Should I color correct in Premiere Pro or something else?

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

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

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Fast color correction in premiere pro

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

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

Color Correction in Premiere Pro CS5

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

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

Exposure Correction in Premiere Pro

I used a Sony camera model HDR-SR8E to record in AVCHD moonrise and gathering fog after nightfall over a river. This stresses the abilities of the camera regarding exposure with the result that it is very dark to the eye. I was hoping that Premiere Pro would have a tool that can amplify the recorded signals that comprise the video. Thanks.

I could add why I can get away with not correcting exposure after all. I filmed this same scene twice, once after full darkness while moon rose, then a second time with sun setting behind me. I also filmed moon separately on zoom with its own exposure. So while moon is in foreground I use the 1st shot, in this the moon looks like a small white moving spotlight so I put film of the moon proper over it using transparency and rotational and speed effects so the moon always covers the spotlight, then in another project I reversed the second filming so instead of progressively getting darker it gets progressively brighter to full daylight. I figure that in a third project i will just fade the first into the second once the moon has moved out of top view. So the very very dark won't last too long.
Message du 24/02/10 16:21
De : "Bill Hunt"
A : "JONES Peter"
Copie à :
Objet : Exposure Correction in Premiere Pro
The playback in PrPro is but an emulation. For true color grading and exposure work, a calibrated CRT monitor fed through a D-A device via FW is the best you can get.
From your description, I'd definitely look at Levels, and Highlight & Shadow (be sure to turn Auto OFF). When you have improved things (go back and forth between these two Effects) to a really good point, then look at Fast Color Corrector. Be prepared to go back for tweaking.
If you do not have a calibrated monitor, you might want to Export a small segment (or use ADL to Encore), and then burn a DVD RW, or BD RE to test on your set-top player with TV attached. Using rewritables will save $, and no "coasters."
Good luck,
Hunt
>

FAQ: How do I color grade a Premiere Pro sequence in Adobe SpeedGrade?

How to color grade a Premiere Pro sequence in Adobe SpeedGrade
You can color grade (color correct) Premiere Pro sequences directly in Adobe SpeedGrade. The workflow differs between SpeedGrade CS6, SpeedGrade CC (7.0.1), and SpeedGrade (7.1, and later) with its Direct Link workflow.
Please refer to the version you are using.
Color grading a Premiere Pro CS6, CC (7.0.1) in SpeedGrade CS6, CC (7.0.1)
If want to color grade a Premiere Pro sequence prior to SpeedGrade CC (7.2), see the following resources:
Send a sequence to SpeedGrade
Color grading a Premiere Pro CC (7.1, and later) in SpeedGrade CC (7.1, and later)
If want to color grade a Premiere Pro sequence in SpeedGrade CC (7.1, and later) using Direct Link, see the following resources:
Coming Soon to SpeedGrade CC - Direct Link and More
Direct Link workflow from Premiere Pro to SpeedGrade
Getting to know Direct Link
Using Direct Link with color presets

What effects did you apply in Premiere to get your grade? Many effects don't come through when you import a Premiere project into AE.

¿CÓMO CONSEGUIR EL COLOR SEPIA EN PREMIERE PRO 1.5?

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

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

Color correcting in Premiere or Photoshop?

I'm new to Premiere and want to color correct some footage. I'm also new to color correcting. Am I better off learning to color correct my footage in Premiere or should I bring it into Photoshop to do it there?
Thanks.

A dedicated color correction app is on its way, maybe CS6. However, we find using the fast color corrector and the three way color corrector in PP quite effective for the basic primary/secondary color correction we do. Gotta watch your scopes though (waveform/vectorscope at the very least). Creative Cow has some tutorials on basic color correction. Here's one, but you'll have to dig around for the others by Andrew Devis. Again, don't do any color correction without checking your scopes.
http://library.creativecow.net/devis_andrew/Color-Correction-2_Premiere-Pro/1
http://library.creativecow.net/devis_andrew/Color-Correction-4_Secondary-Colour-Correction /1

S-curve color correction in Premiere Elements v11

I'm using the Technicolor Cinestyle profile in my Canon T3i when shooting video. It is recommended to apply an S-curve correction to clips in post-processing. Is that possible in Premiere Elements v11? I didn't see that anywhere in the manual or online.
Jon

Premiere Elements is a consumer product with limited color profile tools. You can do color correction, but it is not nearly advanced enought to do any professional profiling. For that, you're much better off with Premiere Pro CS6.

