Color & Stabilization between Premiere & AE

I have a feature film that's edited with many shots stabilized with the warp-stabilizer in Premiere.
I'm now doing color correction with Colorista and Looks, but those two work better in AE (AE allows keyframing and masking, Premiere doesn't). The frustrating thing is that every shot i import into AE starts all over with stabilization. It takes forever if i have to let AE re-stabilize everything and most annoyingly, even with the same Warp-Stab settings, sometimes crop/framing ends up a little different. That's especially frustrating as after finishing color correction, i'm back to premiere and realize that the shot framing has changed...
Please someone suggest a workaround. I spent all day and color corrected 2 minutes so far, this is taking ages!!!

CM is never simple and trust me, it is a lot easier today than it was 10 years ago. Regarding these issues, there is no simple answer here, I'm afraid. Premiere shows you a preview and you should take that very literally. It is in most cases not color exact which relates to chroma undersampling being used in many footage types and possible Gamma shifts plus however your monitor is mis-tweaked. Premiere however recognizes a monitor profile and can correct for it, if one exists and is assigned. Still, if it is just a generic factory profile and not a specific manual calibration profile this doesn't help you in any way. Also note that some Premiere effects and transitions do not operate in RGB to begin with, but use YCbCr/ YUV as their color space, as has been common for eons in video editing... So you see, a whole lot of complication. The simple truth here is, that the only true verification of video output still comes from an external monitor and scopes. AE on the other hand has a full color metrics engine. how to set that up is explained in a few documents on the help pages. it doesn't realyl solve your problem, since if you don't calibrate your monitor, the colors technically would still be off, but it might give you some more insights in what you need to do to improve your predicatbility...
Mylenium

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Best way to warp stabilize between premiere cs6 and AE cs6

I have a sequence with many clips, some with different speed (warp stabilizer doesn't work with speed in premiere CS6) whats the best way to stabilize these videos that are in different speeds?
Another question, in CS 5.5 I used the warp stabilizer in 1080P clips on a 720p composition (with fit to composition) this way I warp stabilizer could zoom/crop the video without loosing quality. Now premiere CS6 has warp stabilizer but I can use a 720P sequence with a 1080p video, warp stabilizer won't accept it.So whats the best way to do this in premiere CS6? (to get 1080p video stabilized in 720p sequence) or I can just stabilize in 1080p and export the final video to 720p and I will have the same quality?
Thanks

You can make a new sequence from that 1080p file, stabilize it, nest it, then copy and paste it into your 720p project. This way you won't need to export it beforehand.
I notice this topic is old, but it may help someone.
Best,
Bogdan

Time-lapse flicker unchanged after Color Stabilizer

I shot a sequence of still photos of a cluster of roses blooming in front of a blue screen for creating a time-lapse clip, my first time to try that. I have an NTSC-sized comp that fills the frame nicely with just one of the roses. As expected, there is flicker due to imprecision in the camera's aperture, and the rumor is that AE's Color Stabilizer effect should fix that. I have Keylight to key out the blue, and also TimeWarp to speed it up because the rose took longer than I thought to open (although that's optional, as I can just make the clip at its original length and speed it up in PPro when I combine it with backgrounds), but I made sure to put the Color Stabilizer below those other effects in the timeline - that should mean it is applied first, right? The Color Stabilizer in is "Brightness" mode, and because the rose's petals move, I put the "Black Point" on the blue screen. But it still flickers - it doesn't look like there is any improvement over not using the effect at all. Am I doing something wrong? Naturally, if the Color Stabilizer was being applied after Keylight, it wouldn't work because the background would already be erased, but I think it should be applying it first. If I have to put the Black Point on some part of the rose, I will have to chase it with a bunch of keyframes, and it may still not work right. Recommendations?
I wish there was an effect that would simply look at the whole frame's brightness and smooth each frame to a running average of several frames in a row, but as far as I know, such an effect doesn't exist.
Additional info: AE CS4 on Windows XP. The photos were for 1 second each @ f-8 with a Canon Powershot S3-IS, if that matters.

