New Lumetri Color grading

when will the new Lumetri color be available? I heard after the 16th of april. the one that mimics Lightroom controls for easier color grading. I saw a video about it and I have updated my CC but I cant find it.thnx

In next upgrade evidently.
Dates are never pre publicised.

Similar Messages

HP DreamColor Monitor for FCP Color grading

Hello, apologies that I posted this question also on the beginners video forum.
I am about to get a new Mac Pro set up specifically for color grading as I am a cinematographer and need more control over small projects where there is no budget for color grading of images at professional post houses. My vendor suggests using the 24" HP DreamColor LP 2480zx monitor driven from a Black Magic Intensity Pro card using the HDMI output. I have read conflicting reports and read a huge amount on forums such as Creative Cow about this but still not convinced I can get full 30bit grading from a Mac OS X using this monitor. I am in Australia and most projects here are in PAL format in HD at 1080p25 or 50i. I use FCP 7.
Any advice please?

are you saying I should look at Da Vinci Resolve to grade? Why?
It depends on whether you're a day-in and day-out business, and your preferred workflow. There are advantages and disadvantages to both. The Balckmagic-branded daVinci has a number of internal core processing advantages, a tracker that works, far superior color science, especially in secondary processing, but suffers from an old, "tape-to-tape" single-layer capability. However, it is truly "real-time", but that isn't as important to some.
The latest version of Resolve supports multiple-GPU processing on Mac, so the difference between the OSX offering and the much more expensive LInux may not be that great in actual performance. You can build a faster machine with more hardware.
The question... is it the software or controller that makes is (sic) so good? misses the point. Its a synergy of elements, just like good grading itself.
jPo

Need To Purchase Color Grading Monitor Today. Please Help

I've been color-correcting via the 3-Way plugin in FCP for years. At SD, normally DV, resolution via Firewire out to a color, CRT broadcast monitor. So now I'm color grading with Apple Color. Love it. But, I need a new output device and monitor. I say I need a new monitor b/c I now work (sometimes) at HD resolution. It's not often but I do. So my question are:
• Overall which card and monitor combo should I get?
• Should I stick with a SD CRT since most of my work is SD?
• And, if I do, can I still color-correct HD projects with it when the time comes?
• Should I do some type of HD monitor set-up?
Right now I'm working with the following:
• Dual 3Ghz Quad-Core Intel Xeon G5 Tower
• 8GB RAM
• NVIDIA GeForce 7300GT
• 1 Apple Cinema Display and 1 Wacom Cintiq display

Jonathon,
Did you not read my very post to your question? I answered this question for you. Look above, you'll see I tell you that the Kona LHe downconverts hd on the fly and I view it through component analong in my Sony PVM. I don't mind helping but you've asked this question 3 times now.
Worst case scenario (I guess) would be to down convert the HD footage to SD and color-correct in FCP via a Firewire and a SD CRT monitor. Correct? And if that's the case how would you do the the down conversion before the color-correction?
Yes, that is a very worst case scenario and one you should avoid. Personally, shooting hd to deliver in sd makes no sense to me at all. Darn near every show I've worked on this year is acquired in hd and then broadcast in sd and we use hardware downconverters that are horrendously expensive and yet the product is marginal.
If this is the workflow you're going to use, you'll want to use Compressor to change formats but geez, why on earth would you do this when a Kona LHe will do everything you want it to, right out of the box.

Color graded sequence won't export back into fcp as an xml or send to

Hi,
I've finished a film and graded it. when everything is rendered, I export using either send to or as an xml. Both stop at around 50%. on the xml I get the following report.
I started out at a 20 min sequence then a ten minute sequence now I'm down to 5 minutes. i've got a 146 minute movie to grade and get back into fcp.
Any help much appreciated.
Cheers
Peter
Mon, Jul 20, 2009, 14:07 - Errors Found Importing moral conflict 15min sequence.xml
<xmeml>: Unknown element <sourceprojecturl> encountered.( line 4 )
<sequence>: Unable to create new <sequence>.( line 5 )
<sequence>: Unable to create new <sequence>.( line 5 )
<sequence>: Unable to create new <sequence>.( line 5 )

