Grading DNG footages

Hi,
I have Premiere Pro CC and I import some DNG footages from a Blackmagic Cinema Camera. When I do that, the images are pretty flat (low contrast and low saturation). I would like to grade them in Camera Raw, but nothing happen in Premiere Pro when I import some DNGs graded with ACR (DNGs still very flat).
So, how can I grade my footages in ACR ?
Thanks a lot,
Best regards.

Bring them into Photoshop CC.
Then use the Camera RAW filter.
Or, use SpeedGrade. You won't find exactly what you are looking for in Premiere Pro.
What you can also do is take one frame of the video into Photoshop, make all of the adjustments you want, then use that frame in SpeedGrade as an example and SpeedGrade will do its best to make thos same changes. You can save that to a look (LUT) and then use that LUT in Premiere Pro.

Similar Messages

Graded footage now it looks grainy and full of noise, why?

System Setup
MacBook Pro Retina
RAM 16gb
Adobe CS6
I just completed grading my footage and rendered everything and my footage looks grainy?
My source files are RED R3D files. Sent to Speed Grade from Premiere Pro via the send to command. The exposure on the clips is correct. I've only done a 15-25% increase on the Gamma setting nothing too drastic. In terms of the grade I made the footage look vintage by using the Sepia filter at a 25-35% opacity, crushed the black and pushed the whites but didn't go overboard and did a few Secondary color corrections to make curtain colors pop. I've provided a link so you can see what the footage looks like. I've even tried turning off all the filter/adjustments or shutting off all the eyeballs and rendering the RAW footage back out. The footage still looks grainy
URL: vimeo.com/59697823
Access Code: password
Also the footage looks squashed now after rendering why?
Finally is there a setting where you can see if you missed any clips? Mean you didn't grade them, the timeline is so small it's hard to know if you missed a small clip or two

Looking at the clip in fullscreen (1680x1050) on my MBP (non)retina, I don't see anything that comes close to 'grainy' (save for the background on the title pages). Have you verivied on other screens?
But form expeciance I must say that noise/grain in the blacks is a typlical issue. Actualy, what you are seeing is that, when there is light, the new generation camera's pick it up very well, but have difficutlty with the dark parts making blacks grainy and midtones and highlights not. Film has grain over the full specturm. I've been requesting an "Add Grain" filter for SG for this use. By adding grain to the mid & high the grain in the backs is less apparent. I typically fix that in After Effects.

Creating Proxies After Editing DNGs

I am editing a project shot RAW on a Sony FS700. I've never worked with RAW and am new to Premiere, coming over from FCP7.
I imported the footage (DNG Sequences) and I started pulling subclips, laying them in a sequence as I went. Essentially, I have a rough cut of a 3-minute promo piece in a timeline.
Obviously, being new to a RAW workflow, I didn't know I should've created proxies from the start. I am now realizing the simplest edit hangs up my computer, pinwheels Premiere, and in general is not workable.
I'd like to create proxies and replace the DNG Sequences until I'm ready for grading. I did a test export of a handful of clips from Resolve. In Premiere, I made those DNG clips offline, and tried to link it with the new proxies. When I select the correct proxy file, Premiere pinwheels and becomes unresponsive. I am able to replace footage on a single clip with my proxy file, but this would take forever given the amount of footage I have.
The bottom line is this: Can I replace all of DNG footage in Premiere with proxy files, without individually replacing footage on each clip?
System:
iMac with Mac OS 10.10
16GB RAM
2GB AMD Radeon R9 M290x
Premiere Pro CC 8.1.0
Thanks very much.

Rendered files are big files and always will be. Only render files when you require them and delete them after us as you can always render them again. Of course once you have opened into LR you have rendered the file. The best way of reducing the size of the rendered file is to save as a compressed Tiff as this retains everything in a lossless format. If you don't require layers then why open into PS anyway?