If the lighting and background are constant, there's nothing for Color
Stabilizer to do, you should not have needed it at all.
That would be true if I was shooting with my video camera (which I have done for many a sunrise or other less-than-one-hour time-lapses. But the problem is that most still cameras do not keep their aperture set while waiting between shots, and even in manual shooting mode with a specific f-stop, there will be slight variations. The flicker isn't caused by my subject matter, but by my camera.
In my case, I'm actually pretty pleased that my camera did as well as it did, considering that it's not an SLR. The flicker is not nearly as bad as some examples I have seen on the web. For your benefit, I made two half-resolution Quicktime file of the same 4 seconds of the middle of the sequence - this one has no effects at all, and this one has not just one but two effects added that are rumored to be helpful in reducing flicker: Color Stabilizer in "brightness" mode with the "black point" on the background, and Auto Levels with a Temporal Smoothing setting of 1 second. (Even at half-resolution and only four seconds, the files are still over 14MB each, because they contain the full frame rate of 29.97 fps, so be patient with the download.) To my naked eye, I can't see much difference.
I'd have
processed the individual stills in a batch in Photoshop first, leveling
all variables.
How does one do that? I do have Photoshop (CS2), but I'm not much of a Photoshop expert and have no idea how to get it to compare levels between even two files, much less do such comparison in an batch fashion between thousands of files.
Thanks for the link. I didn't see anything directly relevent at first glance (deflicker discussions center around using VirtualDub on a progressive video file, but my source is 3000 still photos, my destination is interlaced DV-encoded video, and I don't really want to process and resave it multiple times if I can avoid it). But when I have more time, I'm sure I could learn lots about time-lapse in general by reading the forum threads.

Big Color Shift between exported H264 mp4 and Program Monitor

I get a big Color Shift between exported H264 mp4 on Vimeo/Youtube and Quicktime X and Program Monitor.
There are quite a few posts on Quicktime gamma issues, but there seem to be no solutions and the other editors I know don't seem to have this problem.
I know there will be a bit of a shift but this is MASSIVE. At the moment I add a whole extra adjustment layer to all my clips to get it approximately right, but ofcourse this does not solve the issue nor does it give proper results.
Please do not reply with the "You need a real reference monitor via SDI etc etc ..."
By my logic on the same screen the program monitor should resemble what is going to be the final result in a relevant player like Quicktime X which all normal apple consumers use to watch their films. I know VLC and Mpeg streamclip gives different results, but mostly when playing Quicktime/h264 files Quicktime will play it thus average users ( the people I'd like to downwload/buy my films )will watch it in Quicktime.
Furthermore, Quicktime X's gamma/color looks very similar to the image I get on Youtube or Vimeo - which is where all my current work is going. I'm not outputting to boradcast or DVD etc.
Strangely enough the MPEG 2 stuff I've done for DVD matches the Youtube output with the Program monitor.
What am I doing wrong?
I have a Dell 2711 wide Gamut Display which is calibrated with an SPyder 3 Elite using its full colour gamut ( close to 90% of Adobe RGB - thus bigger than sRGB or Rec709) Could Premiere be ignoring the calibration in the Program monitor and making the image values 16-235 and then Quicktime uses all values 0-255? If so, how can I fix this?
Any help will be much appreciated!

I know this has been a while so hopefully you found some help by now, but maybe this will help anyone stumbling across this.
What people seem to be missing in what you are asking is... this is the same file, on the same monitor, but with a different appearance in different software. It is not a question of whether the overall monitoring is GOOD, and it is not a matter of hardware settings (as that would most likely propogate across all software) it is that it is not CONSISTENT side by side on the very same monitor.
I had very similar issues that really seemed to get worse when we got new monitors, which is what lead me to chime in here. The monitors were also wide gamut displays.
The problem is likely this...
1. The difference being shown are the difference between software that properly color manages (i.e. Premier or After Effects) and software that does not (i.e. Quicktime or some web browsers)
2. The reason it is so severe is that the wide gamut monitors are able to show many more colors and thus the difference between the managed and unmanaged software is much more exagerrated than on regular gamut monitors.
I found this great link that helped calm my nerves and helped me get handle on much of what is going on.
http://www.artstorm.net/journal/2009/07/color-management-wide-gamut-dell-2408/
Now that is not to say that the 0-255/16-235 issue is not also involved here. It is definitely possible that a specific codec or compressor is part of the problem, but it sounds like it starts with the color management issue first.
I hope this helps.
Andy

