Premiere to Color (Native)

Hi all,
I'd like to migrate over to Premiere from FCP, before I make the leap I hope I can nail down a workflow that can take me back to FCP for grading in Color on the Native Red files.
Has anyone here attempted this workflow yet?
Many thanks.
J

That will be interesting...
Color and FCP have a very interesting relationship. I suppose you'd need FCS installed to have Color on-board anyway, so you'd have FCP available to convert the XML you exported from PPro CS5 to Color.
I'm not sure how the project conversion would work...I suppose you wouldn't want any effects or manipulations on the timeline where PPro and FCP have agreed to disagree...and I assume all the limitations about any existing effects being stripped, time-altering motion being either rendered (and therefore, no longer "RAW") and having the completely flat, one video layer timeline caveats that exist in the typical FCP>Color workflow will still exist.
If the files didn't take up so darn much space, Premiere Pro CS5's capability to work directly with (or export) DPX image sequences, and particularly for working with over-range colors and writing them into deep color-precision DPX files would seem a completely appropriate way to get into Color directly and bypass FCP entirely if you used it as a "finishing" pass.
PPro is the only editing app I'm aware of that can work in 32 bit float color...but I think you're stuck going through FCP if Color is your tool of choice, and you want to access the R3D files directly.
I'd be curious to hear how it goes.

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Premiere Elements 8 & native support for Samsung AVCHD MP4 video?

I'm excited about the release of version 8 of PSE and PE, but my big unanswered question is stated in the subject line: will Premiere Elements 8 natively support the MP4 files produced by my Samsung HMX-H104 ?
I've been entirely unsuccessful with this file format and PE7.
I've read throught the product descriptions and FAQ and Adobe makes reference to cameras from flash-drive camcorders, but doesn't offer any specifics. Native support looks like a crapshoot. Anybody with some insight to contribute?

Thanks for pointing that out -- yeah, I see my error. I just did a little bit of web searching and it's not AVCHD. This seems to pretty well summarize it:
http://www.camcorderinfo.com/content/Samsung-SC-HMX10-Camcorder-Review-34476/Format.htm
"The Samsung ... outputs video in the H.264/MPEG-4 format (the file extension is .MP4). This highly-compressed video codec should not be confused with the competing AVCHD format. AVCHD is a type of H.264/MPEG-4 codec, but the version Samsung employs is different, with both benefits and drawbacks.
"...the MPEG-4 video ... is adequate. ... this type of MPEG-4 is space efficient and less processor-intensive to edit than AVCHD."
...and...
http://www.camcorderinfo.com/content/Samsung-HMX-H105-First-Impressions-Camcorder-Review-3 6130/Compression-amp-Media.htm
"The Samsung HMX-H105 records video in the MPEG-4 AVC/H.264 format, the same as models from the previous years. MPEG-4 has clearly been adopted as the format of choice for HD camcorders, split into two camps. Sony, Canon, Panasonic, and most recently JVC, all use AVCHD, which is a subset of AVC/H.264. AVCHD experienced some serious stumbling blocks in its first few years, as existing hardware and software choked on the heavy data loads. It has, however, gotten much better in the past year. AVC/H.264 is also data-heavy, at least compared to old standard definition camcorders, but the format is easier to read. QuickTime can work perfectly with the files, and has the benefit of being free and dual-platform."
I know this aspect has all been covered to death on these forums in the past, with respect to PE7 (which chokes on any Samsung .MP4 file I throw at it). While I've bookmarked the workaround posted by you in this thread (thanks!), I was hoping to avoid the extra steps à la native compatability with PE8.

Very Good Premiere Pro Color Correction Tutorial

Hello Everyone.
This video Tutorial is By Mr. Jeff Sengstack from Lynda.com
He Is an excellent Instructor. Very good Video Tutorial..
Watch the Online Video Course Premiere Pro: Color Correction and Enhancement

Have to pay to view them, so not much use.

Problem with sending clips from after effects to premiere. Color looks different. Any advice? Can't link. 4k raw in premiere and 40 layers per clip in ae. Can't handle it.

There's a definite color difference from Premiere to ae. I'm using cineform files as alphas from ae to put back over the clips in Premiere as a layer. The problem is the color doesn't match like it did in ae and the mask and all that seem funky. Anyone experience this or have ideas?

