Premiere 5.5 and Color Finesse

Folks I have a strange problem. I converted a project from CS3 to CS5.5 and now my color finesse settings have disappeared and returned to default. I have spent weeks perfecting the color matching to have it all goto waste. Is there anything that I can do to get this back or am I stuck starting from scratch?
Please help, I am desperate for an answer.

Do you still see Color Finesse applied to your clips, but with reset parameters, or are you getting a "missing effect" instead of Color Finesse?
Color Finesse 3 should read Color Finesse 2.1 settings and update them, but if you were using the older Color Finesse 1.x, then that was considered a different effect and won't get translated by CF 3.
One way to bring the settings forward would be to install CS3 and the older version of Color Finesse on your system (I have CS3-CS5.5 installed on my Win7 64 system), then step through each clip that has Color Finesse applied and do a Save Settings. The saved settings files can then be reloaded into Color Finesse 3 running under AE CS5.5.
Bob Currier
Synthetic Aperture

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Final Cut Pro - Recently downloaded Quicklooks and Color Finesse Wont show in FCP

This is really confusing. Quicklooks originally worked, then I got an old copy of motion and installed it and it messed everything up (Quicklooks stopped showing and Motion just kept crashing). I removed Motion, uninstalled Quicklooks and reinstalled it and it still wouldn't show in FCP. I've been troubleshooting with a Quicklooks Service rep for a week and still no dice. I then downloaded Color Finesse to see if it was maybe a Quicklooks problem but that didn't show up either. Any ideas?

See!?! Told ya so!
http://forums.creativecow.net/thread/8/1172945
Thphphpthpthpthpthpthtph!

FCP 5 and color finesse

I am trying to install the color finesse plug in into my FCP 5. I have updated FCP to 5.0.3 and have downloaded the correct Color Finesse instaler for FCP.
Colour Finesse does not come up in the video filters list, once installed
My problem I think is the Color Finesse installer routine asks me to install it to the "plug in" directory, what is FCP 5's plug in directory called?. I can't find one in the applications folder for FCP, other programs such as AEffects have them. Do i just let color finesse install to the applications directory and it should work? , this is what i have done and it did'nt work. Do I have to do anything in FCP intself post instalation to enable this plug in.
I am using OSX 10.3.9.
cheers

As noted in the other replies:
- Make sure you're using the installer for FCP and not AE. The AE plug-in will crash FCP.
- Quit FCP before installing Color Finesse.
- When the installer asks, point it to "/Library/Application Support/Final Cut Pro System Support/Plugins".
- When the installer exits, start FCP. Color Finesse will appear in the Effects > Video Filters > Synthetic Aperture menu.
- To apply Color Finesse, double-click a clip to load it into the Viewer. Select Color Finesse from the Effects menu. Go to the Filters tab. You should see the Color Finesse logo and a "Setup" button to its right. If you don't see the button, widen the column until you do. Click the Setup button to launch the Color Finesse UI.
If your setup doesn't work after installation, check for the following on your hard drive:
- In the "/Library/Application Support/Final Cut Pro System Support/Plugins" folder there should be a Synthetic Aperture folder containing "SA Color Finesse Plug-In".
- In the "/Library/Application Support" folder there should be a Synthetic Aperture folder containing, among other things, "SA Color Finesse UI".
You can manually move the Synthetic Aperture folders around if they were installed in the wrong location.
That's about all I can think of for installation issues. You can always reach our tech support department via support at synthetic-ap dot com.
Bob Currier
Synthetic Aperture

Where can I download Color Finesse and how I can install them with Premier Pro or After Affect ?

I recently purchased master collection 5 DVD version. On DVD box I have three serial numbers: Master collection, Ppro/AE CS4 32 Bit and Color Finesse. I used Master collection serial to activate my product. I am having 64 bit os, so I did not use Ppro/AE CS4 32 Bit serial. My question is about Color Finesse Serial. I searched about it and found it as an Plug-in for Premiere Pro or After Affect. Now where can I download Color Finesse and how I can install them with Premier Pro or After Affect?

This serial is only required for the CS4 version. The CS5 version does not require an extra serial. Both versions are installed automatically with the main programs. Nothing more to do.
Mylenium

In After Effects when I use the Color Finesse 3, A grid appears in the display window. How do I turn that off?

When I click on Affects, then Synthetic Aperture, then SA Color Finesse 3 in the Creative Cloud a grid appears over the video in the display window, and I am un sure how to take that off?