Color shift between play and pause

Hello,
On CC 7.0 and 7.1, I noticed there is an important color shift between pausing and playing my timeline when using "CineForm Visually Perfect" encoded source material.
This is especially noticeable on reds.
Using other codecs, there is no such shift.
My video card is a Geforce 650M. At first, I thaught it might be related to the video overlay settings of the card, but there are no such settings in the control panel.
Besides, using Quicktime to play the source produces no shift as well.
As I am often doing color correction using Premiere, and as I have dropped Avid exactly because I always had this same problem (when using a profiled calibrated screen), I would like to know precisely what is going on. As I'm regularly producing shows for broadcast, it is a real problem not to be sure whether what you see matches the final exported output in all circumstances.
NB : For the need of searching the cause of this problem I disabled any custom profiling of my screen.
Thanks ! for any answers.
Fred

Sure and thanks. But nevertheless, if you color correct using a calibrated screen, and produce for the web ; or if you do a first pass of color correction before the ultimate pass happens with a "properly calibrated TV", wouldn't you like that your paused frame would look like your playing frame ?

FAQ: How do I color grade a Premiere Pro sequence in Adobe SpeedGrade?

How to color grade a Premiere Pro sequence in Adobe SpeedGrade
You can color grade (color correct) Premiere Pro sequences directly in Adobe SpeedGrade. The workflow differs between SpeedGrade CS6, SpeedGrade CC (7.0.1), and SpeedGrade (7.1, and later) with its Direct Link workflow.
Please refer to the version you are using.
Color grading a Premiere Pro CS6, CC (7.0.1) in SpeedGrade CS6, CC (7.0.1)
If want to color grade a Premiere Pro sequence prior to SpeedGrade CC (7.2), see the following resources:
Send a sequence to SpeedGrade
Color grading a Premiere Pro CC (7.1, and later) in SpeedGrade CC (7.1, and later)
If want to color grade a Premiere Pro sequence in SpeedGrade CC (7.1, and later) using Direct Link, see the following resources:
Coming Soon to SpeedGrade CC - Direct Link and More
Direct Link workflow from Premiere Pro to SpeedGrade
Getting to know Direct Link
Using Direct Link with color presets

What effects did you apply in Premiere to get your grade? Many effects don't come through when you import a Premiere project into AE.

Problems with Dinamic Link between Premiere pro CC and After Effects CC

I'm having serious problems with dinamic link between premiere pro and after effects, really serious problems that have 2 big projects in trouble (a documentary and a video clip) and I had to redo all the work pipeline to the consumer.
The documentary for a spanish TV was made on CC 2014 and a video clip was made on CC. Both of them with a lot of after effects composition in the premiere pro timeline. Render freeze, a lot of playback issues, and many more problems... Until I decided to remove these links between premiere and after effects and render out all the after effects compositions one by one and insert as clips in premiere pro. 1 week working away with back and fourth.
I've got a huge workstation:
i7 4990
32Gb ram
GTX780 3gb
256 gb system ssd
2 Tb project storage
*All my hardware and software are update.
I know that a lot of folks are on the same huge problem and I want to ask everyone:
How do you save this?
What is your pipeline?
Are there any solution?
Best practice to use dinamic link in a huge project?
Thanks,
Ruben Gimenez.
R&D iceblink.es
www.rambot.es

Thank You, Jim -
Unfortunately that specifically did not work.
Based on another comment sent to me, here is what did.
In PProCC
File > Adobe Dynamic Link > New After Effects Composition
In AECC
From that composition created from PPro, I imported the project (aep) initially created in AECC from another team member. Saved the file.
Back in PProCC
File > Adobe Dynamic Link > Import After Effects Composition
Magic.

Spot Color mismatches between EPS and PDF files

Recently I created a file in Illustrator CS6 with several Pantone color swatches. I used the CMYK color mode set to the Coated GRACoL 2006 color space. I saved the file as an EPS and we printed our test samples on our large format printer. After reviewing the print I saw the colors were off. The grey color showed up green.I then opened up the exact same EPS file and simply saved it as a PDF. We ran the PDF on the same printer, using the same material and profile and the color was completely different. This time the grey colors came out grey (correctly). We tested this twice and came up witht he same color differences between the EPS files and the PDF files. Why would an Illustrator file produce 2 different colors if saved as a PDF versus an EPS?
Also, I sent these files to another prepress person in our company and he printed them on our proofing printer. The EPS printed slightly differently than the PDF. He then opened the PDF file in Acrobat and saved it out of Acrobat as an EPS. After this, he printed the new EPS file created from Acrobat and it printed the exact same as the PDF file (correctly).
This leads me to believe that the problem is in the way Illustrator saves EPS files. Has anyone else seen this problem?
Thanks for any and all help with this very perplexing issue.

