-
Multiple Secondary Color Correction Possible?
I’m having a strange problem trying to use the secondary color correction inside the 3 way color corrector. It seems to work ok for the 1st filter, but if I try to use it for a a second or more instance of the filter, it seems to behave strangely or not at all.
I can select a color using the eyedropper, and sometimes it will show up in the color swatch, sometimes not.
If I chose to show the ‘mask’ of the results, it will usually show the clip as white in the program monitor, so I can’t see where I’m masking.
I have a feeling that this might have to do with multiple masks interacting with the secondary color correction, and they somehow counteract each other. It doesn’t seem very intuitive about how to fix it though.
I’m also noticing pretty intense banding with the 3 way, I know I can smooth it with the other controls in the color corrector, but I’m also wondering if this might have to do with some secret sequence or screen preview setting that I may have read about before.
Thanks for any advice.
-
4 Replies
-
Why don’t you send your timeline to After fx via Dynamic Link and use Color Finess for the secondaries?
Cheers
Thomas.https://www.footage-online.de – RED footage and more available in HD, SD and RED RAW R3D
-
I’m trying to see how I can realistically grade using the built in, preferably CUDA accelerated color correction tools. I believe the problem is gone now. I think the problem was the result of a seriously sick install on Premiere Pro CS5.5 on my Mac due to the “Root User” issue. After spending a few panic-stricken hours fiddling with it, I’m now back to normal and I can use multiple 3-way secondaries on a clip. I’m not seeing the problem I was seeing before, which were accompanied with a lot of crashing Premiere Pro.
The dynamic link aspects of CS5, (referring to trying to use Color Finesse) while wonderful, still add a bit of overhead as well as limits, for example once you’ve sent something to AE, it cannot be lengthened, and there as issues with handles for dissolves, etc. If I try to work within PPro, I don’t have these issues.
However, I’m beginning t think that I might need to use something else for CC, I haven’t yet given up on the built-in color correction tools, still plugging away, but I can’t seem to get what I want very easily. I’m not sure why, but it was much easier for me to do simple grades with Final Cut Pro’s built in 3 way CC.
Thanks for the advice.
-
I also have my problems with the internal CC-tools in Premiere. In FCP it was so much easier. But I´m looking forward to the announced XML-link between Resolve and Premiere.
Cheers
Thomas.https://www.footage-online.de – RED footage and more available in HD, SD and RED RAW R3D
-
Hi Keith…
I agree that staying in PPro is preferable.
re: handles and AE,
it may depend on how you get your material to AE.
If you use copy and paste between the apps, your pasted clips into an AE timeline will paste at their position in time equal to their position in time to PPro. It also leaves you with access to all the underlying source media from your clip, so you could always trim handles out in AE as necessary to deal with changes in transition.
YOu could then trim the comp down so that it wasn’t hugely long
I agree that it does make things difficult if content should change later (slipping frames or replacing shots) as that would have to be handled within AE to be reflected in PPro.
Alex
Reply to this Discussion! Login or Sign Up