Colour grading

Excuse me I'm new to grading.
I need to emulate this colour grade in a project
http://www.elvisjesus.co.uk/shop/womens/womens_everything (the bleached out image at the top!)
I only ever come to this forum when i'm really stuck.
Is there a site which has different looks on and tutorial on how to achieve them?
Many thanks

A specific saturatoin balance, then some desaturation, apply an overall hue tint, and HSL key on her lips to slightly saturate them more.  Time to learn Color.  The details of these three tools will depend on the original image.  if I had a short clip, I could reproduce it, but without an original clip, it'd be a very general discription as I've already stated.

Similar Messages

  • Best workflow for colour grading in CS5.5

    What is the best workflow for colour grading in Premiere Pro CS5.5? I don't like the 3 way colour grader in Premire I like to use Levels and Curves, so I normaly use Color Finese 3 LE in After Effects but it's hard to export an entire timeline to AE due to it not improting transitions and title text correctly.
    I see in CS6 there is now Speed Grade available from Premiere Pro. can you export your entire timeline into Speed grade and it retain your titles and trasitions?
    So how are most folks colour grading their finished timelines in Premire Pro?
    Kevin

    If I can CC in Pr, I will. What prevents me from staying in Pr is if I need to do a lot of masking, secondary type corrections.  Ae is better for that, IMO.
    I guess my general rule is, "The more love I need to put on my footage, the more likely it is I'll need to take the project to Ae."
    When I do CC in Pr, my tools of choice are RGB Curves (which is CUDA friendly, and I have a CUDA card) for CC, and I use Three-Way or Fast CC mostly for increasing saturation.  I leave the other controls alone.
    The advantage to doing CC in Pr, is the CUDA accelleration.  If you use CUDA effects, you can work a lot faster, due to less rendering.  Once you go to Ae, you lose CUDA, but you gain flexibility.  Therefore, there's not a single one-size-fits-all answer.
    I also have a lot more available plugs in Ae.  I like Frischluft Curves, which is an oustanding curves based plug.  And the native Hue/Saturation effect in Ae is extremely useful for single hue corrections.  Pr doesn't have a similar native effect.
    And then as a last step, after getting all my corrections "evened out," I'll add Magic Bullet Looks to an adjustment layer for an overall treatment.
    I only opened SpeedGrade once after installing it.  I don't see why anybody would use it, unless they were already familiar with it.  You can't go back to Pr easily.  And in my world, projects are rarely finished.  Clients think they can make massive changes at any stage of post, even after mastering and delivery.  I've had clients make changes to spots after they've been airing for several days.  I laugh at editors who name anything "final."

  • LaCie 324i for colour grading through display port

    I'm in the process of getting rid of my iMac and getting one of the new Macbook Pro Retinas. Reason being I need to go mobile and the two thunderbolt outputs mean I can run a pair of external monitors.
    I'm a video editor and I want to start learning the final part of post production that, so far, I've never touched; colour grading. I am not a geek when it comes to kit (I'll start learning the science and art of grading now, learn about hardware later haha).
    My plan is to hook up my cheap 24 inch monitor to the macbook retina just for more real estate and get a LaCie 324i monitor for firstly again more real estate but secondly so that one of my screens is up to the job of grading. The software I'll be using is DaVinci's resolve lite and Speedgrade (when I upgrade from CS5.5 to CS6).
    Am I missing anything here? The LaCie monitor is 96% gamut of adobe RGB and is 10 bit. When using display port as far as I know it allows you to actually be running at 10 bit (which as far as I know is whats the basic need for a cheapish grading monitor). The other monitor I was looking at is the Eizo Coloredge CG223W.
    Anyone know if these monitors will do the job for me (the Eizo is a good 400 quid cheaper but the LaCie has some different inputs..."Component x1 (3p RCA jack female"...whats that?)
    Will a Macbook retina, one of those screens and resolve/speedgrade get me grading with the only hold back factor being myself and skill??? Is there anything I havnt thought of. I can probably budget about 1000 GBP for the monitor...
    Cheers everyone!

    Just been researching a bit;
    If I use the LaCie monitor I have the choice of using either the display port input or the componant inputs.
    Is it best to just use the display port input or buy something lie;
    http://www.blackmagicdesign.com/products/intensity/
    to be able to use the componant inputs...?