The order of execution is confusing me.
On your first attempt, you tried sending the entire 146 minute project, graded and rendered it. Correct?
On Send To FCP, the XML failed... (hardly surprising)
This is where I get lost. Are you creating new, shorter versions, grading them and attempting to round trip the short sequences? and... if this is so, how are you differentiating these from the original monster failure? Do you have new render directories, paths, XMLs? Once an XML has been sent, it must not be re-used or re-sent or it will start appearing as ambiguous clones with conflicting path references.
And 146 minutes is too long for any single subject unless it is a remake of Warren Beatty's "Reds" or "Spending a little over two hours on a beach with Jessica Alba" so make it shorter... ;-P This is an undocumented feature of COLOR. No, really!
jPo

Color Grading won't export in fcpx 10.1.2

Ive noticed this has been happening recently on a lot of my projects since updating:
Been getting very sporadic color grades upon export, as in some clips will receive the grade while others won't. I can't seem to find an issue related to any of my media, as Ive tried multiple tests of optimizing the media, trying to start a new project, reimporting all of the media, deleting the render files, and nothing seems to work. Ive noticed it does happen more often when I paste attributes but I've done a test of going through and applying a preset manually and it still wont export with the grade.
Deleting the render files on one project seemed to work well although I found there was a clip or two that still didnt export with the grade.
Im getting frustrated and nervous now though as I have a color grading job that needs to be finished very soon and I will have a client that will be very angry.
Ive noticed on a few other threads this seems to be a common problem with the update and its quite annoying Apple hasn't fixed this bug or brought it up. Im hoping some people have found a workaround?
Mahalo

Did you try toggling on and off?
That bug never bit me, so I can't say first hand that 10.1.3 cured what was wrong with 10.1.2. However, judging from the posts on this forum, it has, Here are the release notes.
Final Cut Pro X: Version 10.1.3 release notes
Russ

Color Grading - Adobe Speed Grade or ..?

Hi!
I'm looking for suggestions and opinions on Color Grading Software. I've been editing videos for about a year for my aerial video business, and am admittedly getting over my head and want to take my editing to the next level.
I'm upgrading all of our gear in the next few weeks, and need to step up my knowledge and ability. I'll be diving deep in e-learning, tutorials, and the Adobe community forums (which are absolutely amazing I must say). I currently have an Adobe CC membership and use Pr for both my editing and Color correction (which mostly consists of Brightness/Contrast, Luma Curve, Shad/High, and the occasional pre-packaged warming filter).
I have a lot to learn, and I know the software is just a tool...but I'm looking for suggestions on what software to begin with. I love adobe and would love to keep everything within the Adobe CC world, but I know Speedgrade is somewhat new and there are other major players in the color grading world.
If you have suggestions on CC software, pro/cons on Speedgrade, or even useful hints or tutorials regarding Speedgrade or where to start with CC that would be appreciated.
Thanks everyone
Craig

Speedgrade pros:
Extremeley powerful for color-grating (perhaps not quite to the level of resolve, but plenty for most users)
Well integrated with Pr and AE via dynamic link (especially compared to a non-adobe app)
Speedgrade cons:
A bit of a learning curve (but probably nothing a few good tutorials can't remedy)
So, if you're using PrPro and AE as your main editing and effects tools (not to mention photoshop, audition and perhaps lightroom), then Speedgrade seems like a no brainer to me unless you already have a lot of time and assets fully invested in some other color grading solution. I'm truly not just trying to hawk out producs, it just seems to make the most sense in your case.

Desktop Monitor for Web Color Grading

First question is simple: I'm in need of new desktop monitors. Looking towards the Dell Ultrasharps, which have been a favorite in the past, specifically the U2412M. Any other suggestions?
Second question, more difficult: I do a fair amount of color work with DaVinci Resolve. None of it for broadcast. By this logic, I feel like I can get away with a solid desktop monitor rather than a Dreamcolor, FSI or something pricier. If this is the case, any input on whether the Ultrasharps are a better or worse choice than anything else?
And third question: Resolve doesn't output to a second monitor without a Decklink. I guess this means I would need the Decklink Studio, or buy an SDI/HDMI converter to get to the desktop monitor? Seems like overkill, but the only option?
Thanks much!