Color Finesse 3 LE is included with After Effects and is installed automatically when After Effects is installed. The only reason to upgrade to the paid version is if you want to use Color Finesse in Premiere Pro as well as in After Effects.
Since it's a college computer, do you have the ability to install/uninstall software? Many colleges lock down the computers to limit such access. You'll need full access, including an admin password, to use the following steps. If you're not allowed the necessary access, you can pass the following along to whoever does computer administration.
To remove the trial version, delete the entire "Synthetic Aperture" folder found in:
/Library/Application Support/Adobe/Common/Plug-ins/7.0/MediaCore
(Note that this is the Library folder at the base of your boot drive, not the one in your home folder.)
Next, re-enable the bundled version of Color Finesse by going to the following folder:
/Applications/Adobe/Adobe After Effects CC/Support Files/Plug-ins/Effects/Synthetic Aperture
Now, within that "Synthetic Aperture" folder you'll find a plug-in with parentheses around the name:
(SA Color Finesse 3 AE64)
Remove the parentheses from the filename so AE will see it. Do NOT remove the parentheses from the "(CF3 Support)" folder or AE will launch very, very slowly, and Color Finesse won't work right.
Finally, within the "(CF3 Support)" folder, locate the "(SA Color Finesse 3 UI)" application and remove the parentheses.
Launch AE, apply Color Finesse to a layer, enter a name, and you should be good to go with no grid lines.
Bob Currier
Synthetic Aperture

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!

Color Finesse for Premiere CS6

Enjoying Color Finesse in AE but would like to use the Premiere version. I have downloaded the program from the website but it requires a serial number to active in Premiere. It is my understanding that this serial number comes with my purchase of CS6 however I cannot find that serial. Am I mistaken? If not where would I locate the serial?
Thanks,
Danny

Thanks for the reply! I am acutally serialized in AE and had been working in CF within it. When I mentioned the downloaded program I was refering to the Pi version that allows you to work right within PP instead of taking each clip out to AE and then back in to PP. I am going to assume that the Pi version does not come with my CS6 purchase.
The video you attached gave mentioned a great idea about importing your entire sequence into AE instead of a clip by clip workflow. GREAT RESOURCE and thank you for pointing that out to me.
One last question, the reason I started thinking about using CF in PP instead of AE is because to dial in skin tone I always like to place a four point garbage matte on my frame and mask out everything except for a bit of skin. This allows me to look on the vectorscope and see precisly what the skin tone is within the frame. As far as I can tell CF does not have this fuction. The only work around I have found is to exit out of CF into AE then Precomp the clip I am working with put a mask around the skin and then go back into CF from the precomped layer to adjust precisly. As you can image this can be time consuming and a bit of a pain. Do you know of a good work around for this? Once again the video you provided made a subtle suggestion about secondary color and adjust the luma range to put only skin tone within your mids and correct accordingly, A good idea and I will be sure to try that out. However, if there is a simple way to mask a frame within CF I would be very intersted in knowing how?
Thanks again.

Color Finesse vs Colorista 2 Premiere vs After Effects for color correction

Hi,
I want to get in to color correcting of my Canon XF305 footage that is converted to the Blackmagic 10 bits lossless codec.
I have two Eizo calibrated monitors etc , but my only doubt is the choice of the program (to do it in Premiere-pro or After Effects) and with Color Finesse or with Colorista 2.
So if there are people with color correction experience please share it here.
Thanks! David