There's a definite color difference from Premiere to ae. I'm using cineform files as alphas from ae to put back over the clips in Premiere as a layer. The problem is the color doesn't match like it did in ae and the mask and all that seem funky. Anyone experience this or have ideas?

AJA Xena LS and Premiere CS4 color correction

Is anyone using the AJA Xena LS with Premiere Pro CS4?
I have a problem with color correction and it appears that the Xena card could be the reason for it.
When I apply a color correction to a clip, the color correction takes effect only as long as the left mouse button is pressed but doesn't retain the correction once the LMB is released (see my previous post "CS4 video effects" for more details).
Any input (other than the help already provided in the "CS4 video effects" post) will be appreciated.
Thanks!

This problem was solved with the new Xena drivers released 09-04-09.
New problems occurred, but they are specifically AJA related.

When I export a video in Premiere, the colors flash purple and green. Why?

I bought the software just recently but I have exported files before and they worked fine. I have a few speculations but I wanted to get an opinion. I dont know what to do if my speculations are right either.
1. I used a small digital camera so the format may be unsupported. It looks fine in the preview but when I set preview quality to maximum it flashes purple and green. I have, on the same timeline, a small logo animation I made using after effects and that part looks fine.
2. I used after effects to color correct the video segements and then exported them as .mov's. They look fine after they are exported. Maybe this is causing a problem though?
3. I noticed that I have been making the comps in after effects, 24 fps but when i looked at the settings in Premiere it says it is at 30 fps. But I didnt see another option there.
Are any of these the problem? Any advice or suggestions? What should I do to fix it/prevent it in the future?
Thank you!

>small digital camera so the format may be unsupported
Read Bill Hunt on a file type as WRAPPER http://forums.adobe.com/thread/440037?tstart=0
What is a CODEC... a Primer http://forums.adobe.com/thread/546811?tstart=0
What CODEC is INSIDE that file? http://forums.adobe.com/thread/440037?tstart=0

Color edited in DaVinci then exported from Premiere the color changes a lot in final product. Are my export setting wrong?

I used davinci lite resolve to color edit my footage then I exported round trip to Final cut pro (premiere). Then exported out of premiere and it doesn't look the same at all. What can I do to fix this problem? I have exported from davinci in 10 bit uncompressed with the same issue.

Should I have imported the whole PRIVATE FOLDER from my hard drive?
Actually yes and ingest via the Media Browser. That is the best way.
For now: Rename folder the footage is in and see if you can relink.

Premiere Pro Color Correcting Help with GoPro Protune Footage

Hey guys,
I'm working on a video I made of my daughter's birth. Most of the footage is from my DSLR and looks fine, but Im' having a helluva time getting my GoPro footage to look even remotely decent. I shot in ProTune thinking I could get more out of it in post (plus, I wanted the 24 fps option). It's a lot of indoor footage and I don't expect miracles but I'm trying to get the best I can out of it.
I start by using fast color corrector to white balance based off hte door trim. That works but it still looks really, really flat and dead. Tried using Contrast, RGB curves, etc. and I can't seem to get any sort of decent image out of it.
Any tips or ideas with where to start? I don't need it perfect, just want it as good as i can get it. Most of my indoor shots look like this for some reason :/
PS, I didn't transcode in Cineform at all. I just dumped the MP4 files right into Premiere Pro.

If you're on PrPro CC, I'd get Speedgrade also and take a run over to it for your correction work ... commonly known as grading. Yea, you can do it in PrPro, but as a noob ... never got the footage I worked "there" as far along as when working in Sg. Might help.
Next ... the scopes here are quite interesting ... first, set your lower-end of the footage to the point where you either go for good "broadcast" (blacks that you WANT black about 16 on a 0-255 scale), then lift the contrast/highs/whatever control until your whites just tip out on top. Next correct for gamma, the overall placement of the mids/upper mids, then start with your color work.
You will probably need to raise in-coming sat up a bit to start making best choices there ... but then I'm also a noob so I'm waiting for the corrections that shooter or Jim will chime in with ...
Neil

Premiere Pro CS5 native support for Canon 5D/7D

So now that the newest version of Premiere Pro will offer native support for HDSLR like the Canon 5D and 7D, does this mean that editing will be much faster?? Meaning, is there no reason now to export to an intermediate codec like Cineform for faster editing because CS5 will be able to edit the h.264 files without lag? I was just curious as this will make up my decision of upgrading from CS4 to CS5.