Thanks, Shane.
2 - A computer monitor is never good for color grading. Different colorspace than TVs or broadcast monitors.
That's sort of the idea-- almost all my work is for the web, and therefore I feel like a good computer monitor is actually (albeit counter-intuitively) a good fit.
Besides that, I'd love to kill two birds with one stone and have an extended desktop when I'm not grading.
Faulty logic?

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.

After Effects for color grading

Hello. I requested as a new feature the next:
"A special timeline only for import EDL, with only three layers, for video A, B and a transition layer between both, and also perhaps several adjustment layers above, for professional color grading with effects as Colorista 2, for example. After Effects is more suitable for color grading than Premiere for its color management, precise control (mask, tracker, etc) and OpenGL realtime playback. Color grading in the current timeline is possible with only 10-20 layers, but with +100 layer is very dificult, almost impossible.
Also will be interesting the full screen playback mode as Premiere on desktop second monitor, for video preview."
Do you think this is a good idea?

Don't be too anxious to get an entire feature into AE as a single project. Back in the day when we cut and spliced film we worked with a maximum reel size of 1000 feet. That's 10 minutes. Even the colorist at the lab only worked on 1000 feet at a time. When It's time for me to color grade in AE I render to a nearly lossless or lossless 10 bit codec segments or scenes of the movie that go together so that I'm not dealing with every shot.
This is actually the same way I cut. I cut Scenes together as individual sequences then I drag all of the scenes into a new timeline that is the movie. If a scene needs work then I just open up that scene's timeline and make the changes. This is easier in the long run, faster, and especially easier when you're trying to fine tune the story and the performances. I know a lot of editors that work this way. I've never seen anyone with a bunch of experience just start at 00:00:00;00 and start cutting a show from the first shot to the last. I've never known anyone that was that good.

Color grading controller used in Apple's video?

Hi,
I was watching an "In Action" Final Cut Studio video on Apple's website (the "Euro RSCG" one to be more precise):
http://www.apple.com/finalcutstudio/action/
and I was wondering what Color grading controller was that guy using?
http://movies.apple.com/movies/us/apple/mac/finalcutstudio2/2008/inaction/applefinalcutstudio_eurorscg_20080617640x360.mov

It's a JL Cooper control surface. http://www.jlcooper.com/cgi/index.cgi?home

Can I have "All spots to process" checked at all times, even for new spot colors?

When I check “All spots to process” in the pdf export settings and save my settings the settings remember that I've checked this option. But, if new spot color objects using new spot color swatches are added to the document (or another document) and I go into the pdf export settings the check mark has been changed into a dash (with the actual checkbox highlighted) – signifying that only some of of the spot colors will be changed to process colors during export. I absolutely fail to see how this could possibly be seen as a feature and not a bug … if the user has checked “ALL spots to process” wouldn't the user expect ALL spots to be converted to process colors, rather than just any spot colors that happened to be in the document that happened to be open when the user first checked that checkbox and saved that setting?
Am I missing something here? What's the point of even having that checkbox as part of your saved export settings if it doesn't include any other spot colors than those used when saving the settings?
What's the point of having settings if you can't trust them, and still need to manually "override" them every time?
I see that some users have taken to writing scripts that instead turn all spot colors in the swatch panel to process colors, and while I commend them for creating that workaround, I'm still pissed at Adobe for not getting the function right.
If this is a feature, who is it for? People who want to add just certain spot colors and turn those into process colors rather than turning all spot colors into process colors are surely better off doing that in the swatches panel, where they're in total control of what's what. And if they don't want to "permanently" change their spot colors to process colors, and prefer to (temporarily) convert them during exporting/printing only, they can do that in the ink manager. But when someone checks convert "All spots to process" couldn't we safely assume they really want ALL spot colors to be converted and not just some of them? I mean, the way that checkbox behaves now, it's like it's a button and not a checkbox. As in: hit the button "All spots to process" to switch all currently viewed spot colors to process colors in the ink manager, OR check the "All spots to process" checkbox to always convert ALL spot colors to process colors during exporting/printing.
Anyone got any light to shed on this?
And is there a way to actually get the advertised behavior, because if you have to run a script every time you export/print you might as well just manually select the checkbox every time instead, but either way it's just really unnecessary as far as I'm concerned … Adobe should get the feature right instead.
If you save a setting and recall it, it shouldn't be possible for that setting to change into something else (in this case changing a checkmark to a dash).
Clearly CMYK printing is the norm, so for most users it would make a lot of sense to have the "All spots to process" checked most of the time, and then you just go into the swatches panel or the ink manager and set things correctly for those print jobs that really do need spot colors.
I myself am not one of those who add spot colors to my swatches unless I'm really using them as spot colors, but I often work with magazines and folders featuring adverts made by whoever, and typically there's always at least one advert that features spot colors, and therefore it would be very nice if the "All spots to process" feature actually worked as advertised without any required actions from me.
We stopped sending ads back to the advertisers for adjustments a long time ago, unless we absolutely had to, because there were so many things wrong with so many ads that it was simply too much work to write back and explain everything to people who most of the time didn't even understand what we were talking about. We found that it was usually a LOT faster and easier to just adapt the ads ourselves, as long as it was something that could be worked out really quickly from within InDesign itself, which pretty much included most typical errors.
But with this feature I find Adobe is trying to make my job harder rather than easier, and it's pissing me off. Arrrghh… ;-)