What's New and What's Fixed in 2014.1

First, here are links to the two main documents about new features in the 2014.1 release:
Product Manager Al Mooney's blog: Premiere Pro CC 2014.1 Release
The What's New page in the Help: Adobe Premiere Pro Help | New features summary
(I'll review both of those documents ASAP to see if any little goodies got skipped.)
And now, the bugs that were fixed in this release:
Import
Import of CinemaDNG clip fails if the file has been renamed.
Gamma shift in some re-imported QuickTime IMX clips
Some QuickTime Reference files import without timecode.
Indexing of XDCAM clips can take an excessively long time, footage shows Media Pending until indexing completes.
XAVC-S files import without Timecode
Unable to import certain XDCAMHD 422 Long-GOP clips with Pixel Aspect Ratio of 0.7500 MXF
Spanned XDCAM HD422 clips not handled correctly if the clip names do not follow the normal convention
When a sequence is loaded from Media Browser to the Source Monitor and then inserted to a sequence without explicitly importing, two copies of the sequence are added to project.
Scaling values are not properly handled for clips/sequences imported via an XML file written by some shot management and conforming programs
If the reported duration of an XDCAM HD MXF clip shorter than the actual length in the file, then frames outside the stated duration can be accessed.
Some XAVC and XDCAM-IMX-MXF clips have audio noise introduced on playback
Some .mp4 have green frames and 'static' garbage when played in Source Monitor
Canon XF300 Footage has unacceptable performance for playback
.mp4 clips generated by certain transcoding programs exhibit poor playback performance
PPro no longer recognizes timecode from a .qtc file, referenced from within a QuickTime reference movie.
Some XDCAM422 clips fail to import with generic error
Occasional crash on opening Source Settings for DNG footage, with 2nd monitor enabled
Overexposed white areas in some CinemaDNG footage display magenta artifacts.
When scrubbing C300 clips in Project panel’s Icon view, red frames sometimes show and Event panel reports error decoding frame.
If SpeedGrade was installed before Premiere, then double-clicking a prproj file launches SpeedGrade (Mac Only)
Growing Files
The last frames of some growing file are green. Must relaunch Premiere to correct the problem.
Importing a growing file can take an exceedingly long time, with footage showing as Media Pending
When a growing file refreshes, it stops voiceover recording
The incorrect timecode is shown in the Timecode Panel for growing files.
Timeline playback of growing files drops audio for about 1 second each time the growing file refreshes.
QuickTime reference files for growing files fail to import.
Export
When source is 120fps, export fails if Match Sequence Settings enabled
The Advanced XDCAM Settings section in Export Settings is blank for imported XDCAM presets
In QuickTime encodes, audio exported as uncompressed stereo imports into FCP as dual mono.
When you export to 5.1 AAC with the “Import into Project” option enabled, the resulting clip fails to import, throwing
“File import failure”
Image flicker is introduced in some constant-bitrate MPEG2 encodes
When the only variable blocking smart rendering is an adjustment layer, the effect(s) thereon are ignored and the segment is smart rendered.
ProRes media encoded by Premiere causes are not compatible with certain video QC programs.
AAF export: 88.2kHz and 96kHz audio clips exported to AAF do not appear in some audio production programs.
Audio EDL gets wrong source timecode if clip is nested or part of a multicam source sequence
EDL does not give correct Source In and Out for clips with speed reversed.
EDL does not give correct source in and out on reversed clips.
OMF export fails with some multicam sequences, reporting Audio Export Failure.
Hang during OMF export when the sequence contains a 5.1 audio track/clip.
Smart rendering can introduce black and red frames
Playback
Playback of IMX 50 clip freezes after 12 seconds.
With XDCAMHD and DVCProHD footage, frames are sometimes dropped though the render bar is green.
Audio for some mp4 files plays back at double speed
When pre-roll is set to 1 frame, timecode and video of XDCAM .mxf files are out of sync
Some DNxHD do not decode properly, resulting in frames being played out of order
Performance of playback for some QuickTime is poor because they are unnecessarily falling back to QT32
Dropped frames when playing R3D clips with RocketX enabled and Playback Resolution at ¼
Audio
With Maintain Pitch enabled, no audio when playing at slower than real-time
Solo buttons in Audio Meters do not work for clips loaded into the Source Monitor
Mono and Standard track puck and tray panner routing for Ls, Rs, C and LFE channels do not adhere to ITU-R BR.1384 standard.
Occasional crash on switching a clip from mono to stereo via Modify>Audio Channels
5.1 channels are not properly mapped for some Dolby content.
5.1 clip changes to a 6 mono channel clip when “Extract Audio” or “Edit in Adobe Audition>Clip” is performed on a project item or track item.
Changes to Frame Rate via Interpret Footage are sometimes not applied to saved for all audio streams, causing most audio channels to be out of sync after closing/reloading project.
Constant Power audio transitions introduce buzz if either track item has zero channels (generally limited to multicam clips)
Crash on applying changes in Modify Audio Channels dialog [Mac Only]
Project Panel
Sorting by Duration is broken if the column has been moved during the current session
If the Project panel is filtered via Rapid Find when a bin is created, the edit control for naming the new bin does not become active automatically, and it cannot be activated manually until Rapid Find is cleared.
Project items cannot be deleted or renamed if the list view is scrolled to the right.
Project panel does not autoscroll to the left when a column is dragged to the right side of the Name column
When a timecode value is typed in the Video Out control for a clip in the Project panel, the value gets reduced by 2 frames upon committing the change
Subclip
When a soft subclip with only an Out Point set is edited into a sequence, the Subclip Start is ignored; the resulting track item extends all the way to Media Start.
The Media Start/End and Subclip Start/End times for subclips from a merged clip are incorrect
Editing/Timeline
3-Point edit: If the source is a sequence and only an Out Point is set for the source, the wrong segment gets inserted when KEM Roll is set to Insert as Individual Clips
Keyboard trim commands do not affect clips on targeted tracks that are outside of visible area of in the Timeline
Switching between sequences can turn the render bar red.
Frame Hold option doesn't generate the freeze frame when speed change is in effect
In the Timeline, the FX badge gets hidden when the clip is not wide enough to show the full clip name.
If the Left/Right Balance control is displayed in Timeline header, the balance will change if the mouse strays over the Header region during click-and-drag operations in the Timeline (such as trimming out)
'Select In to Out' selects clips on locked tracks.
Multicam
If time-remapping is used on a Multicam Source Sequence, the Program Monitor's multicam view continues to play at 100%; if source sequence was slowed, the Composite view goes black after the original end point.
When a multicam source sequence has been slowed down via speed change or time remapping, the extended of the clip goes black—no video
If the audio in a multicam sequence is selected when it is flattened, the audio is sometimes deleted.
Disabled multicam source clips are sometimes rendered to the composite output
The camera can be changed for a multicam clip on a locked track.
The overlay displays timecode in audio time units for part of a multicam sequence if the source clips are stereo and the MC sequence is mapped to mono
If a nested multicam sequence's duration has been increased via Time Remapping, then upon reaching the original end point during an editing pass, the composite view restarts from beginning
Flattening
If a multicam sequence’s audio is 5.1 or adaptive, then flattening deletes the audio.
Crash on flattening multicam clip with keyframed scale when using a camera angle that does not start at time zero.
Flattening multicam can remove some audio clips from the sequence.
Flattening a multicam sequence with reverse speed applied results in incorrect frames being used
Effects
AE Text Template] When text fields are active for editing, they’re not being visually highlighted
Adding mask points very close to each can result in the ordering of the points being incorrect
Incorrect scaling of 1920x1080 adjustment layers in 720 sequences
Unexpected behavior with Cross Dissolves between Adjustments Layers.
Applying both Echo & Levels effects to an adjustment layer causes video playback to freeze
Crash on rendering previews for a Lumetri filter in Software-Only mode.
Crash on deleting a clip from a sequence after pasting an effect mask to the clip.
JPG frame sequence gets scaled down if an adjustment layers is in effect above it [OpenCL only]
Rename GoPro lens distortion presets to include the camera name
Clip name effect doesn't work correctly if Source Track is set to a different track.
Crash on using Clip effect or Timecode effect on a transparent video.
Crash on loading or applying VST Effects (Mac only)
Intermittent Crash with Warp Stabilizer applied (AEVideoFilter)
The Clip Name effect does not work when applied to a transparent video track item, with Source Track set to a video clip.
Crash on applying audio transition to clips with overlapping timecode
Previewing fails when an adjustment layer has an animated mask applied to Opacity and any other video effect.
In Software-Only mode, rendering previews of the new Cross Dissolve is slower than the old one.
Masking and Tracking
Shift-dragging a control point for an effect mask sometimes yields unexpected results
If a clip has an effect with a mask applied, moving the clip in the Timeline cause rendered preview files to be lost.
Previews rendered to a P2 codec are incorrect for the first 10-30 frames of an Opacity effect with mask applied
If a mask is applied to a GPU accelerated effect on an adjustment layer, the Program Monitor shows a cropped frame with Playback Resolution at Half and goes completely black at Quarter.
Opacity effect on Adjustment Layers fails to render within the mask with tracking.
After rendering an adjustment layer with multiple effects with masks applied, some of the effects are no longer confined within the mask [Mac only]
Crash on opening some projects with masking and tracking applied to effects
Direct Manipulation control fails to switch between multiple masks that are applied to the Opacity intrinsic effect.
3rd Party
Certain audio filters cannot be applied to a clip in a sequence that is imported via XML
PPro reports audio filter missing when opening a saved project with certain audio filters applied to the clips in a sequence that was imported via XML
Artifacts are introduced when using certain 3rd party transitions.
Certain 3rd party stabilizer plug-in are not working
Markers
On mouse-up after adjusting the Out point of a marker with duration, the playhead jumps to the marker's In point.
Video in Program Monitor strobes when dragging the In or Out point of a sequence marker
GPU
With GPU acceleration enabled, Gamma is being applied to some RAW media when it shouldn’t be.
Basic 3D effect can result in Program Monitor’s video overlay to become corrupted on some GPUs
Performance (Note: Most of these fixes are also listed under a product area)
Locking all Audio Tracks can significantly impair performance.
Performance of playback for some QuickTime is poor because they are unnecessarily falling back to QT32
Dropped frames when playing R3D clips with RocketX enabled and Playback Resolution at ¼
Navigating through projects in multiple Media Browser panels impairs performance and can culminate in a crash
In Software-Only mode, rendering previews of the new Cross Dissolve is slower than the old one.
Canon XF300 Footage has unacceptable performance for playback
.mp4 clips generated by certain transcoding programs exhibit poor playback performance
Interop
Crash on selecting Edit>Edit in Adobe Audition>Sequence...
When a 5.1 clip is sent to Audition via Edit Clip In Adobe Audition, the first channel is used for all channels.
Exporting from Audition to Premiere Pro opens Premiere, but the file fails to import
After grading a sequence in SpeedGrade, Premiere regenerates index & pek files
Miscellaneous
With some capture card hardware, captured uncompressed clips have the wrong field order
In the Overlay Settings dialog, the Track control is not properly constrained by the Property control.
A single preference flag is used for the "Import into Project" setting in the Export Settings dialog and the Export Frame dialog; they should be managed independently.
Custom scratch disk location for Video and Audio Preview folders get’s reset to default, “Same as Project File"
Changes to the label color cannot be undone.
In the Usage lists, all instance are ordered by track item start time; should sort by Sequence Name first, then by track item start
Automatic relinking fails in certain cases when the name of a folder in the relative paths are too similar. [Mac only]
With OpenCL GPU acceleration and Transmit enabled with some 3rd party I/O cards, the video on the output monitor is corrupted
Newly created projects sometimes have multiple Project Panels open.
And in closing, a request: If this post prompts you to think "Great, but what about..." or "Thanks, but I just found this new bug in 2014.1," please start a new thread--after, of course searching to see if there's already a topic on that issue.
[And Shooter, I apologize in advance if the foregoing contains any typos ;-)]