  • Workflow for colour grading PremiereCS5 with Colorista2

    I'm one of the only humans on this planet who doesn't use After Effects but my excuse is that I work in production, not post, so please excuse this question if it's the equivalent of asking how to focus.
    I'd like to use Colorista2 to grade a 5min PremiereCS5 project.  Colorista2 is only about 70% functional in Premiere right now but it seems to be working much better in After Effects and since I have the CS5 Production Premium, I should be able to grade in After Effects right?
    I've read much of the help files related to Dynamic Link but I need some help with the workflow.  If I File/Import/Premiere Pro Project all the individual clips but not on a timeline.  If I File/Adobe Dynamic Link/Import Premiere Pro Sequence the timeline shows up but all as one clip on the After Effects timeline.  I've tried posting to the Premiere forum without success.  What would the proper workflow be for colour grading in After Effects?
    Much thanks in advance.

    Ahhhh....found it.  I didn't see the Premiere sequence converted to a composition as it was burried 3/4 of the way down the stack.
    I graded the first dozen shots or so of the sequence with Colorista2 and then used File/Export/Adobe Premiere Pro Project, saved it as Filename_Graded, then opened it in Premiere.  The shots that were all on a single video track were now scattered over six but they played back correctly so I guess that's not a big problem.  The real problem is that while the graded clips show that Colorista was applied to the clips, the adjustments were't applied.  All the settings are nulled out.
    My question now is:  Is my workflow correct and this is an issue with Colorista2 or is there a way to have the Colorista2 settings make their way between these two programs?
    Thanks in advance.

  • Fantastic video showing the power of colour grading

    I recently watched this and found it to be a fantastic example of the effect a grade has on an image and thus the story. Well worth a watch for the aspiring colorists out there like myself.

    I'd seen that recently too ... popped up on the personal view forums ... and actually, it illustrates one of the big problems of learning to be a colorist or even working in the field ... there is SO much that you can do! WOW you can change things ... so ... um ... what is the choice for *this* clip, sequence, or project gonna be?
    As one starts developing a sense of capability, and learning how to create Looks and LUT's and use and mix and re-purpose them the first thing you get is seriously over-stressed! Well, that and ... one can find one just spent 4 lovely hours playing with all the options for a scene or interview or whatever, but ... everyone else went home three hours ago and it was just a small short project you were expecting to spend ten minutes doing something "acceptable" for and ... ... and ... ... and ... you've only got about 300 things left you want to try! 
    SpeedGrade is the single most addictive program I've ever been around ... not that it doesn't at times drive me nuts also, like it is over not finding sufficient video resources right now when it doesn't even USE my video card which it was doing ... but still, I love working the colorist part far more than editing or shooting or anything.
    Having fun, I hope?
    Neil

  • How do I get the colour board to show percentages?

    Underneath the colour corrections, I am unable to see a reference. How do I view this?
    e.g. when moving the mid-tones spot, I do not get a numerical reference underneath the board? All colour grading tutorials show a numerical tablet underneath the colour board, allowing easier reference points...is this something that can be switched on and off?
    Many thanks,
    Tom

    Just make sure that there is enough room to show them. Increase the size of the colour board by dragging on the lighter grey are here:

  • How to create Coloured bar scale

    Hi,
    I am working on Diadem12 and I want to create a colour graded bar scale showing the current performance of my test result in percentage of the allowable limit.
    Detail : Consider I have a variable calculated in Diadem which corresponds to perfomance of my test and I have upper limit for this value. I want to show the calculated value for my test as a percentage of the limit and if the percentage is
    less than 80%, then it should be filled  with green
    between 80 to 100% then it should be filled with orange and
    more than 100%  then it should be filled with red.
    (pls see attached snapshot)
    For example: Lets say the upper limit for max acceleration measured is 150 and the x be the measured value in my test (in percentage of the upper limit). Now if x is less than 80 then bar should be filled with green, between 80 to 100 to be filled with orange and more than 100 to be filled with red.
    Please let me know possible ways to do this.
    Regards,
    Fazil Shah.
    Attachments:
    Picture1.jpg ‏57 KB

    I was able to do this by creating a 2D axis in the report (which can be include in the template file) and then creating rectangular frame with fill and then positioning it same as the 2D axis by the following code.
    Dim oMyFrame, oMyBackgroundColor, oMyPosition, oMyBorderLine, oMyShadow
    Set oMyFrame = Report.ActiveSheet.Objects.Add(eReportObjectFrame,"MyFrame")
    Set oMyBackgroundColor = oMyFrame.BackgroundColor
    Call oMyBackgroundColor.SetPredefinedColor('colour variable depending on value))
    Set oMyPosition = oMyFrame.Position.ByCoordinate
    oMyPosition.X1 = 60 -----------------------------------------------------(X1 position of 2D Axis)
    oMyPosition.X2 = 70 -----------------------------------------------------(X2 position of 2D Axis)
    oMyPosition.Y1 = 60 -----------------------------------------------------(Y1 position of 2D Axis)
    oMyPosition.Y2 = ValMin(Y1+(% value ),80) ----------------------(80 is Y2 for 2D axis)
    Now a problem I am facing is that, this works only in Diadem 12, can any1 help me in modifying this so that this works in Diaden 11 also?
    Attachments:
    bar scale.jpg ‏12 KB

  • Which monitor is best for color grading?