But It's not a preference it's a shortcut
It's a bad joke, is what it is. ;-)
So, why in your opinion should it be presented the way it is? I keep saying in it's current functionality it shouldn't be presented the way it is (and that: if it is, it shouldn't work the way it does). If it's not a preference or even a proper checkbox, why present it that way?
If you put it right next to the table at the top of the window (so that it's directly associated with that information, rather than information right above it) and just called the checkbox “Spot(s) to process” and had it only visually reflect the content of the sleected spot colors in the table, then I'd see your point with likening it to the “Hyphenate” checkbox.
If a story has two selected paragraphs that uses two different hyphenation settings then the checkbox should present the way it does now, but if you hit the checkbox so that both paragraphs now use hyphenation and create a third paragraph inbetween the two previous ones it better inherit that setting and not turn off hyphenation for the new paragraph (unless of course there's a defined next paragraph style that switches to a style with hyphenation turned off). And if that checkbox said “Hyphenate all paragraphs” instead, then I would expect it to do just that, and not just the selected ones, and not just the current paragraphs but quite literally all paragraphs even newly created ones – otherwise it doesn't do what it says it does, and simply shouldn't be labeled that way.
And seriously bad interface design aside, you'd have to rename “All spots to process” to “Switch all currently displayed spot swatches listed in the table above to process” to actually describe what that checkbox does. So even if you're a fan of the current functionality, as opposed to one that actually lets the user set and forget a setting like that, and think it's better that users manually check it repeatedly (which I'm not saying that you are, but you're not giving me any feedback suggesting you even see my point of view with any of this, so what do I know?), then why wouldn't you still support an interface that visually matches/signals that functionality better? If it's a “Select all” checkbox supplementing a table containing a column of checkboxes, then present it that way. Don't put it at the bottom of the window next to another checkbox that works just like a regular checkbox and label it “All spots to process” – because that way you are signalling a different behavior.
Seriously, if I was to do design using the same mentality that Adobe uses when designing their user interfaces it wouldn't be long before I lost all clients. There's a lot to be said for de facto monopolies, I suppose. Oh no, there's nothing wrong with the design, just as long as you accept it on it's own terms and don't compare it to anything relevant, and just as long as you give people enough time to understand and accept it … and surrender to it.
For real … I wouldn't win one single pitch that way.
Today's threads have in many ways been a thorough reminder of the following quote from the second link I provided:
Is there an Internet rule yet stating that even the most obviously indefensible mistake will eventually be defended by someone somewhere? Awful marketing efforts get explained as genius viral campaigns, broken features become solutions.
And whether or not you're able to see my point of view or not is really besides the point too.
The real point was, and remains to be:
That for those who receive lots of ads or other external files that may or may not contain spot colors it would be far more useful to be able to set a checkbox to always convert all spots to process when exporting, than the current functionality is (and I'm not suggesting eliminating the current functionality, just change so it's presented like what it really is, and then just let that separate checkbox do what it says) … causing unnecessary manual action on the user's behalf shouldn't be the business of Adobe – preventing it should.
And here's further reading on the subject of bad Adobe interface design for those who might feel so inclined. ;-)
Cheers!