Through history, Adobe has promised a lot of things that have:
- Caused many to experience that it's not so, and therefor a lot of screaming/complaints. Most of which (screaming/complaints) has been because people are doing something that is not correct, or installed stuff that screws things up, and so on.
- Caused many people to get great benefits from the new features, and they (many people) have computers that they keep clean and follow needed specifications.
- Sometimes things just don't work, or stop to work (Clip Notes in CS3).
The funny thing is that I have CS3 and edit the video footage from my 7D natively without any problems whatsoever. OK, maybe not quite realtime playback without rendering the timeline, but pretty close. My PC is quite ordinary, Q6600 CPU, 4GB RAM, and 8800GT w/1GB RAM, no over-clocking or special treatments done.
The little extra funny thing is that if I apply MB Looks to my 7D footage, it gets to be more or less realtime playback, probably because Looks forces the GPU to be used.
Bottom line:
Whatever Adobe promises, you'll have to make sure you have the clean gear for it if you want it to work. Except for that, some just are lucky.
Dag

Workflow between Premiere & Apple Color

Hi, all. I'm using Adobe Premiere Pro CS6 on OS X. I am a subscriber to Adobe Creative Cloud and I also have Motion on my machine. I have a Windows machine that currently has no relevant software installed.
Our video productions require colour correction, and I can't do that because I'm severely colour blind. I have a mate who can do it but he's in another city. He uses Apple Color. He has Final Cut Pro Suite, and CS 5 (not 6) on Mac.
I want to export my projects in such a way that he can colour correct them and export them so that I can load them back into CS6. I'll probably have to transfer files over the Internet so it would be good if we can make them as small as possible. Any ideas how we can make this work?
Richard

With the options you have all you can really do then is use a codec that is either lossless or visually lossless. You also have to use a codec that will work with his edit system. Which really limits the choices because apple's edit products don't play nice with many different formats.
Obviously what Jim and Shoot have suggested would be better but as you mentioned already you have to play the hand your dealt.
But in the meanwhile I'd start trying to find another solution for the long term. But like I said for the time being you're probably going to have to go with some type of Lossless Quicktime choice since he's using apple based editing software.

Premiere auto color

i hope i put this question in the right place. How can I use Auto Color to establish correction settings for one frame and then apply the SAME SETTINGS to an entire clip to avoid the flickering effect?

I understand the issues with auto-whatever_effect. I have clips with lousy color balance from the camera (wrong switch setting). When i use auto-color, it nails it for most of the frames, but am having difficulty manually matching that balance exactly. Wish there was a way to use Auto-Color's decisions for a single frame & lock those to the entire clip or export those decisions/settings to Fast Color Corrector or Three-Way Color Corrector. What I'm looking for is the equivalent of an 'AUTO' button in Fast Color Corrector which would make the same decisions as Auto-Color for that specific frame. Some wonderful logic exists inside Auto-Color - just can't seem to get it out, or am I missing something?

Why don't colored markers in Prelude keep their color in Premiere?

Just wondering why it is that when I choose a certain color for my comment markers in Prelude, Premiere automatically colors them green.
Is there no setting in Premiere that would simply respect the colors I chose in Prelude for my markers?

Hi Mark, thank you for showing me this. But your different colored markers are actually the default "comment, flash cue, web link, chapter, speech" markers.
I'm talking only about the Comment Markers. Whatever color I set them to in Prelude, those same Comment Markers markers always end up being the default dark green in Premiere. And, yes, I am running the very latest version of all Adobe CC programs...2014.1 (October's update).
Let's say for example that I prefer white as a color for comment markers in Prelude.
Why is it that they change their color to dark green when they show up in Premiere?
I think many of us would like to see a fix for this that allows whatever color marker we choose in Prelude to be respected in Premiere.

How can I properly export video w/ bars to Rec709 (16-235 in 8-bit) from Premiere's RGB (0-255)?