Lots to be excited about. BUT...Just updated to 8.1 on one of my computers to test it out...
Sadly, the following issue is NOT fixed for me. Is it with new projects only? I haven't started a new project on 8.1 I've only opened an old project but the issue that I'm referring to which involves also a delay/freeze of anywhere from a few seconds to a MINUTE while the render bar goes from yellow to red and then back to yellow is still there. Boo.
On the list above...
Switching between sequences can turn the render bar red.
This issue is incredibly easy to replicate. I really do hope it gets fixed. Here are the steps:
1) Create two sequences with multiple short clips (the more clips the better)
2) Make sure GPU acceleration is enabled.
3) Add warp stabilizer to the clips in both sequences. Again, the more clips the longer the delay/freeze will be as the render bar goes from YELLOW to RED and then eventually back to YELLOW again.
4) Hit SAVE.
5) Now, toggle between sequences. You'll hit a short delay with a few clips stabilized and a LONG delay with lots stabilized. In my case this delay is around a full minute. The render bar will go from YELLOW to RED and then back to yellow...eventually.
6) Toggle back to the original sequence and the delay occurs again.
7) Once you've toggled between sequences and have gone through this delay, that's it, there is no longer a delay...UNTIL...(and here's the big kicker)...until the project is SAVED again. After that the issue returns when you toggle between sequences. Both saving manually and AUTOSAVING cause this issue. No way around it except not editing with GPU acceleration.
Not sure what the issue is...caching issue when saving maybe? Either way, it stinks and it's still there in 8.1. Big bummer.
Again, lots to be excited about with this release but I really was hopefully this specific issue was resolved.
Sigh.