I will speak from CS3.
The current PDF format if 1.7 exported out of Photoshop supports vector elements as independent objects, but you can't edit them correctly out of Acrobat because Photoshop reads the data as a flat file and drops the vector data. Basically the workflow is not finished being developed. Also, Transparency is broken within the PDF file format at this time. It will support Spots though correctly.
PSD and TIF support Transparency and Spots, but vector objects are rasterized due Acrobat reading the flat version of the file.
When Photoshop wrote its own PDF format and not the corporate PDF flavor that we now have, PDF's would support Transparency correctly.
I would assume that Transparency and vector objects would be addressed in the next release, but that is to be seen.
There is no best practice except don't do it.

Color shift between Library and Develop module

Hi,
I recently noticed a color shift between in the image when going from the library to the develop module. Yes, I know this is mentioned in the FAQ, but I did not find the solutions given there to be satisfactory.
Let me explain what happens: I have taken Photos with my Canon EOS 300D, in Jpeg mode with Color Space in the Camera set to AdobeRGB. The photos I am talking about were taken with Tungsten light with auto white balance and have a distinct orange color cast. I use Windows XP and view my Photos on a LCD Display calibrated with the Pantone Huey system. The Lightroom Library Module and Photoshop CS2 both display the original image almost identically (there are no changes applied inside Lightroom or Photoshop, I view the original image in both applications). Photoshop is set to use the Adobe RGB Color space as its working Color space, Softproofing is switched off. However, when I switch to the Develop Module, the colors (especially the orange hues) shift very noticably toward pink. I can only assume that the Colorspace conversion or maybe some implicit soft proof used differs between the modules. So, to restate the problem: If I switch back and forth between Library and Develop, without changing anything and in 1:1 view to avoid errors introduced by different zooming methods, the colors shift quite drastically back and forth.
I have to say that this is really quite annoying. The whole point for me to use the develop module is to use it to make adjustments to the colors, and for this to work properly I have to see the same colors in both modules and in Photoshop. There is no point in correcting a pink color cast away in Develop that is not even there in either the library module or Photoshop (and that would then have a stronger orange tint because I tried to counter the pink tint in develop).
So this leads me to the final question: Is it possible to tell Develop to use the exact same color settings as the Library Module? Or is there another way to compensate for the color shift?
I hope I was clear in what happens and what I tried to do. If it helps I can gladly provide a sample photograph that clearly illustrates the point.
Thank you in advance for your help,
Daniel

Thanks for your comments, Don and Fred. I hope that this issue will be worked on soon.
Fred, I have set the Preview Quality to High, but it doesn't seem to make any differences concerning the color shift. I have investigated this matter further by now and made the following observations:
*The color shift is a lot less noticable on my laptop (the laptop screen is also color profiled). On my laptop the change is more of a subtle shift in contrast than in color. This might be caused by the smaller color gammut of my laptop display though.
*I have uploaded a testimage so that others can check if this shift occurs at their workstations too - after all, it might be a misconfiguration of my color management software, though I doubt that (because Adobe already states that library and develop render different previews). I would be interested if the color shift I describe is noticable at other workstations too. The link to the testimage: http://www.danyx.com/colorshift.jpg (permission to use the image to test the color reproduction is of course granted hereby).
Thanks for your help, I hope Adobe will listen soon,
Daniel

Color differences between these two files?

Could someone please tell me the color differences between these two files? What are the differences in general of these two files and how do I make a file identical to the blue cancel button?
I am working with signature pads and the BLUE CANCEL image works, but the other GREEN image does not. Both are 8-bit .bmp files... HELP!