I have hit some real frustrations in working with Premiere to meet broadcast Rec709 standards for DVD & Blu-Ray. Avid Symphony works in a Rec709 space and clearly operates with its video signal from 16-235 (which matches IRE 7.5 to 100), but Premiere doesn't seem to have this understanding in its programming and engineering. Here are my issues:
1) I can't manually enter in the digital values in the RGB Curve tool's points. Why would Premiere's engineers lock this basic feature out? It's in Photoshop.
2) I can't properly export Premiere's color bars. In order to export to Rec709 standards, to get around issue #1, I hack into the RGB Curves preset XML file to lift the Master Curve's point 1 from 0 to 16 and set the final white point from 255 to 235. If I use Premiere's bars, on the waveform, I can see the sub-black values, but when I lift the blacks with the curves preset, it clips all sub-black values upon export. WHY?! To get around this problem, I import bars generated by a camera (for example, by a Sony EX-350, i.e. XDCAM footage). All of this wouldn't be an issue if there were an export function that specifies exporting to rec709's 16-235 values instead of 0-255, as Avid does.
3) Particularly, the Waveform scope lies to me. The 7.5 IRE setup button does NOTHING for me, it's just a preview option that causes more confusion than clarity. Does Premiere map 0 out of 0-255 as 0 IRE or 7.5 IRE? I think it does the former and just uses that setup button to make you think that it's at 7.5. so if you do set it to 7.5, how then do you export it to match that option? Also, why can't the waveform scope have multiple options for the units - not just IRE, but also digital values (8-bit, 10-bit, linearized, etc.)?!
4) Speaking of importing the bars and footage. To continue the example of the Sony EX-350 - it imports the bars automatically by putting the black values at 0 IRE, not 7.5 IRE.
If Adobe wants industry professionals to take Premiere seriously, it needs to open up these options and clearly present what happens to tonal values in the image. It's very frustrating to figure out all of these problems and create cockamamy work-arounds.
http://www.avsforum.com/avs-vb/showthread.php?t=1090642
http://www.glennchan.info/articles/technical/setup/75IREsetup.html

Steve,
Thanks for your reply! However, I hope you don't take my response the wrong way, but, with no meaning of disrespect to you personally, the notion that curves are the wrong tool for numeric adjustments extremely infuriates me and displays a real lack of understanding of why a colorist or cinematographer such as myself would want to use curves in the first place.
First, any LUT generation program or coloring program, such as Apple Color, gives complete access to numerical control to give precise, repeatable changes that you cannot get with the drag of a mouse. Photoshop, Avid Symphony, etc. all have curves tools with the ability to manually enter points.
Second, on a user level, there should be no wrong tool for numeric adjustments, especially curves - they are the most precise means to obtain a specific contrast response. Levels or RGB corrector will only give gamma, pedestal, and gain operations, but curves gives every possible shape of a contrast response in between. If I wanted to create a very specific S-curve, I must use the curves tool to do so.
Third, the question at hand is not Premiere Pro's ability to process natively in Rec709 with signal from 16-235 - Premiere's native ability to process all types of video input is the sole reason why I've switched to it as a platform. 'Sub-black values are not necessarily clamped'?! How then can I export a TIFF, for example, of Premiere's bars, with the sub-black values left intact? How do I even access these sub-black values, when all footage clips below 0 IRE? The primary question is, how does Premiere handle and export these IRE values with respect to digital values, whether they are 8-bit, 10-bit, 12-bit, etc.?
Adobe's video workflow lacks a concise, cohesive FAQ or explanation of its numerical signal chain. At least, I have missed it and can't find it anywhere. If I want to properly color grade footage with a proper final output in mind, I need to know my end goals to take the proper intermediary steps.
SteveHoeg wrote:
Hey Tim - Premiere Pro can process natively in Rec709 with signal from 16-235 you do not need special adjustments. Curves are the wrong tool for numeric adjustments, try Levels or RGB Corrector. Sub black values are not necessarily clamped on export. --sh

AME 2014 Export Error. Sequences not updating from Premiere.