Heads up: I have started to use CR 7 for RAW video

Just a heads up. Interesting times over at Magic Lantern, where they've cracked the Canon DSLR's to deliver RAW video. The resulting .RAW file is converted to a DNG sequence of custom dimensions. The way I develop these is just like I do my photos: I use Bridge to browse, open up a representative frame in CR, do my settings, and sync up the rest in Bridge. Then I use Image Processor to output a JPG sequence for final rendering in Premiere (I use premiere 5, but Photoshop CS6, that is why I dont import the DNG sequence directly in, say after effects or Premiere).
Anyway, lots of people have suddenly started using Camera RAW for grading RAW video over the past week or so.
Just wanted to let you know. Its pretty big news. Here's my first tests: https://vimeo.com/66414746

It's much better to use After Effects to grade Canon RAW/DNG footage, as you can maintain a 100% nondestructive workflow.
You can import a DNG frame sequence into After Effects (and it will display the ACR interface automatically, as if you were opening a single image in Photoshop). Whatever you 'develop' in ACR is applied identically to every frame, so yes there are problems if you do something like add grain as it'll produce a static pattern. That doesn't matter for stills, so nobody in the ACR team bothered to add a random seed to the grain function. Maybe if this workflow catches on we'll see it added to future versions, but right now you should add grain later with AE's effects.
The DNG 'footage' always imports in 32-bit space even though the data from Canon's sensor isn't that deep. If you put it onto a 16-bit comp in AE you can adjust tone/exposure with the same effectiveness as the sliders in ACR, and the non-32 effects such as Add Grain will be happier. There's no real point working in 32-bit comps for these files unless you're doing something extreme. Replicating the shadow/highlight/clarity sliders with curves requires some skill, but you can get some amazing one-click effects on these DNG sequences from plugins such as MB Looks.
Personally I would make the overall pre-grade in ACR (white balance, approximate exposure, lens correction) but I'd do everything else (denoise/curves/grade/grain) in AE once the footage is on the timeline (I'd apply a little bit of MB Denoiser II, then Colorista or Looks, then AE's Add Grain or MB MisFire). Note that you need to set the lens correction manually, as the DNGs from Raw2dng don't include the EXIF tags.
One thing I've been asked is how to get the ACR dialog open again once the footage is imported to AE. You do that by right-clicking the footage in the project bin and choosing Interpret Footage > Main (Ctrl+Alt+G). On the dialog that appears, press the More Options button on the bottom left.
btw - Premiere Pro CS6 does not import DNGs. A previous version did, but Adobe reduced their activities on the emerging CinemaDNG standard and removed the plugin.

SpeedGrade needs ...

