Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Walter Soyka] ” I generally prefer the configurability and raw power of PC-based workstations. That said, I’d let the software dictate the hardware. If you want to use FCPX, then you don’t have a hardware choice to make.”
I agree with Walter’s thoughts on PCs vs Macs with one caveat – if your deliverables are in ProRes, stay with OSX. It’s possible to deliver ProRes on Window’s, but it’s more complicated then you will want it to be.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Thanks, very informative.
[Aindreas Gallagher] “He says an interesting thing about colour qualification where he mentions the resolve hue vs hue controller?”
If your familiar with Colorista, he’s talking about the ability to go into the HSL color wheels and pick a color, let’s say blue, and drag it over to another hue, let’s say red, thereby changing all the blue’s to red. With the LCP you can change the intensity of a hue, but you can’t change one hue to another. What’s great about the LCP is you can totally control the range of the hue you want to alter, in the Colorista HSL wheel the hue’s are predetermined and not nearly as flexible. I’m guessing that in a dedicated grading ap like Resolve you get the best of both.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Oliver Peters] ” I presume part of the reason Red Giant changed the masking with Colorista III was to improve performance, given that PProCC2014 (and now CC2015) has built in masking. As does FCPX, too.”
Assuming there is a reason, it was a bad reason. What set Colorista apart from all other CC plug-ins was the HSL wheel and the 3 separate correctors. Without those separate correctors and with LCS having it’s own, more advanced HSL wheel, there is no reason to buy Colorista III at all, at least in Ppro 2015.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Oliver Peters] ” A key can be useful, but often does not yield clean results, because color can rarely be so cleanly isolated without keying or color contamination artifacts. For example, if I want to lower the saturation of a bright red dress, I can do that just as easily with the HSL wheels as with a key, but often the key edges aren’t as clean as one would like.”
Agree, but as always, the devil is in the details. In my case I’m dealing with cooking food and often I’ll need to brighten a stew – brown meat, orange carrots, green parsley – that’s cooking at the bottom of a deep pan, without blowing out anything else. No problem, put a circle mask on the bottom of the pan, bring up the mids and highs, and I’m done. But now the cook brings his light brown wood spatula loaded with bright yellow butter into the pan – I need to keep this from blowing out while still brightening the stew. With Colorista II I add an excluding key for the spatula and butter to the circle mask in the secondary corrector. The edges of the key are kept very soft which helps hide the fact that’s it’s not all that accurate but the spatula is moving pretty fast so it’s not too obvious. Meanwhile I can still have an overall correction in the Colorista primary because the clip I’m correcting was shot on a small overhead camera and I need it to color match the bigger studio cameras. This specific type of correction I might do 20 times in an episode. I could do part of this in the LCS, but the simplicity and portability of having the whole grade as a single effect is lost.
[Oliver Peters] “BTW, I am comparing Colorista III, which no longer includes internal masking. Therefore, you can only mask the whole filter – so the same with Colorista III as with Lumetri.”
Eliminating the primary and secondary correction areas in the new Colorista III was an act of stupidity that boggles the mind. I foolishly bought the upgrade without testing, assuming it was actually an upgrade. Live and learn … and then delete and re-install. When I talk of Colorista, I talk strictly about Colorista II.
[Oliver Peters] ” I, for one, find this a great step forward, as I’ve always disliked the built-in Premiere Pro correctors up until now.”
It’s a definite major improvement over the PPro correctors. My comments are based, as always, by looking at things through the lens of my own specific workflow.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Dennis Radeke] “For advanced users, this is another tool in the toolbox – one of a choice of tools. For other users, this will be a great tool that hopefully is revelatory.”
I might have overstated my disappointment due to the “game changer” praise that followed it’s announcement. I was hoping that it would end my need for Colorista, which is a slow PITA to use that always requires rendering. The LCS seems very powerful and good for what it does, it just doesn’t do all I need. Maybe some day it will.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Oliver Peters] “Not having secondary control isn’t entirely correct. Look at the color wheel in this image. The Hue/Sat wheel let’s you pull specific colors in a very non-symmetrical manner. This is way cleaner than an HSL keyer. I’ve been doing a lot of Resolve work lately.”
I’m not close to your proficiency in color grading, so I’ll take your word for it, but I have to tell you I don’t see how it can be as fast as using a selector to identify the HSL you want to effect as a starting point.
What if I want to make this change only inside a certain area of a shot, while still making a Global change to the entirety of the clip, which is quite common for me. In Colorista I can isolate this effect with an internal mask – with the LCS I can mask the entire effect, but not one part of the effect.
I’m not saying the LCS isn’t a good tool to have, I’m saying that for me, at this point, I’m still going to want Colorista in my tool kit.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Andrew Kimery] “There’s good to hear as Colorista (like all Red Giant plugins I’ve used) is the opposite of fast”
All too true, however what’s even slower than Colorista’s keyer is the LCS having no keyer at all. No keyer, no secondaries, no eyedropper, no thank you.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[James Strawn] ” this user saw go ways by upgrading Speed grade 2015 as well. … worth a try?”
Upgraded Speed Grade, and AE, along with Ppro and AME – still having gamma shift. Then thought I would try dong it in AE, as that has solved this problem in the past with gamma shifts and gradient wipes, but to my dismay no Morph EFX in AE – strictly Ppro for now.
Until I can resolve this issue I’m sticking with Ppro 2014.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[James Culbertson] “”Working in Premiere is like visiting your grandparents…” So true.”
Well Mick Jagger is a grandpa … so does that mean working in Ppro is like visiting a rock star?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[James Strawn] “Which apparently this user saw go ways by upgrading Speed grade 2015 as well. … worth a try?”
His background was graded in speed Grade, my video is simple location stuff, never saw any color correction. But I’ll give it a try tomorrow – you just never know when PFM comes into play (pure f*kin magic.)
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf