Workflow for colour grading PremiereCS5 with Colorista2

I'm one of the only humans on this planet who doesn't use After Effects but my excuse is that I work in production, not post, so please excuse this question if it's the equivalent of asking how to focus.
I'd like to use Colorista2 to grade a 5min PremiereCS5 project. Colorista2 is only about 70% functional in Premiere right now but it seems to be working much better in After Effects and since I have the CS5 Production Premium, I should be able to grade in After Effects right?
I've read much of the help files related to Dynamic Link but I need some help with the workflow. If I File/Import/Premiere Pro Project all the individual clips but not on a timeline. If I File/Adobe Dynamic Link/Import Premiere Pro Sequence the timeline shows up but all as one clip on the After Effects timeline. I've tried posting to the Premiere forum without success. What would the proper workflow be for colour grading in After Effects?
Much thanks in advance.

Ahhhh....found it. I didn't see the Premiere sequence converted to a composition as it was burried 3/4 of the way down the stack.
I graded the first dozen shots or so of the sequence with Colorista2 and then used File/Export/Adobe Premiere Pro Project, saved it as Filename_Graded, then opened it in Premiere. The shots that were all on a single video track were now scattered over six but they played back correctly so I guess that's not a big problem. The real problem is that while the graded clips show that Colorista was applied to the clips, the adjustments were't applied. All the settings are nulled out.
My question now is: Is my workflow correct and this is an issue with Colorista2 or is there a way to have the Colorista2 settings make their way between these two programs?
Thanks in advance.

Similar Messages

Best workflow for colour grading in CS5.5

What is the best workflow for colour grading in Premiere Pro CS5.5? I don't like the 3 way colour grader in Premire I like to use Levels and Curves, so I normaly use Color Finese 3 LE in After Effects but it's hard to export an entire timeline to AE due to it not improting transitions and title text correctly.
I see in CS6 there is now Speed Grade available from Premiere Pro. can you export your entire timeline into Speed grade and it retain your titles and trasitions?
So how are most folks colour grading their finished timelines in Premire Pro?
Kevin

If I can CC in Pr, I will. What prevents me from staying in Pr is if I need to do a lot of masking, secondary type corrections. Ae is better for that, IMO.
I guess my general rule is, "The more love I need to put on my footage, the more likely it is I'll need to take the project to Ae."
When I do CC in Pr, my tools of choice are RGB Curves (which is CUDA friendly, and I have a CUDA card) for CC, and I use Three-Way or Fast CC mostly for increasing saturation. I leave the other controls alone.
The advantage to doing CC in Pr, is the CUDA accelleration. If you use CUDA effects, you can work a lot faster, due to less rendering. Once you go to Ae, you lose CUDA, but you gain flexibility. Therefore, there's not a single one-size-fits-all answer.
I also have a lot more available plugs in Ae. I like Frischluft Curves, which is an oustanding curves based plug. And the native Hue/Saturation effect in Ae is extremely useful for single hue corrections. Pr doesn't have a similar native effect.
And then as a last step, after getting all my corrections "evened out," I'll add Magic Bullet Looks to an adjustment layer for an overall treatment.
I only opened SpeedGrade once after installing it. I don't see why anybody would use it, unless they were already familiar with it. You can't go back to Pr easily. And in my world, projects are rarely finished. Clients think they can make massive changes at any stage of post, even after mastering and delivery. I've had clients make changes to spots after they've been airing for several days. I laugh at editors who name anything "final."

LaCie 324i for colour grading through display port

I'm in the process of getting rid of my iMac and getting one of the new Macbook Pro Retinas. Reason being I need to go mobile and the two thunderbolt outputs mean I can run a pair of external monitors.
I'm a video editor and I want to start learning the final part of post production that, so far, I've never touched; colour grading. I am not a geek when it comes to kit (I'll start learning the science and art of grading now, learn about hardware later haha).
My plan is to hook up my cheap 24 inch monitor to the macbook retina just for more real estate and get a LaCie 324i monitor for firstly again more real estate but secondly so that one of my screens is up to the job of grading. The software I'll be using is DaVinci's resolve lite and Speedgrade (when I upgrade from CS5.5 to CS6).
Am I missing anything here? The LaCie monitor is 96% gamut of adobe RGB and is 10 bit. When using display port as far as I know it allows you to actually be running at 10 bit (which as far as I know is whats the basic need for a cheapish grading monitor). The other monitor I was looking at is the Eizo Coloredge CG223W.
Anyone know if these monitors will do the job for me (the Eizo is a good 400 quid cheaper but the LaCie has some different inputs..."Component x1 (3p RCA jack female"...whats that?)
Will a Macbook retina, one of those screens and resolve/speedgrade get me grading with the only hold back factor being myself and skill??? Is there anything I havnt thought of. I can probably budget about 1000 GBP for the monitor...
Cheers everyone!