Let's see ... ability to run on everything from a Commodore 64 or Windows 3.11 to the latest Mac, Win, & Linux OS, 32-bit floating point handling 6k Log-S footage with 4 LUTs and warp-stabilization plus multiple key-framed tracked grading masks in real-time playback on even a tablet or smartphone. That about do it?
Now ... for a more realistic look ... how about ...
1) A clear, concise, and blatantly up-front explanation of the difference between DL and Native processing, including workflow ramifications. (Preferably leading the Help menu items.)
2) Clear, easy to find instruction set for using any of the tools and bits of the interface, with separate instructions for how they work DL or Native.
3) Yea, the ability to get a bit more color contrast into the UI ...
4) Full masking functions working as expected, including tracking key-frames.
Optional, but nice ...
5) Full implementation of DNG file operation for cameras that use this.
6) More RAW formats as again, there are more cameras coming down the pipe with this.
7) Less jargonese in the export settings for Native mode.
If the first four were the ONLY list of things "completed" in SpeedGrade development this year, wouldn't that be really enough for most of us? And note, there are only two things that would require further development of the software itself, and they're in my 3 & 4 slots.
1) In my personal experience, participation on this & the PrPro boards here on Adobe, and in Creative Cow, Personal View and several others ... the biggest problem most people have coming into SpeedGrade these days isn't even the rather minimalist menu bar. It's the totally different operation of Sg within a DL process. I've had quite a few people that post they've tried it, and ... NOTHING works! They're frustrated and ticked off, there's not much in the way of menu options and most of them are grayed out, there's no obvious reason for this ... and with typical frustrated impatience common to the human species they are ready to simply dump it and go elsewhere. There seems to be an expectation that either people will be patient and puzzle out the vastly different operation to any progam they've ever seen and hunt down the blog posts and other odd places where the explanation for the DL process and all the implications thereof exist in bits & pieces. Which seems a rather bizarre expectation to me. That's why some explanation of the DL process needs to be with an obvious listing of the tool-set of Sg that's available as a MENU item ... ALWAYS there, and very easy to find without needing to search the internet ...
As a user who started in CS6 the "link" even then was an intriguing but different operation. The "full" implication of that into the CC model was very welcome, it's by FAR my favorite way of working, yet ... I still had to puzzle out a lot of things. I'll simply mention that I was the one who found that ... in the Original CC ... there was NO Auto-save in DL operation, which wasn't mentioned anywhere in any of Adobe's comments, blog-posts, or anything. Quite a shock to find this in the typical way one finds that auto-save settings one has very intentionally set ... don't save. There are still many things not really explained that we users just have to find our way through.
2) This one seems obvious. Just as obviously, it isn't ... obvious ... and considering the poor understanding of the CC model of operation listed in 1) above, this is a double-whammy in full force. The complete and total anger that I've received simply as a user trying to explain Sg's operation to others both here and elsewhere has been quite an eye-opener to me.
3) 'Nuff said on this elsewhere; actually, everywhere. I'm hoping this will get taken care of and sooner is better ...
4) Considering that once one gets past 1) and 2) above and starts using this program, well ... key-framed & tracked masks are such a staple of the colorist tool-set that finding that first you need to keep simple shapes as complex shapes get ... complicated ... as to whether or not they'll work ... and second, even if it "works" without say, showing up 300 pixels left of where they're supposed to be or something ... on many machines it can nearly bring Sg to a halt. Machines which run Ae with tracking without issue. So ... stable and fully operable masking is the next thing I get "hit" with quite frequently.
Optional but nice ...
5) Full DNG implementation. This is incredibly puzzling to many ... DNG is an Adobe creation, yet ... Sg has very limited ability to work with DNG footage, and for those it does, it's not always clear how to do so ... nor do the results always seem logical. This would require some engineering of the software, no doubt.
6) I don't have anything shooting 6k, RAW, LOG, or such. But clearly many do these days. And considering the steep discounting of some of these cams this winter, many more will be soon in the hands of users. And although supposedly it doesn't matter what format/codec the footage is in DL mode, not everyone wants or can stay DL all the time. If Sg isn't destined for just a fancier plug-in status for PrPro than say the Fast Color Corrector, this should have some attention. Or ... simply say that there's no intention for Sg to be a serious stand-alone colorist tool, and for that go to Resolve or something.
7) There are still times when most anyone needs to export through Sg in Native mode. The export terminology there totally reflects the "past" of this program where the only people using it were total video production geeks. There doesn't need to be any change of the program at all here, it really is very capable. However, very few people these days can look at the options listed and have a clue what most of it means for their export. Simply changing terms and nomenclature ... and offering hover-over and other explanatory bits would be a major upgrade in the usability of this program. Again ... taking no developer time whatever, past hovering text coding which seems rather a simple thing ...
Ah ... well, Merry Christmas every one!
Neil

And actually, as far as 7) goes, perhaps there could be some way to utilize AME for export, though it might take a ton of re-coding time for the Sg & AME teams, which I'd rather avoid. Though having all exports Adobe DVA apps go through AME for export would be nice, and perhaps a bit clearer.
Neil

Can I choose which Video Card SpeedGrade uses by default?

I have a Nvidia GTX 480 which has one monitor on it that I use for color correction.
I also have a GTX 275 that I have 2 older monitors on it for extra realestate.
When I use speed grade it appears to be utilizing my gtx 275 by default acording to the display setting in SpeedGrade.
I want it to utilize the GTX480. Can anyone help me out with this?
Also I have 2 monitors horizontal and my 480 color correction monitor is in Portrait mode. Speed Grade doesn't seem to be very custom workspace friendly. Can I set it up like I can in Premiere? Currently I can't use dual monitor correctly as it doesn't work well on the to landscape monitors. All the dimensions are wrong for filling the monitor screen.
Any advice for setting SG up?
Thanks.
-Paul

Hey Paul,
I would typically use the "0" button on the numpad for easy comparison between grade / no grade. If you want to be more granular, use the dot (or colon on some other languages) on the numpad to disable the current layer active in the layer stack.
The split screen option can be really handy once you add a second playhead.
Check this for some more info:
http://helpx.adobe.com/content/help/en/speedgrade/using/playheads.html
If you want a more traditional A/B split between graded / ungraded footage, I suggest to simply create a copy of the entire timeline (you can do so by using the drag handle, then hold down CTRL and simply move the mouse up a bit beyond the current timeline. Then release it - you got a full blown copy. Sounds harder than it is once you've don it once )
You can then turn off grading for the second timeline.
This is also rather useful if you want to compare online vs. offline data (to ensure you got all edits, correct shots onlined etc.).
Hope this is helpful.
Pat
One other question: I am trying to run splitscreen or side by side view on the dual display window, I have it running but it is not showing any color comparasons. Both images are showing the same color looks applied. it won't show Graded vs Ungraded. This goes for any configuration, ie split screen or side by side. Thoughts?
Thanks.
-Paul

Adobe Camera Raw changes not reflecting in Premiere Pro

I was super excited to try out the new CNDG support in Premiere Pro CC 2014, but I have to be honest - I am a bit disappointed...
I am using 16bit Cinema DNG files and the source settings sliders really aren't doing it for me (notice the pink highlights)
That's alright though, I would much rather use Adobe Camera Raw!
Right click > Edit Original
There we go, that looks nice - no pink highlights, nicely recovered details in the shadows and highlights.
PERFECT, click DONE!
Nothing...For whatever reason, changes are not reflecting.
Adobe - please allow us to use Adobe Camera Raw, there are so many folks out there that want to incorporate it into their workflow. I have tried SpeedGrade and various other color correcting tools and I have found Adobe Camera Raw to work the best IMHO
Thank you for your time.
-Loyal Paying Customer