    I am new to Editing & color grading,i am working for films,using Adobe CS6 & davinci resolve now i am looking for 2nd monitor(reference or preview purpose) which one is best to choose in budget.
    my monitor is dell 27 inch ips monitor,and what to choose second one ,is it a broadcast monitor or one more ips monitor is enough? broadcast monitor is expensive then which is best budget monitor to choose?plz help me

    Hi all,
    I've got a DeckLink 4K Extreme and Premiere Pro CS6. I am wondering what is the best monitor to plug it into for colour grading (via Speed Grade or Da Vinci Resolve Lite), as are the rest of you, it seems. As 4K monitors are now coming out I wondered about the Dell UltraSharp UP2414Q, connected via HDMI:
    http://accessories.euro.dell.com/sna/productdetail.aspx?c=uk&l=en&s=dhs&cs=ukdhs1&sku=8452 18
    What do you good people reckon? This is bang on my budget of £1000 + VAT. Or is there a better bet?
    The colour support says:
    Colour Gamut (typical): Adobe RGB 99%, sRGB 100%
    1.07 Billion colours (8 Bits +AFRC)
    The much larger (and double the price) UP3214Q is here:
    http://www1.euro.dell.com/content/products/productdetails.aspx/dell-up3214q?c=uk&l=en&s=dh s&cs=ukdhs1&baynote_bnrank=0&baynote_irrank=0&~ck=baynoteSearch
    The colour support says:
    Colour Gamut (typical): Adobe RGB 99%, sRGB 100%
    1.074 Billion colours (10 Bits)
    Is that difference between 8bit and 10bit going to seriously hamper me? Is there a 10bit 4K monitor in my price range or should I go for a 10bit 2K monitor?
    (And yes, I know the DeckLink 4K Extreme is a hefty piece of kit for plugging into a 'relatively' cheap monitor but rather nice circumstances meant I ended up with one, albeit with no suitable monitor.)
    Thanks.

  • Grading for projection?

    Anyone got any suggestions for colour grading for decent results for viewing via a projector?
    We've created a DVD from XDCAM footage and are pretty happy with it but colors seem washed out.

    High res and quality comes always from the source first!
    Anything shot on 35mm and with wise lighting is more likely to look,
    as you say, good or better on TV monitors and projectors.
    However higher TV /projector resolution doesn't mean that
    any grain or imperfection from a master and in particularly from its DVD compression will vanish, on the contrary
    it will show up indeed!
    As you probably know 4:2:2 colour sample
    is the minimum requirement for some sort of decent colour grading with relatively low loss of quality (I believe XDCAM mainly records 4:2:0, although I read somewhere that the XDCAM EX can output 4:4:2 in some circumstances)
    That means that with 4:2:0 colour sample footage you have to be extremely careful when colour grading.
    Besides viewing your grading on a high def  monitor you should check for any increase of grain, colour temperature, white, in fact always keep an eye on the vectorscope for best results.
    Images reproduced by average monitors and projectors won't perfectly match what you see on your High def monitor, nevertheless the latter is the most reliable tool to assess the best balance you can achieve with your video material!
    gig

  • BROWSE BOX CAUSING PREMIERE TO STOP WORKING

    Hi guys
    I am having a problem with my browse box. If I try to save my project as the browse box opens but premiere will stop working and crash. If I try to import anything using the file menu the same happens. I can import using the media browser, but the problem is if I double click in the project panel by mistake when dragging media the browse box opens and premiere will freeze and crash losing all the progress.
    I am editing PAL HDV footage.
    How can I fix this problem?

    The version is CS5.0.3. I think its the Matrox drivers causing all these problems. Coz the RT X2 I had recently ceased the DVI preview and had to RMA it for a replacement. I have actually deleted the drivers and restarted installing them all over again, and it appears to be working, but some other projects it can cause the Premiere to crush, even After Effects and Photoshop if opened at the same time when dealing with dynamic linked compositions AE can just crash while I am working in premiere taking photoshop with it, then it will bring a dialogue box which say system tray or something. When I unistalled the drivers the problem disappeared.
    So why do I have to use the Matrox RT X2?
    Answer: When my RT X2 was away I used the secondary monitor hooked onto my GPU. When previewing fast action footage or that from  a panning camera, it was really awful it looked like 3D without glasses. Thats why I think I need to use my RT X2 at the moment. What is the best card for Colour Grading and previews, so I can really see all the out of focus shots and the likes?