Just been researching a bit;
If I use the LaCie monitor I have the choice of using either the display port input or the componant inputs.
Is it best to just use the display port input or buy something lie;
http://www.blackmagicdesign.com/products/intensity/
to be able to use the componant inputs...?

Best workflow for colour correction?

I’m still new to fcp and Iv e just started using the colour correction tools. I haven’t looked at color (part of the final cut studio yet) this may seem stupid but what’s the best workflow? After I’ve cut every thing and then go though it one clip at I time it seems a long-winded way of doing it as some of my cuts are only a 6-15 frames.
Dose every one else colour correct their clips before starting to cutting the footage?

You always color correct after...and you always do each shot individually, even if they are 15 frames.
Color is a highly professional application, I suggest getting a tutorial for it. Or learning the 3-way color corrector to start...to get your feet wet with color correction. Because Color is VERY deep and has many many controls that can be intimidating.
http://www.amazon.com/Apple-Pro-Training-Encyclopedia-Correction/dp/0321432312/r ef=sr11?ie=UTF8&qid=1238509072&sr=8-1
http://store.creativecow.net/p/66/stopstaring_and_start_grading_with_applecolor
http://www.amazon.com/Call-Box-Digital-Correction-Workflow/dp/B000UZUL3Q/ref=sr115?ie=UTF8&s=dvd&qid=1238509138&sr=8-15
Shane

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.

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

What is the best workflow for AVCHD with iMovie/iDVD 09?

I am recording AVCHD video with a Sony HDR-SR11. I don't have a blu-ray burner yet, so I want to create the highest quality DVD's I can from this source video using my MacBook and the software I have (iMovie 09 and iDVD 09).
Currently I am importing the video clips into iMovie 09 at the 1920x1200 setting. After creating a 16:9 movie I choose "Share to Media Browser" and export at the highest setting I see (I think 1280x720, I'm not on the MacBook at the moment).
After a long while this completes and I launch iDVD 09. I drag the movie I exported above into the theme and burn at Professional Quality. After another long wait I have my DVD but I'm quite disappointed with the video quality.
Even taking into account that DVD is not a hi-def disc format it seems like the video quality should be better. Is there a better workflow I should be using with this combination of software? Maybe some way to avoid scaling/compressing the video twice? Or is this as good as it gets with iMovie 09 and iDVD 09? I may have access to iMovie 06, if that would help.
Thanks,
Gerald

3) Share to Media Browser with Best Quality
For folks like me that wonder exactly how did you do this:
(I don't know what Media Browser is yet.)
I did this: (I got some warnings - did you?)
In iMovie:
Selected my 1280x720 "HD" video in the Project panel,
Share->Media Browser...
- if HD is greyed out, you already shared this size to Media Browser, go to next step,
or select "Remove from Media Browser, check HD, click Remove"
- if HD is not greyed, but is not check marked,
select Computer icon, then uncheck Mobile, Med, and Lrg, leaving only HD checked
With HD checked, Click Publish - watch "Creating the HD movie.."
Bring up iDVD, Select Create a new project, browse for location and enter project name
If Themes at bottom right is not selected (Dark), click it
Double click a theme - for example under Revolution, choose Chapters.
At bottom right, select Media, At top right, select Movies
Under iMovie should be your iMovie project - mine says "My First Project" (I didn't name iMovie proj)
Select your iMovie Project,
you should see a thumb of your video with dimension, size listed
(movie duration is down at bottom right.)
Drag the thumbnail onto the iDVD preview window (I don't what that window is officially called)
drop it under the theme title "Revolution Chapters" for this example
You should see a running preview of your video with the project name below it.
Important step: Project->Project Info, Under Encoding: select Best or Professional Quality
Ok re-encoding warning, close Proj Info window.
File->Burn DVD... Popup says "Warnings in Project", select Continue Burning
Insert DVD (Apple designed sharp edges on the SuperDrive on purpose?)
I used Staples 4x DVD-RW first.
Watch process proceed till DVD is ejected...Don't believe "Time remaining: about one minute"
My DVD-R120 player-recorder would not load the disk. It played fine on iMac, a WindowsXP laptop, and a Windows XP desktop. This DVD machine only likes old 1X RW media for some reason. I wish someone made a standalone Blu-Ray recorder/player. I burned a second copy to some gold Sony 1X/2X DVD-RW media, and this disk played fine.
Picture quality is soft compared to HD material, but the moire patterns on some edges is only somewhat reduced over the Share to iDVD version. This Share to Media Browser version is acceptable for folks that won't go to Vimeo or YouTube to see my videos in HD.