Hi Ekombokom,
ekombokom wrote:
Hello! I too am having this same problem. I used Camera Raw (both in Bridge and Photoshop to make sure) to adjust and correct the Cinema DNG files I shot with my BMPCC; however, the video sequence in Premiere does not reflect any of the changes made. Why would Adobe not support Camera Raw settings in Premiere?
Sorry, but Premiere Pro does not have a camera raw importer. You adjust the settings in the Source Settings dialog box instead (for RED, ARRI Raw, BMCC and BM Pocket Camera DNG files). You do have access to some controls for these formats, but in some cases, Camera Raw has more controls.
ekombokom wrote:
Camera Raw is an amazing tool for refining an image and gives me the best results compared to SG and Davinci. I was so excited to be able to use it once Premiere supported CinemaDNGs but now I'm confused as to why it's not supported.
Cinema DNG from the Blackmagic Cameras are supported, you just adjust settings in Source Settings, as I mentioned. Have you tried that? The reasoning behind this is that Cinema DNG video coming from camera raw is too difficult to playback and edit with.
That said, some users bring Cinema DNG footage to After Effects, adjust the video there, then render out files that are suitable to edit with.
ekombokom wrote:
I thought the point of using Adobe was that all their products worked together seamlessly? I really hope they fix this.
You can always make a request here: http://adobe.ly/feature_request, however, I don't see a camera raw importer going into Premiere Pro any time soon (if ever) because of the reasons I previously mentioned (editing with camera raw would be too cumbersome). I think the more realistic feature request would be to add more controls in Source Settings.
Thanks,
Kevin

Anyone using a 4K monitor with FCP X?

Is anyone using FCP X on a 4K monitor? I'm thinking about getting a Dell 4K monitor as my main monitor but I'm a little worried the user interface support on 4K is weak. I think everything is going to look super tiny.
Has anyone already experienced this?
Thanks!

So I have my new Mac Pro set up. 8-Core, 32 gigs RAM, Dual 700 GPUs, 512 gig internal Flash drive.
I purchased the 27" Thunderbolt display as my main Final Cut Pro X screen and I have the Dell UP2414q 4K monitor plugged in as the Viewer display.
I have the Dell set to "Best for Display" and it works fine. I have some 4480 x 1920 RED footage and I have the FCP X Viewers on the Dell. The footage is set to 100% and it bleeds a little off the sides, as it should since the monitor is 3820 wide. It's at its native resolution.
The user interface elements of the second monitor are at normal size - the menu bar, the FCP X view options. Buying a 4K monitor and using Best for Display gives you the desktop the size of a typical 1080 monitor, but it all looks like a Retina display. It's very crisp.
So if you want a second monitor to hold a ton of Adobe palettes, and have a very large desktop, I'd recommend getting a Thunderbolt display, beause this display behaves like a 1080 monitor in that regard. If you want a 4K monitor specifically for color grading 4K footage at the native size so you can see all the artifacts and things you wouldn't see with the footage at 50%, this Dell monitor is fine and it's $890 on Amazon. It's not a professional color grader's monitor, obviously, but it does well for me.
I took some 4480 x 1920 RED footage that had a sky that was gray (the famous Mercedes in the mountains footage). I used the color picker color correction in FCP X and was able to select that sky very easily. I can see why the fat 4K footage is so great in regards to color grading. Because you don't have the massive color gradiation and artifacts you get in the more compressed media, when you use the color picker, it selects a very large, clean, section of the sky. I was able to quickly make the sky more saturated and blue and play it in real time (Better Performance) it's it's perfectly clean with no halos around the tree branches as they move into the foreground of the sky. Very nice!
Nice feature in FCP X is all the effects, transitions, etc., have a "4K-ready content only" button at the top so it only presents you with effects and transitions that work with 4K footage.
It took a lot of time calibrating this Dell monitor. It has the Adobe RGC color space built in but when I set it to that and set the OS X Display color option to Adobe RGB, it all had a very slight purple/pink huge. Very slight. Whites were not pure white like they are on the Thunderbolt and my blue sky had a tinge of pink to it.
I calibrated it with advanced options in the OS X Display preferences. I then connected my Samsung HD LED TV into the HDMI port of the Mac Pro and set it as my A/V display in FCP X. I was able to do the custom color setting on the Dell monitor itself and lower the saturation and RGB values. It took about 15 minutes to get it looking right. Now, I don't see the very slight purple/pink tink. My blue sky looks blue, etc., and it looks exactly how it will look on DVD and Blu-ray and projectors at film festivals.
The Samsung LED TV was a breeze to use. As soon as I plugged it into the HDMI port of the Mac Pro, the displays changed and OS X went to 1920 x 1080 60hz. The color was set to an HD color preset (I forget the number and I disconnected it). Arranging the multiple monitors is as you'd expect, just works.
BTW, I have 2 10 TB 5Big Lacie Thunderbolt 2 hard drives. They are about $1K each at 10 TBs. I have one for my footage and one as a backup with Time Machine. No formatting necessary - just plug them in and go. I plugged in the first one, told OS X no for Time Machine. Plugged in the second one, told Time Machine yes. Renamed the second drive "Backup". I turned off hard drive sleep becuase it's annoying. You hear it spin up, spin down, spin up, etc. as you work.
I used the AJA benchmark and this is what I got with 16 gig test file, 4K video simulation:
Write 740.3 MB/s
Read: 849.1 MB/s
Fast!
FCP X loads in 4 seconds on this system off the internal Flash drive.
Cheers!