Color Correction - In Premiere CS5 or After Effects CS5?????

Hello
I started this question in Premiere, but am now thinking that perhaps I should take advantage of the additional color correction tools in CS5 After Effects.....
http://forums.adobe.com/thread/777459?tstart=0
If any one is interested in helping me do this in AE CS5, here is a copy and paste of the question from the above link:
I have two clips that I need to color correct. Please see attached. I want to brighten up the clip on the BOTTOM to more match the clip on the TOP
The cinematographer has given me these instructions:
" Specially the third clip with the two foxes ) shots are dark compared to the second time the foxes are shown. You will have to apply a color correction filter on them and work with the midtone and the light sliders so you can make it a bit brighter. Also you will probably need to bring the balcks down a bit once you pushed the midtones, you will have to see what it looks like once you are correcting."
I haven't done much color correcting, but the above seems pretty basic. So any suggestions you have will be appreciated.

To make those changes all you really need to do is adjust the levels... so apply a "levels" effect and adjust accordingly... in either Premiere or After Effects... it works the same in both.

Which color models do Premiere Pro and After Effects use?

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

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

Masked color correction - new Pr Pro CC features or still use After Effects?

I am finally getting around to this project. I know in CS6 the solution was to use After Effects. I think I kept putting it off as I was not as familiar with that program as I am with PrPro.
Anyway this is the issue. I have 2 hours of old video I have captured that due to an internal camera malfunction (that was not discovered until the end of the tape)
that has 5 or 6 cyan tinted narrow horizontal transparent bars running through it. The image is there under the bars, it is just viewed through this cyan
tint. The rest of the image outside of the bars is fine and the image inside the bars is fine, it just has a tint. This is old SD footage.
An AE expert said I can make an Adjustment Layer in AE and use the Mask Shape Tool to draw several boxes around the problem cyan areas, apply the Curves and Hue/Saturation effect to the adjustment layer, then color correct. Some feathering would be needed (I know PS too so I can handle that part ) I think I recall back with PrProCS6, I could do this adjustment but only one bar at a time. I could be wrong about that.
But anyway, sounds pretty easy in AE. But since I live in PrPro CC 2014 now, and I saw some recent new features with masks and adjustments, I was wondering if I could perform the same adjustments right in Pr Pro CC 2014? If I need to use AE CC 2014, no worries, I have that installed.
Thanks for the help as always! This is family footage that I would really like to rescue.
BJBBJB1

Thanks so much Dave. It fixed the problem.
Raoul.

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!

Dynamic Linked Footage Coming up with Color Bars in Premiere Pro

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

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

Color correction in FC Pro when working with multiclips

Is there someway to preserve the color correction I apply in the sequence timeline to a clip, and to preserve the motion attributes I apply (i.e. it's in the sequence, then I double click to show it in the clip viewer and make adjustments) when I then include that clip (through the bin) in a multiclip?
Basically I want to have to avoid repeating angle-specific corrections for each edit as I go along in a multiclip.
MikeR

I tried applying corrections to each before making the multiclip and it worked this time. I think what fooled me is that the 4-in-1 window reflects the original clips. But canvas playback shows the changes in the selected angle.

Missing links for fish-eye correction in Premiere Pro

I miss the link called "lens distortion" when I follow the suggestions below:
effects - video effects - distort - lens distortion
Hope somebody can help me or give me another solution how to remove Fisheye with Premiere Pro.
Best regards
MS

Which version of Premiere do you have?
This is from CC2014

Should I color correct in Premiere Pro or something else?

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