It seems that queuing sequences from Premiere Pro to AME via Ctrl+M is forever broken as that causes Premiere to hang and crash on the "Export Media" dialog box. This has been broken for several months. I have talked to developers with no resolution to this. Because of this, I now can only export projects by dragging sequences over to AME from Premiere. This has worked fine until a few days ago.
What happens now is that AME gets part way through encoding a video and then hangs and fails encoding. I get the super helpful
12/19/2014 03:25:14 PM : Encoding Failed
Export Error
Error compiling movie.
Unknown error.
I have created new sequences with the same media, removed 3rd party audio plugins, moved all the footage over to a different drive, tried to encoded to a different format like AVI, and I have tried setting the encode to save on several drives. It always fails at the same point. It seems hang and fail on clips that I created in AE, which are rendered using PhotoJPEG .MOV. I tried rendering the clip where AME fails using a different AVI container, but it ended up failing in the same spot.
The strangest thing is that when I disable the clips in Premiere and dragged tried rendering, it hangs on the same clip as if it wasn't disabled! I have also deleted the clips from the timeline and they still show up in the preview window in AME and it hangs on them and then fails!
Here are my system specs:
Premiere Pro CC (up to date)
Win 7 64bit (up to date)
i7 970
24GB Ram
NVIDIA 470GTX (driver up to date)
3 x 1.5TB internal
4TB internal
3TB internal
12TB RAID 5 via USB 3.0
USB 2.0 and 3.0 drives
FireWire audio device (M-AUDIO FireWire1814)... although, I am not using it for playback. It is connected.
Footage is from C100 H.264 .MTS, PhotoJPEG .MOV from AE, JPG Stills, simple titles made in Premiere Pro, color mattes, and .WAV audio clips
All stock video effects and transitions.
Thanks for your help.
Mark Mapes
Adobe Media Encoder (AME)

I tried a re-install of PP and AME, moving all assets to another machine and encoding, enabling and disabling "Import sees natively" in AME, enabling and disabling Mercury in PP and AME, and I got the same result. AME fails encoding with a "error compiling movie" error. Same result when I tried to export from PP.
The only thing that worked was re-rendering all the clips that I created in AE using a different codec (was MOV PhotoJPEG and I re-rendered to Lagarith AVI). This seemed to work. When it would fail in AME it would hang on a frame for several minutes before giving me the sheep sound. The original MOV PhotoJPEG clips from PP played fine in the sequences and in media players. No drama, no glitches.
Not sure why AME wan't updating the sequences from PP. The fix for that was launching AME with Shift held down to clear preferences. Also I made sure I saved in PP before I dragged over to AME for encoding.
Hopefully this will help someone else along their journey. Thanks for looking!

Color Correcting Help!

I shot a bunch of timelapse clips (12 and 15fps) with two GoPro3's and transcoded them in the GoPro software, Cineform Studio, because PP5.5 apparently does not natively handle MP4's. I made them universally 1080 and 29.97fps AVI's for import into Premiere 5.5 (on my mac).
While doing so, I also did minor color corrections. However, as I start to lay them side by side in Premiere I see that I did a poor job and that they look very different.
As a result, I have two problems:
1) I have no idea how to use Premiere's color many correcting tools.
2) Assuming I can figure a tool out, if I must correct each clip in the sequence individually, then there is no reason why I will not again make them all look different from each other.
Is there a way to make all the clips conform to a target value, with each changing the appropriate amount from it's own, current values to match it? For example, can I take one clip, adjust it's values (basically just white balance, brightness and contrast), and ask the rest to match it regardless of how close or far they currently are from it? I hope I've asked this question correctly.

The Three Way Color Corrector is probably the
most intuitive CC effect for a beginner in a hurry.
Here are a couple of short tutorials:
Three-way Color Corrector effect (CS6)
http://helpx.adobe.com/premiere-pro/using/three-way-color-corrector-cs6.html
Using the Three Way Color Corrector
http://www.video2brain.com/en/lessons/using-the-three-way-color-corrector
You can copy > paste the Three Way Color Corrector effect
from one clip to another as a starting point for additional clips.
Also, you can use an Adjustment Layer to apply a single
color correction effect across multiple clips.
Here's a short tutorial + documentation:
Using the New Adjustment Layers in Premiere Pro CS6
http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-video/using-the-new-adjustme nt-layers-in-premiere-pro-cs6/
Adobe Premiere Pro Help / Adjustment Layers (CS6)
http://helpx.adobe.com/premiere-pro/using/help-tutorials-adjustment-layers.html

Premiere to Color (Native)

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