Secondary colur correction mask not working! Help!

I am currently working on Premier Pro CS6 editing a music video. I have edited my footage, fixed the tonality and I am now onto color grading it. I took the saturation down to take out the colour and applied RGB curves to add blue into the shadows and then another fast colour corrector to give the video a blue/black depressed feel.
Going through my footage I wanted to take out certain colours that were too vibrant still. So I thought to make a mask. This is where my problem starts. I open up the three way colour corrector and the RGB curves and go down to secondary color correction and go to mask. When I try to take a sample from the dropper Premier doesn’t pick up the colour from where I want but selects it in other areas of the footage but never on the area I want! I have tried this on my mac book pro and the same is happening. When I have tried it on rushes it seems to work. I don’t understand why it doesn’t work when I have colour graded my footage?! I have tried many different discussions but nothing is pointing me forward. If anyone has any idea of why this is happening and how to solve my problem I would be so thankful!

Hi ACD,
After Effects and Photoshop CS6 take .Looks via the LUT engine. That indeed allows for using primaries with low mid high differentiation and should yield really good results.
Secondaries can be expressed in a LUT as well, but I would typically not recommend using them when you want to integrate .Looks with your After Effects workflow. Here's why:
- a LUT is never as precise as you'd want it to be for something as complex as secondary color grading - a LUT is always based on interpolation (as opposed to applying the effect in SpeedGrade - there it's all native, no interpolation at all)
- For a good key you would typically use the denoise and the blur function in the secondaries. Both (by nature) don't translate at all into a LUT, so you'd have to give up using these 2 important tools
- For a lot of work you'd want the LUT to be accompanied by a mask. That's something that also can't be described in a LUT.
Think of the LUT support for .Looks you created in SpeedGrade more as a really helpful tool for matching your comps to an overall look you design, not necessarily as the tool to apply a final grade.
Hope this is helpful.
Pat

Best monitor for external playback?

I have never used an external monitor before for playback, and now that I'm going to start color grading HD footage, I find that I'm probably going to need one.
I have heard that most computer monitors have their own "look" in terms of contrast, brightness, and color. My question is this: what should one get for external playback and color correction? I'm assuming an HDTV, or a 1920x1080 computer monitor, but what specifically should I look for in terms of specs? Affordability is also an issue here. Thoughts?

Thanks for getting back to me, Shane.
I'm a little new to all of this, so bear with me. It seems from what I just read about the Matrox MXO, and the like devices you mentioned above, that their main advantage is that they output broadcast quality, correct? Is there more to it than that?
Since that kind of thing isn't in my price range yet, I was thinking more along the lines of computer monitors/hdtvs that I would just hook up with the mini-display port. Nothing too fancy.
What should I look for in terms of inputs? From mini-display, what's best: dvi, vga, or hdmi? What should I look for in terms of contrast ratio? Is LED backlit a must?
Budget is <500. With a computer monitor/hdtv, will I have to have my display settings on extended desktop, and then drag my canvas over onto the new screen?
Thanks for the help!

Problem with speedlooks presets

Hi,i am grading a footage when i applying a clean preset in speedgrade the error message is coming (the look could not be saved because the current folder is read-only)...what is the solution for this problem anyone plzzzzzz help me.........

Hi,
I am getting the same problem even after setting up my custom folder. Actually the default Look presets which are already there in Adobe Speedgrade are working fine.But when i am using the Looks which i have bought newly ( Adobe CC Speedlooks Complete Bundle Big, Clean, Matrix ) are not working ( Error : the look could not be saved because the current folder is read-only ), when i open in Adobe Premiere (Direct link to Speedgrade) it is showing nothing, if i use the default Looks it is working fine in Adobe Premiere also. i think the problem is with Adobe CC Speedlooks Complete Bundle . Because of this error i am unable to move forward. It is very very urgent for me. So plz let me know the solution for this bug asap.
i am working on Windows 7, Updated Adobe Creative Cloud versions.

I know.. not another film look question, but here is goes...

Hi all i hope you can help me here.
Im used to doing safety, corporate, induction videos so Ive never been interested in getting the "film look" But now Ive got a music video to do and i really don't want it to look interlaced.
Now i did some test on my HVX200 25p, and read up on it a little. Which brought me to my question.
I know that when shooting with real film cameras AND HD 25p cameras there is the rule not to pan very fast because it becomes jittery. But when i did my tests outside with my HVX200 25p PAL on a tripod (no panning) my footage seem a whole lot more jittery that film movies i see on tv. Its so jittery i cant use the footage! im to scared to do the music video on 25p.
So now i want to know, am i doing something wrong? Is the shutter speed or the way you capture in FCP got anything to do with the jittery? Or is 25p just that jittery?
Another question. Does anybody have some tips to get a better look and feel to my music video? plug ins? or whatever?
Thanks so much for your replies.
Andre Meyer

