¿CÓMO CONSEGUIR EL COLOR SEPIA EN PREMIERE PRO 1.5?

No sé cómo obtener el color sepia con Premiere Pro 1.5. Estaría muy agradecido si alguien pudiese solucionarme este problemilla.
1 saludo para los/as aficionados/as al video digital como yo. GRACIAS

OK. Muchas gracias por tu ayuda, pero podrías decirme exactamente cómo hacerlo? Con qué filtro, etc.
Tengo unos PLUGINS que descargué que lo consiguen pero no funcionan del todo bien. Tarda mucho tiempo en renderizar.
GRACIAS DE NUEVO

Similar Messages

Should I color correct in Premiere Pro or something else?

Hey guys, I'm an experienced noob in digital video production. I learned on using an HD camera and Final Cut Pro 7 in my communications class. But now that I graduated, I bought myself a t3i and the adobe creative cloud. My question is, should I color correct in Premiere Pro or another suitable program (the only one I sort of know is Davinci Resolve lite)? Sure, I know it can be done in Premiere Pro, but I was wondering if there is a better alternative that I should focus my learning in for color correction. Thanks in advance!

It will do you till you get there.
A comprehensive study of CC / Grading techniques and theory ...will do more good than just learning how to work a CC Grading software application.

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.

Color Finesse in Premiere Pro?

In the November Issue of Sound on Sound Magazine Mark Butler did a review of CS5 Production Premium, and states the following:
"The version bundled with After Effects is Color Finesse 3 LE, and it can also be used directly in Premiere Pro if you like."
How can I do this? I cant find CF in the effects bin or anything and its not that ideal to use Dynamic Link if you want to go back and modify your cuts..

Thanks Colin!

Which color models do Premiere Pro and After Effects use?

hello,
I had a problem with a psd-file that I used in Premiere and AE: when I imported the AE-composition with the mentioned psd-file into my Premiere-sequence, where the psd-file was also used, the color of my psd-file looked different. It seemed that the two "instances" of my psd-file did use different color models.
On the Adobe-help-page I found an entry with the following info: "... After Effects works with the RGB (red, green, blue) color model. AdobePremiere Pro, however, works with the YUV color model. When you work with a dynamically linked composition, Adobe Premiere Pro either converts it to YUV or retains the RGB colors, depending on the output format." (http://help.adobe.com/en_US/premierepro/cs/using/WSbaf9cd7d26a2eabf53ab041041081290f-7fe8. html)
BUT: I found another entry in which it says that "... Premiere internally works with RGB..." (http://help.adobe.com/en_US/premierepro/cs/using/WS6693F22C-C06E-431a-A634-62343C65BA7B.ht ml#WSbaf9cd7d26a2eabf53ab041041081290f-7fbb)
Can somebody help me?

I believe Premiere Pro will keep the YUV color space on all YUV material (normally only video, still images are usually RGB) for as long as it can, all the way through the pipeline to export. But there are some things which can force an internal RGB conversion, like the addition of an effect which does not work in the YUV space. So far as I'm aware, once converted to the RGB space, it will stay there until an export forces a conversion to another color space.
So the PSD should start out as RGB and stay there both in AE and PP, until an export to a YUV format forces a conversion.
The difference you see between the programs may come about because AE is color managed, whereas PP is not.

Dynamic Linked Footage Coming up with Color Bars in Premiere Pro

I recently had been editing a project in Premiere, and decided to do some work in after effects to the footage using the dynamic link function. It's worked fantastically up until this point, as now it's causing me some grief. I recently built a new PC as the mobo among other hardware was showing signs of making it's way out the door after years of use. I installed the HDD from the previous computer into this system, as well as a brand new HDD. Upon opening up my project, all I see on the footage that's been linked into AE is color bars. I figure this is probably just a case of PP having issue finding the location of the video files but I'm unsure and not entirely sure how to go about solving this issue.
Any ideas?

If you only want to tint the entire frame, then you can do so by creating a solid-color clip, putting that on top of the track that you want to tint, and then set the blending mode to Color. Adust opacity of the color matte to taste.
Toward the bottom of this article, you can see how to do this in After Effects, but the idea is the same in Premiere Pro.