  • How do i reposition the timeline to the left margin?

    I dip into FCP Pro X when I have a new project to edit - in between doing other things.  The interface reminds me of the dash on my old Merc A160.  It has very few buttons and they have multiple functions, but to change the time on the clock I always have to consult the manual.  Less is not always more - something Apple struggle to understand sometimes.  If I was using FCP all the time (heaven would be not having several different jobs) I would probably figure it out - but, because there is nothing intuitive about the interface, I have to relearn how to use it every time I come back to it.  Just like the buttons on my Merc.  I have completed a couple of editing projects in FCP.  But I haven't looked at it for some months.  In between I have been using Resolve (because a lot of my footage is shot in Log mode - something FCP doesn't handle at all - and I have to use a LUT to make the clips usable in the editing process).
    I have a wedding to edit.  Three cameras, three audio tracks on the cameras plus the church PA audio and a Roderick recording from a mic work by the groom.  I would like to choose an audio track and sync the video to that - but I learned last time that is not possible (or not easy).
    I looked at multicam sync clips but I can't see how I can use this to fit my workflow - it requires too many decisions up front and I don't have small clips - I have two 1hr "clips" and some smaller ones from the handheld camera.  I don't want to chop up the "master" clip and I can't see how to easily sync everything together in such a way that I can see it all.   Yes I see that I can choose different angles in a different editor, but I don't want to get into that at this stage - I just want to see all my material in a timeline so I can make major edit decisions first.  Oh I wish I had not thrown out FCP 10...
    So what I want to do this morning is just drop clips into the timeline from the main camera, chop it up and remove the bits of the ceremony that I don't want in the final video and then choose clips from the other cameras to replace the main camera. 
    So, I drop a clip in the timeline.  Its the warmup to the wedding.  People are sitting down.  The organ is playing.  I don't want this in this timelines.  So I trim the clip from left to where I want it to start.  Great.  Except...
    ... the timeline now starts halfway across the display and I have a blank black box to the left.  I cannot, for the life of me, see how to move the start of the clip back to the left margin.  Nor can I imagine why anyone at Apple thinks this is a useful thing to do?
    In between all of this I have the usual Yosemite instability issues and, for whatever reason, Preview keeps crashing so using the FCP User Guide is more or less impossible.
    Any clues?
    And don't say use Resolve on Windows instead.  I don't need much persuasion, and I hate Windows.