AT&T US Lumia 900 Tango update + new pink color

My apologies if this was already reported:
http://blogs.att.net/consumerblog/story/a7782923
New pink color available starting July 15th, Tango update "in the coming weeks".
Thanks to Paul Thurrott for the tip:
http://www.winsupersite.com/blog/supersite-blog-39/windowsphone75/pink-nokia-lumia-900-software-upda...

My Zune software does not display this update. Why so?

Illustrator CS4, new Pantone color books, color channel issue

Since I installed the new Pantone color books, I've been running in a major issue which will affect our whole production line.
If an Illustrator CS4 file contains a Photoshop CS4 image which is using an "old" Pantone color in a color channel, it cannot be opened and I get an error message "File is unreadable". If I replace the "old" Pantone colour with its new equivalent in the color channel in Photoshop, the file can be opened normally.
In our work environment, this means going through all our images to check which one is using a color channel. A painful and time wasting procedure. Furthermore, if one of our suppliers doesn't have the new color books, they won't be able to open any of the files, both Photoshop and Illustrator, so they have no way to revert back to the old Pantone.
Is there another way to fix this?
Thank you

More on the Pantone PLUS saga, hoping to get some input from the users of this forum. I find their silence deafening, to say the least. This is a serious issue, that will cost our agency hours and hours of work if it isn't addressed. And we've already wasted hours of troubleshooting and discussions on how we could resolve it.
We're actually testing a workaround: using both the old and the new libraries in Illustrator. After consulting our suppliers, we've learned that this is what they also do. For them, it's a one shot to get the file to print. For us, it means cheating with files that will get edited again in the future. And the Pantone installer removes the old Pantone books from the Adobe folders for a reason which is mentioned on the download page:
The reason that the PANTONE Color Libraries that had been built into Illustrator need to be removed and replaced with the PANTONE PLUS Color Libraries is that, in Illustrator, a PANTONE Color can only have one data point with which it is associated. In the short term, in order to benefit from the new colors and data associated in PLUS, the PANTONE Libraries that are installed with Adobe Illustrator are removed and replaced with the new PLUS Libraries.
http://www.pantone.com/pages/Pantone/Pantone.aspx?pg=20721&ca=1
I worry this may lead to another bunch of issue, knowing how easily AI files get corrupted. What I need to know is:
What is the exact meaning of the Pantone warning about the "one data point per color?
What are the long term implications of using both Pantone libraries in an Adobe file? Or in the Adobe app?

New HP color laserjet pro mfp supply low

I just setup a new HP color laserjet pro mfp and it says the cartridge supply is low and won't print.

Hi @PamJones1 ,
I see that you are getting a "Low Supply", error message. I would like to help you out.
Make sure all the packing material is removed from the toner and inside the printer.
What is the full name and product number of your printer? How Do I Find My Model Number or Product Number?
How is the printer connected? (USB/Ethernet/Wireless)
What operating system are you using? How to Find the Windows Edition and Version on Your Computer.
Have a great day!
Thank You.
Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
Click the “Kudos Thumbs Up" on the right to say “Thanks” for helping!
Gemini02
I work on behalf of HP

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.
All my material is rendered via RenderMan, our resolution is 1280x544, and our format is generally .exr in 32 bit space.
Our editor has been converting over to 32-bit tiffs, and using Apple Intermediate Codec for editing, mostly for speed concerns.
We need to re-vamp our workflow so that we can edit our footage, and then do color grading of the edit head to tail to smooth the look between scenes. We want to do this in Color, being fed by Final Cut Pro's timeline.
We want to keep our bit depth as high as possible when coming into Color.
My question is, does anyone here have any workflow suggestions for doing what I am talking about.
I wasn't sure if we should just export and EDL from FCP and try to get Color to load our single frames from that. Or if there is a special Quicktime wrapper we should be using, or converting our 32-bit .exr files into some other format more readily available for using in Color?
Any thoughts would be great, thanks in advance!

You're not going to get anywhere beyond 10-bit. That's it.
Try encoding to 10-bit LOG dpx if you need upscale RGB.
jPo

New Lumetri Color grading

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