Quad Color Screen in Premiere Pro CC

Hey guys!
I'm working on a project that is made up of both mp4 files and pro res 422hq files. The mp4 files were provided by our client from youtube/vimeo. After rendering some of the mp4 files will be replaced with a quad color rainbow esque screen. I'm wondering why this is happening. My company has been working in premiere for the past 7 months and no has seen this type of screen before. Is this something that is a result of the videos being rips? I'm working on a Mac Pro 2.66GHz Quad-Core Intel Xneon.
Thanks in advance for any insight!

Was this material copy-protected? Adobe PrPro obeys copy protection.

Fast color correction in premiere pro

Hi, I'm having a problem using Fast color correction with two different clips which show the same picture and are of different colors. here are the frames:
This is the correct color; checking the white balance it's perfectly white when check with the front of the raft. Perhaps the saturation should be slightly modified but over all this is exactly what you see when arriving at Red Cavern (the name speaks for itself) on the Colorado.
Here is the same shot taken at the same hour by a friend of mine who gave me some of his footage; everything is either white, pink or grey even the yellow raft on the left has not its true pure yellow which it is in reality:
Although taken at 20 years interval, the shots were done most probably at the same hour. The only difference being a more important set of trees due essentially to the level of water higher on my trip in 1995 than 2 years ago on my friend's one. The beach on the right side of mine being under water or having formed later. Of course the second shot is done with a digital camcorder which did not exist 20 years earlier.
As one can see the reds are washed out and do not correspond to reality. The footage is taken at the Red Cavern on the Colorado
The problem is to correct the second footage to get the same reds as both footage cross dissolve from one to the other and that I wish of course to be nearer as possible of the true colors. I can't check the white balance using Fast color correction on the second footage because there is no pure white visible anywhere. The sand at the base of the cavern or on its right is not white in reality as it consists of deposits either of mud from the river or sandstone of the cavern and the redwall above. Which effect would enable me to correct the second footage to approach as much as possible to the same color of the first one. Most probably FCC is not the right effect to choose.
Thanks in advance for your suggestions.
Claude

I think that's about as nice as you can expect ... years apart, or even just hours apart with sun coming in a different angle on the same rocks (not even depending on any reflection changes!) can oft get massive shifts in "apparent" color. Which is ... real? Either, both, neither? It's actually one of the things that makes going back & shooting in the same place over & over interesting ... it's never EXACTLY the same ... or rarely so.
Ahh, now we're almost into a discussion someone will moan about needing to be continued over on the Sg forum ... tee-hee.
From your comment about transferring clips ... are you using an EDL process? When using "Direct Link" (the "direct to SpeedGrade" command) normally all the "stuff" from the PrPro project are included. There have been the odd instances where Sg doesn't "see" something, but ... I'm curious, I've not run into this for most anything I've done "direct". Either direct or EDL can work, but it does change your work-patterns a ton depending on which you choose.
SpeedGrade is an amazing tool ... and is designed to give a very good basic correction and then allow one to step off the deep-end into stylin' your shots. Especially with the large collection of "legacy" clips you've got from your friend, that seem to be of a similar "look", you can correct those for basics (WB, dynamic range, blacks & whites, hue shifts) using a Primary or two or three and then a Secondary for the hue-shifts. Then save that as a "Look" and anytime you run more of those clips, you can just in a couple clicks throw that Look over top of them and have all your previous work on that footage done bang. Slick as all get out, and I think you'll love that part of it.
Just a bit on my process that has come about since going so heavily into DL ... it used to be enough "work" to export an EDL, load things into Sg, then export out to re-import back into PrPro that like most I did pretty much to edit-lock & then to Sg. That is pretty much History ... it's so fast that when I start putting together a sequence for a new project I'll just throw a number of clips onto the timeline ... DL to Sg, do a Basic grade on them (especially if there's significant skin as I've got a GH3 and it naturally makes skin un-natural so I've a Look to recover skin-looking skin) and go back to PrPro. Now as I'm editing I've got a feel for how good a visual I'll get off that group of clips. Mostly finish my editing, with maybe an occasional minute or two over in Sg (quite literallly) doing something like making something a Master Clip so the other bits of that one get the same grade automatically). Before doing the final export out of PrPro I'll go to Sg and do the rest of the "style" work.
Then back in PrPro thow on my titles & such, pop in any fixed audio from Audition, & out it goes.
I do use some "adjustment layers" added to sequences in PrPro simply to use for additional grading layers to utilize in Sg over groups of clips or occasionally one if I'm doing enough I want to put it "up" on a different layer. Not always ... but sometimes.
Pretty slick for the most part.
Neil

How do I check color channels in Premiere Pro CC?