    I don't agree with you here.  Resolve is much easier to use - I don't have to try and get into the heads of the developers and its is easy to see how my material slots into the editor.
    I am still trying to get my head around the way FCP organises the material.  Events/Projects?  What are they thinking here?  How does this fit into a wedding video?  I can create meaningful "events" (wedding/photoshoot/reception) etc but why would I?.  Is a "project" just a timeline - a "sequence" in normal film editors?  Why not call it that then?  I cannot figure out what kind of environment Apple were imagining when they came up with this way of organising things?  They must have had some kind of job in mind where events and projects make sense.  The manual is silent on where the clips actually go - are they organised within events?  within projects"  or within both?  Whatever it is, it might be easier to understand what FCP is doing if Apple explained what this structure means and why they have adopted it.  I am left to guess.
    What I can't seem to get rid of is the groups (I have no idea what else to call them) which are just a date and under which my clips appear.  I don't want this hierarchy but I can't see how to get rid of it...   Clips that should be together, but were filmed on different dates, are in different places - and I cannot see how to group them together without these dates imposing another level of hierarchy,  I struggled through the last couple of videos not really understanding where my clips were and ended up with multiple copies all over the place.  Right now I don't know if I have all my footage in the library or not - its so hard to construct a meaningful organisation in this crazy interface.  I just deleted 8 copies of a lapel mic audio track - I have no idea how I got 8 copies of that into this library.  Does FCP just import duplicates without warning?  Its so hard to correlate what is in the library with my folder structure on disk...
    To my mind, this is one project - a wedding video.  And this video will include multiple sequences.  But my clips need to be ordered in such a away that makes sense to me - I am not sure how to do that in FCP, but its easy in file manager.  The clips were shot in various locations on multiple occasions.  But this has nothing to do with the finished product, which will have its own order of things, not necessarily related to the order of shooting.  In FCP (or Resolve) I would have the clips in bins and my various sequences which I could then assemble.   Now I guess these are projects?  They aren't "projects" at all - at least to in my mind.  I don't like having to think about this project (the wedding video) in some weird way which only makes sense to the FCP developers.  Maybe they never filmed a wedding!
    Thanks for the advice re multicam clips.  I came to the same conclusion  but there is an awful lot of stuff to synchronise and I am not confident that FCP will do this in one go.  But now I have to learn and get familiar with the different editing environment for multicam clips.  Oh joy!  I am hoping I can add more clips to a multicam clip afterwards - once I sort out how to get my footage into some meaningful structure without all these surplus dates...  The clips have been imported so that the file structure creates keywords - which would be ok, perhaps, except for this extra date-related hierarchy which means I have to keep expanding the tabs to see the clips.
    As for Synchronised clips, if you read the user guide there is nothing to warn you that this is an audio-only sync.  Or which video track you are going to end up with. "For example, if you select two video clips and three audio clips from different sources that were all recorded during the same take, Final Cut Pro automatically analyzes and syncs the clips together into a new clip in the Browser."  Perhaps, when they wrote this manual, they were thinking this would create a multicam clip.  Or maybe its an old manual - I don't suppose they get updated automatically.  Maybe I better go look to see if there is a newer version on Apple's website.
    I seem to spend a lot of my time undoing the default settings in FCP.  I don't want my footage disappearing into an impenetrable amorphous mass in some hidden library somewhere, so I have to remember to change that default - the wording in the inspector is not very clear and sometimes I find that it is importing the material into its library and creating another copy.  I generally only notice when my backup software suddenly starts copying gigabytes of data to tape...
    I don't want to see my footage an in iMovie layout with no tracks either.  Especially my audio tracks, so I always have to unpack them.  I miss the little buttons to turn off different audio tracks - yes I know there is another way to do this, but its not obvious (as with everything else in this software) and means fumbling around in the interface to find how to do it - and its slower if you want to flip between audio tracks to decide which one to use at any given point.  Its the same with synchronising clips.  You expect to select the clip, right click and get a sync option.  But its in a separate menu under Clip.  Why?  If you want to copy a clip to another library its not under a clip menu - but under the file menu?  Why?  I think its a terrible mess - and I think that Apple introduced a level of complexity to this interface with little to show for it.  I am new to Resolve.  It looks complicated with all its colour wheels and stuff, but actually its very intuitive and easy to use.  And its very easy to structure clips and sequences without having to spend hours trying to figure out how Apple think you should do things.  if you use FCP all the time then fine - you get used to it.  But is it truly a better way to work?   I like structure - it helps me to understand my material - but FCP is anti-structure and forces a virtual schema on its users.  If you like that, well and good - but it shouldn't be compulsory.
    I got my head around using keywords - but I hate it - its just extra work for me and I hate the loss of the direct relationship with my material.  Its very hard to see whether I have used all the material or not and how it all fits together.  Now I have duplicated stuff everywhere and lots of things missing - but no real organisation.  And I have to remember how I keyworded clips to find them - not easy in a big project.  And since I have lots of big clips I have to remember not to change the I/O points without first saving the subclip and assigning a keyword.  Extra work and easy to stuff up.  Its a problem too if you edit a subclass without realising it is just a virtual clip so every instance will be edited.  Sometimes thats a good thing, but not always.  The issue is that this happens invisibly so you have to be very careful working with these virtual clips.  Subclips are safer - you always know whats happening - and that's increasingly difficult when you have lots of subclips which are really the same material but grouped separately.
    Its much the same with all Apple's software today - its all written from some other planet.  I have had to take out a subscription to Office 365, use Dropbox and oneDrive instead if iCloud and download Resolve to deal with my Blackmagic camera.  Its a consumer world at Apple now - and an iMovie view of the world.  Apple like to hide half the functionality because they think it makes things look easy.  Their manuals are useless and their online Help worse.
    And yes, thanks for the Shift-Z.  That works, though finding it in the manual is another matter.  But why this behaviour in the first place?  Is there any reason why you would want your timeline to start halfway across the screen?  Why doesn't the clip just snap back to the left as it would in any other editor?  Its little quirks like this that make this a very frustrating experience.  I am not editing all the time - I am just as likely to be in Dreamweaver, Indesign, Illustrator or Photoshop - or working on business projects.  I don't feel I should have to wade through a badly written user guide or ask basic questions in this forum every time I come back to FCP Pro X - that was never the case with the old FCP.  Its just like the clock on my car - daylight saving happens here twice every year and the time has to be changed.  I always need to refer to the manual.  To my mind that is a crap user interface.
    FCP Pro X has some nice new features.  But its hard to justify this when everything else is so hard to use.  Its like connected tracks.  Why is that an improvement?  I always start with an audio track from my master camera - because its on tape and runs for the whole take - but its impossible (or very difficult) to do this in FCP Pro X.  If I have a jumble of clips and its not clear where they fit, I can't assemble them, in sequence on a separate track - I have to connect them, arbitrarily, to an existing track.  And then undo that connection later.  I have to rethink my workflow every time to try and fit in with FCP Pro X.
    In an earlier life I was a software developer.  The golden rule of applications in business was that you built your application to suit the workflow of the user.  You could streamline it, but not change the sequence unless the business had made a decision to do that already.  I wrote quite a few large applications for various areas of the business - I used them to make sure they worked, and I used the existing workflow.  A user could come back from holidays and know immediately how to use the app to do their job.  A new user could use the app without weeks of training.  Its not hard to write intuitive software - but its impossible if you set out to impose a new workflow or method of organisation on a user.
    Apple seem to have missed this altogether.  FCP will always be a dog, for that reason alone.  I have never used Avid or Premiere Pro, but I imagine no-one else has adopted Apple's upside-down way of doing things.  That spells lots of training issues for anyone adopting FCP Pro X.  And now since you have to work with  colour grading apps, like Resolve, users have to work backwards for Apple and forwards for everyone else, in the same project.
    After this project I am going to look seriously at Premiere Pro - but only if I decide I can't use Resolve on its own for everything.  I have been an Apple diehard for 12 years after being a Windows guru for a decade before that.  I am close to giving up on Apple.  Having to buy Office was very difficult - but the Apple apps have been dumbed down (Pages) or were never up to the mark (Numbers).  I can't use iCloud because it doesn't support half my material so I have Microsoft oneDrive which also goes against the grain.  And I am running Yosemite which means crashes at regular intervals and reboots several times a day.
    I am an Apple shareholder too.  But I beginning to think they have lost the plot.  I hope not.

