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Pro color correcting with Adobe?
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Yep, several people I know are doing the same tests. So far, the lean is toward Premiere and away from FCP. In fact, one of the studios I’m associated with is currently planning to switch 5 edit bays over to Premiere unless Apple releases a major upgrade soon. It seems like Adobe has been planning for that, given the smooth import export options from/to FCP and Avid. Check out the “roundtrip” link on this page.
https://www.adobe.com/products/creativesuite/production/whatsnew/
One of my favorite things about the CS5 suite is editing AE projects right onto the Premiere timeline. An unbelievable time saver. No I don’t work for Adobe and I’m not a plant! 🙂
As far as Color goes, my hope some day is to NOT have to buy Color at all, if there was a sweet and seamless Adobe solution.
(None of this is meant as a diss on FCP nor FCP engineers. 🙂 I’ve enjoyed FCP for a long time, ever since price switched me over from Avid. But I’m seeing the support nor innovation from Apple lately for pro video tools!)
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Well…keep in mind that I didn’t say the best way was to go to Color…I said that DPX files could be handled by PPro in and out, so it actually makes a direct workflow with Color possible…in some ways it’s cleaner than the FCP “dynamic link-ish” workflow with Color.
Color is fine, but even though each application or internal effect has its own little “secret sauce” kinds of features…most all do pretty much the same thing.
Color, Colorista and “big iron” color correction suites have secondary in the same pass as primary, which is helpful.
PPro’s color correctors all have the ability to be deployed as a secondary (as a second effect as you mentyionedand the masking is sophisticated, though there is no oval or rectangle shape mask, which is one of the things I like about Colorista, Iridas, and other dedicated systems.
PPro’s color correction capabilities need a working premise and some more conventional color correction “intuition” built into the interface, but there are more capabilities there than even most PPro users recognize.
However…that said, Colorista’s secondary wheel with the ability to “crowd” and rotate hues individually is something I use all the time…and I still do like to work in SpeedGrade when possible.
TimK,
Director, Consultant
Kolb Productions, -
Tom,
I know this thread has been quiet for a long time now, but I’m curious what you’ve ended up doing regarding color correcting between Premiere Pro and either Apple’s Color or using plug-ins, or something else?
I’m especially curious now that Final Cut Pro X is with us.Since FCP X I’ve wanted to move away from Apple and go full Adobe CS (just as you expressed at the beginning of this discussion). But like you, Color is the one thing keeping me around.
I’ve begun editing a new project with Premiere Pro, and I’m wondering what color solution I want to pursue (and learn, since I’m really only familiar with Apple’s Color).
If you have a second, let me know what you’ve found works well!
Thanks! -
It was too much of a pain to move my project over to Premiere. But I do plan on using Premiere heavily in the future. I’m coloring in DaVinci. Loved Color, but alas, I think Apple is moving steadily away from their pro apps so I can’t stick around.
I should say, I’m having a colorist color my movie in DaVinci. I do think that Adobe would almost instantly achieve their goal of dominating the pro market if they did something crazy like BUY BLACKMAGIC, or enter into some kind of special relationship…
Good luck with your projects!
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Thanks for the follow-ups guys.
Really helpful to hear about the different solutions out there.
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