I know there are buttons designated for it in After Effects but I tried looking for them (within the program and online) and don't see any Premiere.
I am using the channel blur effect so that I can reduce noise. I believe most of it is in the blue channel, but I wanted to verify.

I would like to do the same as you (see each channel) in Premiere, but it has never been done by "a click of a button" as in AE.
Anyway, you want to reduce noise, and my favorite tool for doing that is the Denoiser from Red Giant Software.
Take a look at it, it works very well.
Dag

Color Correction in Premiere Pro CS5

Hello all,
Like a lot of people I have started looking for an alternative to FCP and Color since it seems like apple is dragging their feet a bit. However, during my switch process, I am encountering a few problems.
My biggest problem is in the color correction department. I love the color correction effects that you can use in PP, however when editing a large amount of clips on huge timelines, it becomes time consuming to have to click on each clip to gets its effects to come up in the window.
In FCP you can gang a sequence to the viewer monitor and when the playhead moves the color correction adjustments change to whatever clip you are on. Same with Color. move the playhead and the adjustments change to whatever is associated with the clip, making it really efficient to color correct.
So...... does anyone know a similar way to use PP in the same way.
Thanks in advance for your help.
also, anyone know where the zoom transitions went on CS5 for mac?
Thanks again.
Nick

Hey Nick,
I don't know how to do that in PP. I use MB Looks for CC and the best I can offer is to copy and paste down the line. I will grade one clip and then paste those settings to the rest of appropriate clips in that scene, tweaking when necessary.
Hope that helps!

Video is randomly distorted (color inverted) in Premiere Pro CC 2014

Below is a screen grab of what the distortion looks like. It happens regardless of CODEC, sequence setting or type of video file. It happens to MPG, MOV and AVI files equally. It even happens to still graphics. Here are the particulars for my computer:
Windows 7 Home Premium with Service Pack 1 running on an
AMD FX 6 Core processor at 3.5 GHz with
10GB memory, the video card is an
AMD Radeon HD 7450.
As I explain in the graphic, this problem pops up randomly regardless of what other programs are running in the background or none, and the only way to fix it is to reboot the computer.

This looks like a graphic card issue. Try the latest driver or if you are on that try an earlier version.

Premiere Pro CS6 and CC with bad quality and incorrect colors in output video

Hi everyone!
I'm frustrated with my results after exporting a video with Adobe Premiere Pro (both CS6 and CC).
The color of the video output is slightly different to the original file (i've checked if it was a problem with my video player, but no, i've tested the video with WMP and others with no success).
Also the video quality is a little bad compared to the original file (i even tried to use frame blending once).
Notice that i'm not using any effects or anything alike, and i'm a begginer in video editing.
These are the parameters from the original video (made by Media Info software):
Format
: MPEG-4
Format profile
: Base Media
Codec ID
: isom
File size
: 1.70 GiB
Duration
: 1h 35mn
Overall bit rate mode
: Variable
Overall bit rate
: 2 540 Kbps
Encoded date
: UTC 2012-12-06 21:47:27
Tagged date
: UTC 2012-12-06 21:47:27
Video
ID
: 1
Format
: AVC
Format/Info
: Advanced Video Codec
Format profile
: [email protected]
Format settings, CABAC
: Yes
Format settings, ReFrames
: 4 frames
Codec ID
: avc1
Codec ID/Info
: Advanced Video Coding
Duration
: 1h 35mn
Bit rate
: 2 246 Kbps
Maximum bit rate
: 33.7 Mbps
Width
: 1 920 pixels
Height
: 816 pixels
Display aspect ratio
: 2.35:1
Frame rate mode
: Constant
Frame rate
: 23.976 fps
Color space
: YUV
Chroma subsampling
: 4:2:0
Bit depth
: 8 bits
Scan type
: Progressive
Bits/(Pixel*Frame)
: 0.060
Stream size
: 1.50 GiB (88%)
Title
: Video
Writing library
: x264 core 128 r2216 198a7ea
Encoding settings
: cabac=1 / ref=3 / deblock=1:1:1 / analyse=0x3:0x133 / me=umh / subme=10 / psy=1 / psy_rd=0.40:0.00 / mixed_ref=1 / me_range=24 / chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=2pass / mbtree=1 / bitrate=2246 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / vbv_maxrate=25000 / vbv_bufsize=25000 / nal_hrd=none / ip_ratio=1.40 / aq=1:0.60
Encoded date
: UTC 2012-12-06 21:47:27
Tagged date
: UTC 2012-12-06 21:48:02
I'm exporting the video using almost the same parameters from the original file.
Here's a screen shot of my settings in Premiere:
As you can see in the printscreen, the settings only differ from the original file parameters in the bit rate (which i raised a little),
the TV standard (which i have no ideia what it changes), the level of H.264 (which i raised from 4.0 to 4.1, 5.0 and 5.1), and the bit rate encoding (which i've tried using CBR, VBR 1, and VBR 2).
Just for my curiosity...why these numbers in orange are so extensive? I mean, the original video is only 01:35:30:06 in final output (which is correct).
Notice that i do not use key frame distance (as i don't know what it does).
If i'm doing something wrong, please tell me.