  • Another: a serious error has occurred that requires Adobe Premiere Pro to shut down

    I know a few people have had the same notification:
    sorry, a serious error has occurred that requires Adobe Premiere Pro to shut down. We will attempt to save your current project
    I have tried a whole series of things to fix it and no luck. Here are all the computer stats... does anyone have any ideas???
    Premiere Pro
    Version number: CS5, with most recent update
    Installation language: English
    Updates applied: Most recent… installed AFTER problem started
    Project/sequence settings… NA
    Operating System
    Name: Windows 7, 64bt
    Update/patch level: Service Pack 1
    Installed language: English
    Display resolution and color depth. 1920x1080; 32bit color
    CPU type and speed Core i7 950
    Amount of memory (RAM) 12GB
    Video card 
    Manufacturer: Nvidia
    Model: FX3800
    Driver version: Latest (installed after errors started)
    Number of monitors (displays): in use 2 (with one disabled for testing)
    Audio card
    Manufacturer Gigabyte Technology 82801J HD Audio Controller
    Model
    Driver version: 6.1.7601.17514 (latest version)
    Each hard drive's capacity and space remaining Disk setup (partitions used, raid configuration, what is where for OS/projects/media/scratch/audio)
    C and D, no partitions. D is raided, controlled by hardware controller. All software on C. Media kept on D.
    Hardware capture device NA
    Manufacturer
    Model
    Driver version number
    Capture software NA
    Name
    Company
    Version
    Comprehensive list of third-party plug-ins you installed.
      None for Premiere I don’t think. A couple for After Effects. Have been installed for a while with no recent updates.
    Exact text of any error messages
    sorry, a serious error has occurred that requires Adobe Premiere Pro to shut down. We will attempt to save your current project
    Explain clearly what you want to do, what you are doing and what the result is
      Open Premiere to do some work 
    Be sure to mention if it is something that worked before using the same procedure
    Nothing has changed on the PC prior to program failure.
    Very importantly: Post details of troubleshooting you have already done to avoid "did that" reponses to questions people ask when trying to help.
    Tried:
    Reinstalling
    Reducing to one screen.
    Holding Shift when starting until first screen (New/ Open Existing/ Help)
    Holding Ctrl, Shift Alt when starting until first screen (New/ Open Existing/ Help)
    Programme crashed regardless of clicking directly on loading icon and opening New or Existing via first load screen, or via clicking directly from a project file.
    Removed all fonts installed since last opened.
    Restarting.
    Updated Graphics Driver.
    Updated Premiere

    Hi guys; I thought I would share my experience and how I managed to fix this problem. It might help someone.
    In my case I kept receiving this message; eventually after re-launching Premiere, I actually paid close attention to the "software loading" information and saw that it got stuck on my installed "Colorista ii" which is a colour grading software.
    Now the red bulb came on my head ping!
    I recently just upgraded my Mac to the OS X Yosemite & that affected pretty much any non-updated application, which in my case was that and many more of the Red Giant Pacakge; so I searched for the upgrade via Red giant Link, and low and behold I found it and did so. Immediately everything loaded up perfectly fine.. and now can't even do the work, cos I'm so exhausted from an 'almost heartattack'; so going to sleep and commence later in the day I guess..
    Now, you might probably want to check if any application on your system needs upgrading to whatever is the operating system on your Mac or PC at this very time. It might help.
    Always back-up.
    I hope I helped someone :-)
    @ToleXElijah
    Extreme Studio Manager

  • Will FCP2 Work on my iMac?