Use of ADOBE form with SAP workflow for R/3 4.6C

Hi All,
We are thinking of usage of ADOBE form feature as one of options to design workflow for creation and maintenance of Info record like Material Master creation. BTW the existing systems are EP 7.0 with the back end SAP ERP system 4.6 C
We would like to just check the feasibility of usage of ADOBE interactive form for above scenario. Would it be possible to go ahead with the above concept or what would be pre-requisites or risks involved?
1. How would system identify the role to direct the Adobe form for approval in case the form is raised by multi department?
2. How can the data validations in ADOBE form happen with reference to SAP std. tables?
An early reply would be appreciated.
Rgds,

Hi,
If you use EP 70 you can used guided procedure for your requirement .
Regards

Creating Workflows for a Corporation with Different Company Codes

Hi,
We have just done a roll-out for Company A which is part of a big corporation (group of companies).
The system version implemented is ECC 6.0 with modules (HR,MM,FI,DBM)
I have implemented and rolled out several workflows (Leave,PR,PO, Payment approval)for Company A and am now expected to do the same workflows for Company B,the business processes as per flowcharts remain the same as for Company A.
Company A uses company code 1000, while company B will use company code 2000.
Users in Company B will log in to the same PRD servers.
Some approvers of workflow in company A will be responsible for some workflow approvals for staff in company B though HR have completed implementing an org structure for company B.
Is it possible to use the same workflow templates by saving them in a different name and change the agents to reflect company B org,if so how do I go about it?
In future we will also roll-out to Company C.
What is the best way to do it and save time as well.
Thank you.
Missa

Hi
Consider a scenario like EMPB who belongs to CMP B has applied a leave and EMPA manager of EMPB who belongs to CMP A,
Now in order to send the leave request for approval to EMPA you can define or create a rule from PFAC transaction. in such a way that
1. First try to get the initiator details like his personnel number.
2. Once you have the Employee number , by using it you can read hi Org Assignment details from PA0001 to get employee sepecifc compnay code.
3. BAsed on the employee group and sub group you might have to decide who is manager I hope this would be defined already in the org structure.
4. Once you know who is the manager , get his position details and from it get holder and his communications info from PA0105.
IN this way if you define a rule by calling a function module. You can make use of the same workflow. but based on the initiator details you need to dort out the manager.
The simple way is to define and impement the Rules dynamically to fetch the agents based on the Personel are/sub are and employee group and sub group.
Regards
Pavan

Release Strategy with Workflow for PR & PO

Hi Experts,
I have configured the PR & PO Release strategy and it is working fine. My client wants the Workflow concept in Releases.
So User should get the information about the releases for PR & PO.
But I don't have much idea on Workflow, how it works for Release strategy. Can anybody give information on how to configure the Release strategy with Workflow in PR & PO.
Points will be awarded .
thanks & rgds
Swamy