When shooternz said 'gain' I presume he means "what was the benefit". If your original footage can be opened in PP, converting it isn't usually necessary unless you find the scrub performance is really hampered by the camera's codec - and that's more of an issue for line editing rather than color correction as you won't be playing it back and forth very much. PP will edit in 32-bit color space no matter what the footage is, so you don't need to force the ingested material into a higher bit depth.
We get the 'real time' question asked a lot. PP is a non-linear editor so realtime playback and scrubbing are essential, but the exact content of each frame isn't all that important. AE works on individual frames so it's not designed to play back in real time - it has to compose all your effects onto every single frame before it can show you the results, and in every frame it processes every pixel. The realtime monitors in PP don't do that - they show something that looks visually the same but only some of the frames are actually processed, then the rest are interpolated.
AE has some extremely powerful CC tools, but realistically it's intended for use on small clips - if you look at grading workflows in studios their typical AE timelines might only be 20 seconds max, and often only a couple of seconds. It can work with longer clips but it gets painful. The big advantage in AE is the ability to layer up lots of effects with masks, so for example you can color-correct a video clip so it exactly matches another clip or a still image, fine-tuning one coffee cup in the background of a scene or relighting in post by masking up zones of color and exposure adjustment.
PP on the other hand is great for long timelines and cutting together clips into a program - that's what it's designed for - but it works on clips so correcting at a frame-by-frame level is correspondingly horrible. I'd say the 3-way CC in PP is perfectly fine for prosumer and indie work; if you know what you're doing it's possible to replicate any of the motion picture styles people are used to seeing, it's simply that it doesn't have a library of presets and you don't get the same level of spatial controls (there's no masked adjustment layer concept in PP like there is in AE). As shooternz says some of the third-party plugins for PP give you those power tools.
New in CS6, Speedgrade provides a standalone program with more powerful features, though the workflow at the moment isn't all that seamless (SG wants frame images, as do most pro grading applications, so there's a gnarly export-import thing to go through that makes round-tripping a one way street).
A professional colorist will use a standalone grading program for several reasons, but they're not all down to pure 'quality';
pro colorists tend to use special hardware desks with physical versions of the three color wheels, and they only work with certain software.
if you're matching the 'look' of an entire motion picture, being able to store, share and batch process with preset styles and look-up tables (LUTs) is important - MB Looks and the Colorista plugin bundled with AE both have libraries of presets, the native fast and 3-way CC tools in PP don't.
On a big project the grading is done by someone other than the editor, so they don't generally need (or want) access to the master timeline - they'll get an exported mezzanine format from edit (an image sequence or uncompressed video track) so don't care about all the other stuff PP or AE can do.
If your only job is grading then a standalone package is the way to go. If it's one of an army of things you do, from shooting and editing to burning the DVDs and writing the blog, I'd say to stick with the inbuilt tools in PP/AE, have a go in Speedgrade if you have CS6 and some time to teach yourself, but the expense of a standalone grading tool would only be worthwhile if you have a few months spare to learn the skills. There's a reason the best colorists earn top dollar, it's 50% art, 50% science and 100% dedication.

SA Color Finesse v2 and CS5 or CS5.5

Does any one know if SA Color Finesse vers2xx .... will run properly in CS5 or CS5.5?

Color Finesse v2 will not, but CF3 will on CS5, and as of the 3.0.4 update, on CS5.5.

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 Finesse 3 and AME CS4

I'm sorry, I'll have to be brief, but I came up with an issue regarding Color Finesse and AME.
I already had used the plugin once without problems and exported at least one video with it, but now, everytime I export a video and AME opens, the following window pop's up:
And I came across with other users with the same bug. Their solution was to upgrade the CF 2.1.8 to 2.1.11.
However I am using CF 3.02 and not 2.1.8. And I think there is no more recent version than this one...
I already tried to uninstall and install both the whole Creative Suite (deleting manually the preferences, and other files) and the plugin, but after that, the same error shows up...
Does anyone here knows a solution? Or why this bug starts to happen after some time working fine?

We're not sure why it happens some times and not others. And apparently never on our systems. We've had just a couple of reports of this on the Mac, and none on Windows since the 2.1.11 update was published (3.0.2 incorporates the change that was made in 2.1.11--I just verified that we didn't "lose" that fix in the move to 3.0).
To help us pin this down, can you let us know exactly how you are doing your export as well as the source footage format and the destination format and settings. There seems to something about a specific type of export that is tripping up Color Finesse.
We don't normally monitor this section of the Adobe Forums, so it would be fastest if you can send that information to us via support "at" synthetic-ap "dot" com. Thanks and sorry for the problem.
Bob Currier
Synthetic Aperture

Color Finesse and Quicktime

I am using AE CS3 and have CF plug-in installed and registered. It has always worked fine. Just recently, I tried and again it opened but this time, only the simplified interface works. If I try to open the full interface, it warns me that an early version of QT than I have (or higher) is needed. I have the latest version installed and verified that it will open and play .mov files. But the problem persists. Used to work, not it doesn't. BTW, cleaned up the registry, cleaned out all broken shortcuts, etc. Reinstalled QT from scratch after completely clearing it out (no easy task). I really don't know where to begin. Can anyone help? Thanks