    Here are the specs:
    Processor: 2 GHz Intel Core Duo
    Memory: 2 GB 667 MHz DDR2 SDRAM
    Hard Drive: 500 GB Internal
    Chipset Model: ATY, RadeonX1600
    VRAM (Total): 256 MB
    Resolution: 1680 x 1050 (20" Display)
    If I need to provide any further information, please let me know! I have been running FCE HD on this system for over a year now and am ready to upgrade. I just want to know if this setup can handle Final Cut Studio 2!
    Thank you so much!
    Alex Oliver

    Hey Alex,
    yes I wil tell you what I think!
    +How would everything run if I only installed FCP6, Soundtrack, DVD Studio Pro, and Compressor 3?+
    If you decide to go for a Mac Pro (OOOOoooh yes!) install the whole suite, it is just what you need today and tomorrow (if you know what I mean!)
    Alternatevely if you stick to your iMac install FCP6,DVD studio PRO and Compressor...that's what you need to edit your videos and create a DVD out of it (Soundtrack pro and its sound/music loops/archive will take a lot of space in your main hard drive).
    +And are you saying that it IS possible to run Color and Motion, but it will run slow?+
    MOTION is a RAM vampire and it likes the card I mentioned before. It depends on the power of your Graphics card.
    Color is a software that really needs higher monitor res... why?
    Colour grading is all about calibrating hue, brigthness, contrasts etc.in order to determine a mood in a given scene like in a painting or in a choreographic piece affected by light changes or just a dramatic scene.
    YOU NEED TO KNOW WHAT THE ACTUAL COLOR CHANGES WILL LOOK LIKE!!
    FW 400 drive is the basic one you can use to transfer data while you are editing. Not the best choice, but that's what you have isn't it!
    I+'m wondering if it's worth trying to upgrade to a new 24" iMac with 4GB RAM and 1TB of storage. Either that or a Mac Pro. However, I'd much prefer to save that money and just use the system I have now.+
    Mac Pro is my suggestion other than that is a bare compromise!
    Hope all this helps!
    Goodnight!

  • List of problems in PPRO CC 2014 I've encountered

    Suggested by Adobe Care to post here.
    Issues in PPRO
    -General encoder issues where a render will stop part way through without a detailed description of whats happened.
    -Play head in the timeline becomes unstable when scrolling with the mouse - timeline bounces around when zooming in.
    -Red flash frames have been appearing when using the multi cam feature. Clearing the cache does nothing and restarting computer/PPro fixes for a short moment but the red flash frames always come back. The red frames appear in the render as well if rendering straight out of PPRO. Ways to counter the red flash frame is to import the sequence into AME and render that way.
    -PPRO occasionally believes a file is frozen and will not play it properly or render it out. source file is fine and plays without a problem and even renders/encodes no problems when put into AME. Even if you remove the file from PPRO and then relink it, PPRO still believes that the file is frozen/unplayable. The work around is to transcode the file in AME to something else and replace the source file in PPRO.
    -When zooming into the timeline the green audio waveform often disappears and then comes back after a moment. Bit difficult to pin point a specific beat to cut when the waveform is gone.
    -Using masks with multiple effects for one video file will often cause the program viewer to make the video appear as though it has shifted partially off the screen to the right and down. Turning off the effects will bring the video back into the center of the program viewer.    
    -Can no longer copy or move multiple files in multiple bin at the same time. Previously I could select a file in 'BIN A' and a different file in 'BIN B' at the same time and move them together to 'BIN C' but now I have to moves each file individually.
    -Importing bulk R3D or MXF folders with spanned clips no longer registers that the clips are spanned which means there are lots of extra folders with multiple duplicate clips getting imported. There is a work around where you can import the spanned clips properly but involves individually importing only one target folder at a time. Which is incredibly time consuming when you have a very large number of folders all with spanned R3Ds. Previous versions of CC prior to 2014 allowed bulk importing of spanned clips via the top folder had zero issues.
    Issue in AE/AME
    I have also encountered a strange issue when exporting a video using AME which was added from AE.
    -I rendered a file from PPRO using AME which had zero issues - no flash frames. Imported it into AE and ran some Noise reduction over it and then added it to the media encoder so I could encode it as H.264 -  The project in AE with NR had no flash frames. Once AME was finished with the render I played back the newly created file and noticed a flash frame where a single frame of video from the 5 min mark had been dropped right into another part of the video 7 mins down the line. The AE project had one file in the timeline and on further inspection did not have any random single frames floating around which would have caused the issue.
    Cheers,
    James