Hi Swamy,
The release workflow is configured by MM functional consultant. As for the workflow determination (i.e. which level should approve first and so forth) depends solely/mainly on the Finance of the company. It differs from one company to another. And the level of approval also differ from one company to another. Hence, like you mentioned, this would be provided by the user, so it is okay. I have replied to someone on another thread asking about workflow, and this is how it works.
How it works? For example, for a PR release strategy, once the PR is raised by a user for a certain value, the PR raised that matched the classification of the release strategy configured will be triggered. In this sense, once the release strategy is triggered, the releaser holding the release code to release this PR will receive a workflow in their SAP inbox (Not Outlook) for their execution, which is sent automatically by SAP system. These is accessible via the t-code SBWP. Each releaser have a unique login ID and password.
Assuming the release strategy required 3 levels of release, for example A3, A2 and finally A1 (final release), A3 will first receive this workflow in his/her inbox. After A3 has released, A2 will subsequently receive workflow in his/her inbox for this same PR. In the PR, you will be able to see that A2 release is now possible. This flow will continue until the final releaser, A1 and then, the status of the PR will be unblocked for issuance of PO.
How is it configured in SPRO? In the Workflow for PR release strategy, you are able to assign a unique ID (usually employee ID) to a particular release code, which these release codes are tied to one or more release strategies. The workflow determines who is to release for a release strategy with that particular release code via the assignment of the ID to that particular release code. Each assignment is only possible for one Plant, and you have to assign the same for many other Plants for the same ID in the workflow if you want him/her to have the authority to release purchasing docs in more than one Plant.
How to configure?
Before that, you need to obtain the following information - User ID of the releaser for the specified release code, Plant to be released by the user, and finally of course the Group and Release code (which you already have).
For PR: IMG>MM>Purchasing>Purchase Requisition>Release Procedure>Procedure with Classification>Set Up Procedure with Classification-->Workflow
For PO: IMG>MM>Purchasing>Purchase Order>Release Procedure for Purchase Orders>Define Release Procedure for Purchase Orders>Workflow.
Maintain the details u already have in hand:
For PR: Group (PR or PO), Code (release code), Plant (you have to maintain the same details for each of the Plant that the same release code releases) Object (US) and Agent ID (the user's ID used to login to SAP system and SBWP).
For PO: Group (PR or PO), Code (release code), Object (US) and Agent ID (the user's ID used to login to SAP system and SBWP).
Please note that PO is not Plant specific, and is usually one releaser to release the PO for GR. It is the PR that during the initial stage has the most level of release (up to max. 8 level) before a PR can be converted to PO. After the PO is converted, it is usually deemed accepted, hence only one release code is usually required to release the PO.
Hope this will give you an idea how the workflow works and how to configure it.
Rgds.

SAP Standard Workflow for PR Release (with user exit)

Hi SAP WF Gurus,
Good day!
I just wanted to check with you if you have ever used a user exit in the activation of the standard workflow for PR (overall ( release. What we have is a two0step approval process wherein each level has a proxy/alternate approver. We used the available user exit to accommodate this customer requirement since the standard release would only allow us to define 1 approver as a prerequisite for the next level. We were able to execute this on the first level approval; however, we observed that the workflow is not anymore triggered (i.e. does not send work items to agents) for the level 2 release. My questions therefore are:
1. How to set up SWEC? I already executed SWELS and SWEL to check if the events are being created and event linkage is automatically deactivated after running into an error regarding the binding...My initial SWEC setup is for BANF BUS2105 RELEASED On Change. I am assuming that since the workflow was released from the first level, this should be the starting point
2. How to rectify the binding error? I already executed automatic binding in the WF header for the start events but still face it
Your inputs/comments are most welcome
Regards,
DeLo

Just to add:
The error that I am encountering in the second run/cycle for the PR approval workflow is Import container contains errors (are any obligatory elements missing?)
Basically, WS20000077 will be executed if an approval level is seen. Once the approval is made, then the workflow is also completed. However, for multiple approvers, I only get to execute successfully the first level approval. The succeeding levels are encountering errors as stated above

Using AR Invoice but for Inter-company but with Workflow Approvals

My client is using AR invoices (FV70) for inter-company transactions for other businesses that are not yet on ECC. They also utilize workflow for their normal manual journal entries which can go through up to 4 approval paths one of the latter which requires an inter-company approval. Does it make sense for inter-company transactions that will begin with the AR invoice to go through the same approval paths from the beginning similar to how they wish to do it for regular journal postings (FV50)?

If the location of the companies is the same then Approval Paths does not make sense, however depending upon location changes and more importantly if their are different indirect tax liabilities on the two participating companies then the system might be required.
Regards,
Akhileshwar K

Query with standard template workflow for Purshase Requisition.