#1, obviously, would be to connect a mic that doesn't require phantom power.
And #2 comes with a 6 ft. USB cable, so you may not need a bunch more cables. Maybe just one standard XLR to connect a mic to it.
Message was edited by: p o'flynn

Colors dropping out of a 2 color job between reader version 8 and 10

We're having an issue displaying colors correctly between versions.
We have distiller 8 windows, creating a 2 color pdf. When I open it on my XP PC running reader version 8, everything looks great
When another user running an XP PC opens the pdf it looks fine, but when you go to print it, the second color drops out of one of the images on the print preview screen. this person is running Reader version 10.0.1.
When another user opens the pdf the color is dropping out of both the pdf itself and the print preview. We do not know what version that user is using.

Also, the pdf looks fine on my Mac opened in Preview.

Color disparity between Bridge & Photoshop??

I am having a terrible time with a color disparity between my images when viewed in Bridge vs Photoshop. I wouldn't be worried if Photoshop was the accurate image, but it isn't. These images look great in Bridge, but now when I open them into CS4 they all have a pink tinge that wasn't there when they were edited only two days ago. I can't figure out what happened? Looking at both image versions side-by-side on the same iMac screen shows a big disparity. Anyone have ideas? I am a Photographer that used CS3 happily on a PC for years...now switched to iMac 27" with PS4 and having lots of trouble!
Thanks for any suggestions....

If Photoshop Ps is displaying a known good file bad, then you either are confusing Ps as to the Source Profile or you have a bad monitor profile.
I like to recommend:
Ps> Edit> Color Settings: North American Prepress 2 ( for now to fully engage the Color Management Policies)
If that doesn't work to get you back on track, then I would look at the Monitor Profile, the file opening dialogues (profile mismatch, missing profile choices you are making), and/or bad application or OS preferences.
Try testing with a known good file like the PDI_Target_AdobeRGB.jpg do a Google search for the download (color only looks bad in Photoshop has been covered here many times before).
There is a huge difference between Assign/Assume Profle and Convert to Profile...

Color variations between AI CS2 and Photoshop

I'm new here and really don't know technical terms for what I'm trying to explain, so please forgive the gibberish. I have an Illustrator CS2 file that someone is printing for me using Photoshop. When he opens the file the colors I selected in Illustrator all change slightly and look much duller when printed.
Is there a way to maintain color accuracy between the two applications? If so, how would I go about changing the colors in my existing artwork? Thank you!

Thank you for all your feedback.
Here are the scopes. All I'm doing to get the change is sending it to AE. No changes elsewhere. Just that simple send to AE and it starts playing with the colours.
I have also noticed that when I reload my projects a lot of the time I have to re-render the entire film. I did update the Adobe software when it became available.

Color issues between photoshop files and PDF's

i create a lot of PDF's from photoshop photographic files in order to email to clients for review. when i look at the PDF's, the colors look flat and dull and dark compared to the original photoshop files (I'm using CS3 and Acrobat Professional 8.0). I have the color space settings the same in both (ProPhoto RGB). I usually do the "save as smallest file size" so the PDF is emailable (there are often many pages, created from photoshop contact sheets). There is no option in Bridge to synchronize the color settings between the creative suites because i don't have all the suite applications. i've tried saving the PDF with the "PDF/X-3" option, but that doesn't seem to work either. is there something i'm missing?

Yeah - don't do that!
I would recommend you check with the Photoshop support area for more details...
Leonard

Color fidelity between slides and FCE output

Until the recent past, I have been scanning 35mm slides using a Cannon Canoscan 9900F coupled with Photoshop Elements v 2.0 into FCE v 3.0 on a Mac G-4 with OS 10.4.3. The color fidelity between the slides and final output was reasonably good. Within the past week I have upgraded system software to OS 10.4.8; upgraded Photoshop Elements to v 4.0 and FCE to v3.5.1. Now when I scan slides, the resulting images (both on the desktop and as printed with an Epson stylus 2200) are dark as if the slides were greatly underexposed. The Photoshop Elements correcting or enhancing tools do not solve the problem. I don’t think this is a monitor calibration issue but would welcome any suggestions. Thanks in advance. Jack A

Hi(Bonjour)!
What is the relation with FCE ? It's seem that is more a problem with MAC OS X itself or photoshop or your scanner than FCE.
See MAC OS X forum:
http://discussions.apple.com/category.jspa?categoryID=160
Try to make a new color profile for your monitor.
Michel Boissonneault

Color & Stabilization between Premiere & AE

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