what I would target usually when you work with anime in photoshop first. If anyone knows a tutorial that shows how to do this type of color cast removal color correction in SpeedGrade could you please share a link.

  Some of anime the older 80 and 90 on the film, the film has aged and that's where the color cast came. There is also a loss of color information in all areas. For example in the image below. Heaven is supposed to be blue instead of green teal/sea.

  Another thing is back in the 80s and 90s many anime worked limited color palletes; something like maybe 16 colors in total, so many colors are used repeatedly. Thus, even with only a limited amount of reference material, I'd be able to get the corrections close. (I have no clips of reference for every single episode, only a handful of scenes from a handful of episodes).

  I have a few reference documents showing approximately what should be the color. So, my next question is if anyone knows of any tutorials/guides/videos showing how to use SpeedGrade to color correct a clip so that the colors match the colors used in a reference element

  I was also wondering on automatic correction based on an element of reference, although I'm guessing that this isn't always possible.

  When I looked at the websiminar: http://seminars.adobeconnect.com/_a227210/p738pxm9zs0/ about 43 minutes into it, a feature is shown that automatically adjust the color with a clip that contains a colorchart.

  I was wondering if a tool like that could analyze a start to clip at the end, to create a palette of colors used, and then compare that to the colors used in another clip and correct them. (a feature like this would be probably more useful/precise in anime that it would be long, but who knows.)

  Another question related to the user interface:

  I had a question, the only place where I see to access the colorwheels is in appearance, my video tab, I'm trying, just manages to adapt to 100% in the monitor.

  So I prefer to hide or reduce the different looks (maybe even with a keyboard shortcut) so that I can access the color tools it covers, I've attached a picture of what I'm talking about. I know pressing 'P' cache at the bottom and thought that maybe it already is a way to hide/minimize/reduce the aspect presets to access the tools behind them without narrowing down the size of the preview screen.

  

  It's a hard thing to do. SpeedGrade has an estimator of the matrix which aims to draw a camera shot in reference, but it only works if there is a graph of Macbeth in the framework - and you of course that.

  Short of writing a custom plugin, you will have to do it by hand - if there is a true 'gray' in the framework then the pickers for the 3WCC/FCC in first allows you to get the right temperature, and black/white levels can be removed to the limit with their pickers (assuming that something on one of the frames is supposed actually to be black or white). Fix nonlinear cast where the RGB layers are each affected by different curves is a much more complex process, and not automatable in everything I know. However, once the white point Beach and brightness are attached, you can still make some visual adjustments of the balance on a range of colors with secondary correction tools in the 3WCC.

  If you use the first and you want more help with these tools, please ask in the Premiere Pro forum.

• Color correction/effects when working with long clips

  Hello

  First time poster!

  I am a beginner with Adobe Premiere Pro 5.5. I use it now to make a color correction on DVD badly produced in my movie collection! I was wondering if it is possible by effects of correction of color on a clip if you apply different effects to different parts of a clip. For example - at the beginning of a clip, the scene is really promising, but some 30 minutes later, the clip is really dark. Is it possible to darken the beginning and lighten the end? How you people would have a situation like this? You edit the movie down to the smaller pieces? If so, how would you use for that?

  Thanks for the help!

  Howard

  Howard,

  Welcome to the forum.

  As well as the suggestion of Jon-M-Spear (the one I use most often too), many effects can be touch-ups, so that they change over time. However, it takes some time and may require a lot of violin.

  If you have a long Clip and know that you will later add the same set of effects, but just with different attributes, you can do two things, and rely on Jon - M method:

  • You can create a preset effect and apply to all of your Cup, let's call them "subclips," Although this term has other meanings, so be careful when using it. Then apply this preset to all subclips. Then, tweak each application of the Preset, as is necessary for the individual subclip.
  • Similarly, you can apply all the necessary effects to the first of your subclips, tweak for her, as is necessary, then Rt-click on it, choosing copy. Now select the rest of the subclips, you want to apply this set of effects, Rt-click on it, select the attributes of the dough and then adjust, as necessary.
  • A variation on the above would be to apply effects to the origianal Clip and THEN make cuts. Go back and modify each individual subclip.

  Good luck

  Hunt

• Problem of color correction between the initial and the multicam sequence... Help, please

  I used three cameras to record a youth dance recital.  I created a sequence of orginal for three camcorders and another sequence using multicam editing dances.  After I finished editing, I went back to the original sequence to do some color correction and adjustment of brightness using the Quick Color Correction controls.  After that, I just sent in again to create a DVD.  When I watched the DVD, I noticed some of my settings were always off, the color correction so I went back to the original sequence to make some changes.  Unfortunately, the multicam sequence would not read the new settings.  After a few unsuccessful attempts to get the element from the sequence multicam to read the original sequence clip, I decided to start by disabling fast Correction of the colors of the clip commands.  The adjusted multicam sequence then return corresponding to the original sequence.  However, when I started a new control for fast Correction of the color in the original sequence, the sequence multicam wouldn't take the new settings.  How to get the sequence mulitcam read the orginal sequence?

  Look for the error of the operator on this one.  Check that you are working in the source used for the multicam sequence.  You can do this by going to the multicam sequence and pressing SHIFT + T.  This will open the original with the ITC on the same chassis.

• I can't find 'exposure' and 'color correction' because the tabs have changed. It's very frustrating! Help.

  I can't find the tabs 'color correction' and 'exposure' Manual now that I updated to 10.2.3. It's very frustrating! Can someone tell me where are they now?

  Thank you!

  Since 10.2 color Correctiion is now an effect from the effects browser.