Well if i do that, the video will raise up GBs larger (and that is really bad).
Why is it really bad?
Its a fact of digital life. High datarate = quality.
example ...even the Youtube preset is in the 8mpbs area.
...and you are exporting 1 hr 35mins of media.

Premiere Pro CS6 and Media Encoder CS6 Color shift on export

Hello,
I am working on an early 2008 Mac Pro with 2 X 3.2 GHz Quad Core Intel Xeon Processors 32 GB of RAM a NVIDIA GeForce 8800 GT 512 MB Graphics Card and I am running OS X 10.8.2.
I have the updated Version of Adobe Premiere Pro CS6 and Media Encoder CS6 through the awesome Subscription program that Adobe has started.
My footage is shot with the Canon 1D Mark IV shot 1920X1080 at 24 FPS
I am importing the camera files and then exporting them after I cut them up in to Quicktime Pro Res 422 HQ files
With the technical explination out of the way here is my problem. I have color right from the camera files that I like. and with out doing any thing to change the color I export the footage and get a dramatic color shift. The exported file looks desaturated and slightly green.
I have tried using Media Encoder CS6 to export my footage and that has the same result.
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I have attached three screen shots that show the color shift exactly. Now what I need is a solution. What I am not seeing is color settings for Premiere. I am totally open to any suggestions on what I might be doing incorrectly.
Ben

Benjamin Peterson wrote:
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I've been doing this for a few years now, and have come to some conclusions. Basically, the difference between still photography and video is like the difference between playing the trumpet and the sax. What you bring to the sax from playing trumpet is your ability to read music, what you know about composition, blending while playint with others, ect. But playing trumpet tells you nothing about how to physically play a sax. So it is with still photography and video.
For starters, your carefully calibrated computer monitor is just that, a computer monitor. It doesn't display the correct working space for video. What you need for WYSIWYG in video is a monitor that can show you the Rec.709 working space. Rec.709 has a different gamut, a different gamma, probably a different white point (D65), different phosphor colors, etc., etc., etc. Enought differences that it's difficult to make a computer monitor that can successfully display Rec.709. Yet there are a couple of computer monitors that can do this (a few Eizos, one HP). The vast majority of people doing serious color correction work in video use a production monitor for just this reason.
But a production monitor isn't enough. You also have to make sure that the signals you're sending the production monitor are correct. There's a sub-industry making signal converters for signals from NLE video cards (usually RGB based) -> signals for production monitors (usually YUV based).
That said, it is certainly possible to get a very good match between your NLE suite and a DVD / BD as displayed on an HDTV. But it's not as simple or easy as a calibrtated computer monitor for still photography use.
This is probably part of your problem. But Quicktime is probably the root of it. Quicktime is, well, I guess the polite way of saying it is that Quicktime is problematic. It gives all kinds of problems. Most people have abandoned it. You should too.