No quick answer for you. There's nothing in the manual as there's not much more to say than what the error message says: Color Finesse is attempting to initialize QuickTime and getting an error.
It looks like there are three reasons why you might get that error messag
You don't have QT installed. You do, so that's not the problem.
You have an old pre-7.0.2 version of QT installed. Not true in your case.
QuickTime fails to initialize for some other reaso
So looking at #3, do you have any third-party codecs installed which might be giving problems? QuickTime interacts with video cards and their drivers so any changes in that area could upset QuickTime. Also check the QuickTime settings and try changing them to see if it makes any difference. Something changed since the full interface was working for you, so I'd concentrate on figuring out what that is.
I don't see anything in our change logs related to this, but I would recommend upgrading to the current version of Color Finesse (2.1.10) so you benefit from the fixes we've made in the last couple of years. You can download the new version from the Synthetic Aperture web site; just be sure to download the "LE" installer so that it accepts your serial number.
-- Bob

Color Finesse and linear footage workflow

Hello,
I have the following scenario and did not find a proper workflow, maybe some of you have an idea:
- I have rendered footage from a 3D animation as OpenEXR, 16bit, saved with Gamma 1.0 (linear)
- I have set the After Effects project accordingly: 16 bit depth, sRGB working space, linearize working space ON
- After import of the footage into a composition it looks fine, just the way I expected it
- Putting Color Finesse effect on it and switching to its full interface
- Result: Without changing anything the footage in the preview of Color Finesse is way darker than it was in the normal preview window of After Effects.
- Changing the Master HSL Gamma to 2.2 brings it back to its original brightness BUT when I leave Color Finesse by hitting OK, the output is now much too bright
So how can I use Color Finesse with linear footage? It is of course of no use, when the preview is wrong. I have not found a preset in its preferences that deals with input gamma. It could be used with the simple interface though but I really like those histograms, which are only visible in the full interface.
Thanks,
Bob

The current version of Color Finesse is not color managed, so it doesn't know about your working space.
One (not great) workaround is to use the View:Primary Preview LUT menu to select a viewing LUT. We provide a Rec.709 LUT which will take linear to Rec.709 gamma of 2.22. This is not exactly sRGB but is "close."
You can create your own viewing LUT by adjusting Color Finesse to get the desired gamma, then saving those setting via File:Export:Setting to Color Finesse Preview LUT, then loading that saved LUT as the Primary Preview LUT.
Bob Currier
Synthetic Aperture

Color Finesse for PPro CS5??

CS5 Production Premium comes with a plug in version of Color Finesse, and on my system, I see that it is installed in AE, but I cannot find it in PPro, nor can I find an obvious way to install it to PPro. I don't see any installation options on the CS5 install disks.
Is it no longer available for PPro CS5, or am I missing something??
Thanks

I can only have bad experiences with CF
stayed in time, has power but is the most clumsy out there. 
many tools, but bad enough flow.
And as plug-in is to be opening shot for shot, I do not like.
if not, to correct a photo you like, you hang premiere ...
better colorist II, to be a plugin does not get any better ...

Often I can only right click or double click in after effects (usually while using Color Finesse)

Hey, I can't seem to find anyone else that is having this issue.
I use Dynamic linking from Premiere to color a project using Color Finesse in After Effects. Whats the timeline is dropped in, I'll drop in the color finesse effect, open up color finesse, color, and hit okay. When I come back to After Effects, it seems like every other time I do this sequence of events, I can't left click anymore. The only way to scrub through is to left click or double click on the player head. I can't click and drag effects (I just double click). I can't load presets or anything. I have to get back into color finesse and then it works normally again. But once I'm back out of color finesse and into after effects.... it's back. This is driving me insane, as it makes everything take twice as long. Also, I might add that this happens on MULTIPLE computers. So I do believe it's something that I'm doing wrong or something and not the computer. However, it could quite possibly be a setting with color finesse or something with color finesse, cause I'm really the only one on these computers that uses color finesse.
Anyway, thanks for any help in advance.
-Patrick

Hey, I can't seem to find anyone else that is having this issue.
I use Dynamic linking from Premiere to color a project using Color Finesse in After Effects. Whats the timeline is dropped in, I'll drop in the color finesse effect, open up color finesse, color, and hit okay. When I come back to After Effects, it seems like every other time I do this sequence of events, I can't left click anymore. The only way to scrub through is to left click or double click on the player head. I can't click and drag effects (I just double click). I can't load presets or anything. I have to get back into color finesse and then it works normally again. But once I'm back out of color finesse and into after effects.... it's back. This is driving me insane, as it makes everything take twice as long. Also, I might add that this happens on MULTIPLE computers. So I do believe it's something that I'm doing wrong or something and not the computer. However, it could quite possibly be a setting with color finesse or something with color finesse, cause I'm really the only one on these computers that uses color finesse.
Anyway, thanks for any help in advance.
-Patrick

Premiere 5.5 and Color Finesse

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