    Hi Kevin thank for replying,
    The projects have all been built brand new in the most recent versions of PPRO and AE.
    PC
    i7 3930K
    Windows 8.1
    32GB Ram
    GTX 580 3GB
    A lot of HDD space available
    Premiere Pro CC 8.1 All abode software is up to date according to the Creative Cloud manager
    Nvidia drivers up to date
    -Source footage mainly Canon XF300 MXF 1080P footage, R3Ds when running into batch import spanned clips issue occasional DSLR Canon footage.
    -Error messages -  Error compiling movie - Mostly has had to do with PPRO thinking a clip is frozen as mentioned in the post above but has also occurred recently when exporting a project conststing of MXF and DSLR footage colour graded with colorista all running with in a multicam setup.
    -Errors are generally sporadic in nature but PPRO freezing has become more constant with each update.
    - Most of my issues are during editing, some of which have been detailed in previous post.
    -3rd Party plugins for PPRO - Colorista and twitch from video copilot. both of which have been updated this year for CC 2014. AE has trapcode, a waveform plugin and other Video Copilot plugins installed, Trapcode was only installed a couple of days ago, after the recent issues.
    -Avid codec pack is installed for DNXHD encoding
    -Errors happening while editing, and on export.
    Dont have any videos or screenshot examples.
    If you need anymore clarification let me know, basically what I want to know is if uninstalling and re installing PPRO and AE is my only option or if there is a standard reset and reconfigure scenario I can look at doing. I suspect the batch importing issue along with the inability to grab multiple files from different bins at the same time is potentially a missing feature issue while the rest are bugs. 
    Once again thanks for getting back to me.
    Cheers,
    James

  • If I save an Illustrator file as PDF, isn't it still vector?

    I was asked to send a logo to someone who wanted to wanted to forward it to someone else to use (possibly a printer or maybe even a newspaper or magazin)e, so I sent it to them in PDF format.
    The person I sent it to just emailed me and asked me to provide it as vector.
    So I sent the original Illustrator version as well as an EPS version.
    Still, I thought this was odd. When I worked at a newspaper, we worked with PDF files that clients provided with no problem. The policy there was to open them in Acrobat Pro and re-save as TIFF. But I also often open them in Illustrator to make changes and it has never been a problem. When I open with Illustrator, they are indeed vectors.
    Maybe they don't have Acrobat Pro or Illustrator, but even then, can't most DTP programs place PDF files now?
    Sorry if these are stupid questions.

    When sending a logo after completion to a client, I give a wide range of files for the exact reasons you mentioned. I have no idea what programs they have, or will have in the future. giving them a "package" allows them to have a great set to send to all areas of their company without having to come back and requesting more files.
    I found great articles as reference in case you are interested:
    http://designinstruct.com/print-design/create-a-logo-design-from-start-to-finish/
    http://www.thedesigncubicle.com/2009/01/what-should-you-get-from-your-logo-designer/
    http://99designs.com/designer-blog/2011/05/18/file-types-logo-design/
    They advise:
    1 x original Illustrator file (.AI) – Containing flat colour, graded and B&W logos (File > Save As…)
    3 x Illustrator 8 EPS files – Separate flat colour, graded, and B&W logos (File > Save As…)
    3 x PDF files – Separate flat colour, graded, and B&W logos (File > Save As…)
    3 x High resolution JPEG images – Separate flat colour, graded, and B&W logos (File > Export…)
    The following files are often used when saving print designs:
    PDF (Portable Document Format) is a file format developed by Adobe Systems that can be universally downloaded and viewed by any computer that has the Adobe Acrobat plug-in. Today, PDFs are widely favored by most designers — it can be saved as an editable file which is great for clients.
    EPS (Encapsulated PostScript file) is a vector format of your logo. It can be re-sized without losing image quality. Due to it’s high quality, it is commonly used with print elements such as business cards or brochures. If you ever question when to use it, ask yourself, “Will this be used for a high quality print?”
    TIFF (Tagged Image File Format) is widely supported and works in almost any program. It produces a higher quality image than a JPG or PNG, but is not a vector format like EPS. It is widely used among publishing industries and photographers. It is best used in common things like invoices, page layouts or letterheads.
    I hope that helps, Please post back with any other questions
    Janelle

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