Color and contrast different from Premiere Pro 2 DVD creation

I found after creating DVD's via Premiere Pro 2 are more saturated and more neutral in color vs encoding through Encore.
I made a si8de by side test, converted them back to AVI and grabbed the same still of each. The Encore still was lower in contrast (flatter) and a slight bit warmer. over all the DVD compression from PP2 gives a richer look. If you are a film maker or photographer this matters a lot, but not for most users.
the file sizes from premiere are bigger. for example a 8mbs from a 7:30 avi compression on premiere resulted in 544mb while a 9.4 compression via encore 2 resulted in 464 mb. when changing the mbs from 8-9.4 mbs it resulted in exactly the same size file 464mb. even when starting a new project, which means that there might be a bug and encoding on a unknown predetermined mbs, probably 7. This would explain the flatter look of the Encore 2 compression.
Does anyone know how to find out at what rate a dvd has been encoded after it's done? knowing that there isn't any difference in the file size between 8mbs and 9.4 mbs shows that there must be a problem.
This test was done with the Encore DVD 2 trial version. I have vs 1.51 as well and will make a test on this one as well. to see if there is the same problem.

1. Can you detail your exact method, step-by-step, for both Premiere and Encore?
encode encoded in premiere 2 at the highest level 9mbs (didn't chapter for a simple auto disk, this is disabled in pp2 but you can save as an mpg2 and import for chaptering in Encore2)
2. Did you use the exact same source files for all tests, or just files that were the same duration?
Exactly the same source file, when importing the mpg2 into premiere i simply imported each file in the timelime and saved exactly the frame of each mpg2. All this started when i first compared 2 encodings from a film directors reel where quality is crucial, and saw it immidiatly when playing the 2 different dvd's of the same reel on a DVD player (JVC) and Sony monitor.
3. Be sure to include project settings and program preferences for both applications.
encore 2 encoded at cbr 1x 9mbps (highest)
Premiere 2 encoded at cbr 1x 8mbps (highest)
when setting to 9mbps in PP2 I get the3 following warning:
Total Video and audio bitrate (10.536 Mbs) exceeds maximum allowable bitrate (10.030 Mbps) for DVD type of muxing.
So i reduced the bitrate to 8 and still got a file of 557mb and better color and contrast than Encore2.
The final results of encoding in PP2 gives an identical DVD mpg as far as color and contrast to the original AVI.
When encoding at the max rate of 9 in PP1.5 i never got this warning.
I just repeated the above test on more time in PP2 and Encore DVD 2
they must use a different codec for Encore2 than PP2.
Besides the color and gamma shift the image size horizontally is a slight bit different (larger) than the one done with PP2, but not verically.
you can also encode in PP2 save it as a multiplexed mpg2 file and than chapter it for the final dvd in encore2 which gives you the higher quality results of PP2.
Klaus

Color Picker appears when quitting Premiere Pro CC

Anyone else having this issue...
Sometimes when I quit out of Adobe Premiere Pro CC, the Color Picker appears. After I close the Color Picker, Premiere quits as normal, but sometimes I have to close the Color Picker 3 times before it goes away.
It doesn't always do it and I can't figure out what triggers it (besides quitting Premiere).
I'm running it on Windows 8. Premiere Pro CC v7.0.1 (105). I only started noticing it in this most recent update of Premiere Pro CC.
Thanks,

This bug landed on my plate recently for investigation, and today I managed to nail down one simple repro case: In AE, copy one or more Solids or Adjustment Layers to the clipboard (or a comp containing solids/AdjLayers), then right-click in PPro's Project panel, Timeline, or Effect Controls panel. I get one instance of the color picker for each solid copied to the clipboard.
A workaround for this repro case is to copy anything other than a solid or adjustment layer to the clipboard before right-clicking in PPRO.
Edited to add: I encounter the Color Picker only the first time I right-click in PPro after setting focus on the app. Also, once an AE Solid or AdjLayer is on the clipboard, this bug can be reproed each time PPro regains focus, regardless of which app had focus last.
If the Color Picker is popping up for you in cases that do not fit the scenario I've described, please send me a private message; I'll want to follow up to isolate your case.

¿CÓMO CONSEGUIR EL COLOR SEPIA EN PREMIERE PRO 1.5?

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