Hi Meyer,
The reason I said your video still looks jittery is because you have not graded or used any additional adaptors on your cam. Turning on a progressive shutter alone will just make your VIDEO look like 24/25P video! The movement is greatly exaggerated! The point I was trying to make is that once you have graded your footage and if you are lucky enough to use a 35mm adaptor, much of that jitteriness (if that’s a word?!) will not be so noticeable. Remember, if it goes away completely, you are back to square one almost! Its about how acceptable you can get with the 3 components I was talking about in my previous post.
I dont own an HVX200, but I have a V1E (not as good as the HVX200) and I find the cinema Gamma not that great as a default.. I have to tweak it quite a lot to achieve the all important contrast and saturated colours. As for your HVX, just have a play until u get a look u like. The Cinema Gammas on the Cheaper Canons are dreadful and make the cam lose all their contrast! I guess this varies a lot with the mid-priced prosumer cams?!
You don’t need to own a 5D MkII (an ergonomic disaster in my opinion unless u have the full rail kit!) to have that 35mm DOF control. There are quite a few 35mm adaptors out there that have attachments for many types of video cameras. There are users in this forum I think that use these types of adaptors with the HVX200’s. However, such equipment is not cheap.. and of course a good quality stills lens’s are not exactly cheap either!
So to summarise:
1. Use a progressive frame rate 24/25P
2. Colour Grade to film... Best bet is to use Apple Colour... this is a really good colour corrector which has various preset that’s you can tweak and work pretty good as the film look. Of course you will need to experiment to get the effect u want. Alternatively, you can use Magic Bullet Looks.. which can be use used as a Plug-in to FCP, and is like Apple Colour on Steroids! It doesn’t offer the same amount of control as Color, but has some really interesting presets that can be easily tweaked.. and the good things is, this is all done without leaving FCP.. so its quick.
3. If you want to go the whole way and go for a 35mm adaptor.. then do your home work. Do you currently own a select of still lenses? Canon L series or Nikon Pro series? Of course u don’t need the pro lenses, but in this set up the quality of your stills lens becomes really critical! Take a look on YouTube and see the effect these adapter give, they can be quite amazing! Be prepared to spend over £2500 for the adaptor alone!
4. And of course, remember technique when shooting like this.. these adaptors do stop down your camera, you will probably have less light to play with. When u r tracking etc, DOF is really critical and can be difficult to master at first.
I don’t have any 35mm adapter, i try to achieve the film look by using steps 1 and 2..the result, well... its ok but often means I have to mess about with camera distances sometimes to achieve a decent DOF. Swings a roundabouts!

Shooting in HD

Hello everyone. This is my 1st post so please go easy on me! FYI, I would consider myself a novice when it comes to FCP.
I'm shooting a project against a white cyc background. The subject will be a person moving to and from camera (about 30 feet from background to camera). I have found a great lighting setup for these conditions. However, I was unhappy with the quality when I shot in regular video mode to test. My end result will end up being used for web media. I'm hoping to move up to HD with the Panasonic AG-HVX200. Please see my specs below. Will I be able to shoot HD with my current setup?
SYSTEM:
MacPro1,1
OSX v10.4.9
Processor 2x 2.66 GHz Dual Core Xeon
Memory 1GB 667 MHz DDR2 FB Dimm
Bus Speed 1.33 GHz
NVIDIA GeForce 7300 GT
CAMERA:
Panasonic AG-HVX200
FCP 5.1
Thanks,
sookchime

Hi there and welcome here.
+I was unhappy with the quality when I shot in regular video mode to test.+
Sorry, may I ask what you intend for regular video mode (do you mean DV?).
Having a good lighting kit doesn't necessarily mean that the lighting will automatically work fine.
Lighting can heavily affect the result in one way or another and certainly it plays a key role especially in a successful digital shoot.
The HVX-200 produces impressive colours, great skin tone details and much more but once again wise lighting is crucial.
In fact there are two aspects that must be carefully tested before principal photography when using
the HVX 200 and those are: focus pulling and lighting (Especially low light shoot).
+My end result will end up being used for web media. I'm hoping to move up to HD with the Panasonic AG-HVX200. Please see my specs below. Will I be able to shoot HD with my current setup?+
Your system settings is pretty close to the minimum essential, I would just get 4 to 6 GB RAM taking into account that you may want to use Motion in the future (4GB RAM is more than enough for just FCP 6).
I also would recommend an ATI X1900 graphics card not only for Motion but for Color too (As part of FCP 2).
By the way HVX 200 delivers 4:2:2 color sampling,
colour grading its footage with Color gives remarkable results.
Good choice!
G

Sending Color project back to FCP

Hello Guys,
I am completely new to Color, so I apologize for this silly question.
After grading my footage in Color, I am sensing it to Render Queue for render.
When it's done I go FILE/SEND TO/Final Cut.
First, it asks me if I want to change graded FCP sequence to match QT export codec.???
So that's the first problem, I have no idea what exactly that means??? (I had sent it from FCP to Color in ProRes and set Color Project Settings also to ProRes) so what should I change?
But the main problem is: When I send it back to FCP, footage looks exactly as it looked before being sent to Color. No grade changes. So I am wondering ... what do I miss?
Thank you for any advise.

Thanks for your help jPop.
I didn't use smoothcam. I sent my video from FCP to Color and then I applied a tracker to the pan&scan to do a tracking on the face of my character. I tried importing the "raw" files directly into Color without going through FCP and it did produced a file in the render file. The tracking was there but the image was cut in two... The frame is separated in two parts horizontally, making some kind of tile effect. First time I see something like that.
I found this on the online user manual of Color:
"Animating Pan & Scan parameters is not recommended for projects you’ll be sending back to Final Cut Pro, since neither keyframes nor tracker data can be sent back." :s
I'm going to try again with uncompressed video to see if that makes a difference. Do you think I could use the video that Color send to the render file and import that in FCP? If it is not cut in two...
Best wishes

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