Hi all
I am fresher in Workflow. I have to configure standard template workflow for Purshase Requisition.
I know the flow how to configure it(through forum only).
I have a development system where all release codes,release strategies are defined.
when i saw the standard workflows through "pftc" tx code,in workflow builder some default rules are defined.
I donno is there any oraganisational structure is defined in my system.
my question are-Is these rules are alternative to Org.structure?
By the help of rules would i configure agent id in Workflow through spro transaction.
I am not able to assign agent id which i am using to right now.how can i do that?
Is i able to do all this once i have defined org. structure.?..
Thanks in advance..

Ashwani,
Since you are new to this forum, i would suggest you to search this forum. You will get a lot of threads related to PR release workflow and even link to documentation. By going through those docs you may understand the whole process. And after that if you face some new challenges you can come back and post a new thread.
Don't forget to search before posting a new thread.
Thanks,
Shweta

Best h264 workflow for editing multicam 1080p 24fps

I have had reasonable success in editing footage from my Canon 5D mkii in CS5 multicam on my quad-core win 7 machine. I'm finding though that the exported encoded footage (uncompressed AVI) seems to have lost some of its colour rendition (I haven't ventured into colour grading as yet). Is there a preferred workflow for lossless editing of h264 footage or should I convert it before importing into CS5? Any suggestions?

It sounds like your offline-online protocol is not what it should be.
Make dv versions of your media. Do not change the names of the clips. Be sure you are carrying over the proper timecode to the dv versions.
Do your edit with the dv versions.
Highlight the converted DV clips in the browser and make off line. Do not make the clips in the sequence offline.
Then reconnect the clips, but point instead at the HD clips. Everything should repopulate-- sequences, etc.
Does this not work?

Best workflow for DSLRs and Speedgrade / Premiere?

Can anyone suggest a workflow for DSLR footage using Premiere and Speedgrade? I would like to be able to roundtrip and do a light grade on clips and sequences before completed the offline edit. Is this possible? I know in the video tuts it seems to work for Red footage, but I couldn't get it to work for me with my 5d mark iii footage. It's all new to me having recently switched to Adobe from FCP and also to DSLR from camcorders. Thanks

Speedgrade isn't designed to go pre-edit, so right now there's no dynamic link with the other CS6 apps. It's intended to sit post-edit in a classical film studio workflow, with Sg ingesting only the final edited frames and exporting your production masters.
If you "send" a Premiere Pro sequence to Sg you will render out a single DPX image sequence (including effects and transitions, and without any references to edit markers or original filenames) and so importing that back into Pr would flatten your entire timeline to a single clip. Any changes to the Pr timeline and you'd have to do it all over again.
You can export an EDL from Pr and use that in Sg to read the native footage (provided it's compatible*), but grading is not stored into the original files so it won't re-appear in your Pr timeline unless you manually re-import.
If you want to use Sg pre-edit, the options are:
Grade all your footage before ever touching Pr, export everything to lossless video or image sequences and work with those, forgetting about the original files completely (you'll need a bunch of disk space and hopefully a MOS shooting pattern, as your audio will be split out).
Grade a sample of every clip you're using, then save a Look for each one. Export the Looks as 3D LUT files (.cube) and use a plugin to apply them to your clips. Right now there's no official plugin for Premiere (Magic Bullet LUT Buddy isn't certified past CS5) but After Effects can apply both the .cube and the .look files via the "Apply Color LUT" effect. Note that some changes in Sg are not included in the Look, such as the choice of color space and tone curve, so what you see in Sg may not be what you get back in Pr.
I'm not downplaying the abilities of Sg, but it's a colorist's tool and doesn't sit very well in the CS6 unified concept of "one person can make a movie". It helps to think of it in terms of the union system in Hollywood - an editor never grades and a colorist never edits, so their tools look completely different, work completely different, and the electronic conversation only goes in one direction.
*Sg was designed with digital cinema in mind so it doesn't work with interlaced footage, plus it generally assumes you're feeding it log so be careful when picking defaults. It's one occasion where something like the Cinestyle fake-log profile for Canon DSLRs comes in handy.

Workflow for colour grading PremiereCS5 with Colorista2

Similar Messages

Maybe you are looking for