![]() My word means nothing to anyone I work with anymore because of all of these problems causing a major slowdown in my turnaround. I've missed so many deadlines I'm not sure my company can survive it. They've clearly decided none of us matter and have gone after the Avid market. Adobe seriously has thrust a knife in the hearts of every up-and-comer small operation out there who used to be able to turn around an edit with a basic working knowledge of the software. When I go back to PR 15.4 as others suggested, it crashes nonstop and Adobe support tells me I need to upgrade to 2022 to resolve the crashes. When I try someone else's suggestion of colorspace 2020, it's grey. When I leave it in original color space, it's grey. When I try to put everything at 709, it's blown out. ![]() I open the original files in Quicktime and the colors are gorgeous, rich and sharp. This is a nightmare! I'm trying everything you've suggested here (and on your other long tutorial) and all my footage is either washed out or grey. If you save as a LUT, I recommend applying such in the Creative Tab's "Look" slot, as then you can go to the Basic tab controls and 'trim' a clip into that LUT correcting for any differences in exposure and contrast between that clip and the one you created the LUT from. If you save as a preset, you can drop that onto an entire selection or bin of clips to 'normalize' them in one action. When you have the image looking "normal", nothing clipped or crushed, sat good but still within bounds on the Vectorscope, you can either save that Lumetri instance as a preset for dropping on that camera routinely, or as a. If you need further work, use the Shadow and Highlight controls. Then use Contrast to expand contrast, Sat to expand sat. Use the Basic tab Exposure slider to set the middle of the 'trace' of the Waveform and/or RGB parade scopes to 50IRE on the left-side scale. They're also easy to make, I roll my own nearly always. there are tons of them, typically you can find several for each camera. Which takes a 'normalization' step into Rec.709/SDR. If you're getting "grey-ish" and low on saturation, with media that is all either Rec.709 'native' or conformed/transformed to Rec.709, then it's normally a problem with log-encoded media. And I'll suggest the likelihood of the location of the CM options shifting is quite high. ![]() I think that the scattered locations coupled with a couple changes in default behavior are unfortunately leading to troubles that might have been lessened with a different UI setup for CM.īut there's going to be even more options over the next few months. Well, first you have to know there might be something there to go look for.īut they've thought, in general, this "location" of the options they have added would be not too difficult for most users to find. I personally disagree with some of the ways this has been rolled out, as to me the CM choices and options are split all over the app, and it's a bit of work to go chase them all down. And they've tried to do so with the most options for the user and least likelihood of disaster for users. And so many less-experienced users make less than useful decisions.īut those options have to be included now. As a contrast, Resolve has always had a great depth of CM settings for the users. how to do so without creating a situation where many users screw the pooch in mis-setting things. The problem with adding more CM options has always been. The devices we're all getting things to edit from are starting to have wider gamuts, other color spaces, well past Rec.709 that has been the solid standard of such an app as PrPro. With the various forms of HDR coming down the pike at us all, this had to be added to the program. The Premiere Pro developers had to get more color management settings into the app, period. Just establishing the gamut & space of some of their jobs is a nightmare. And they frequently have to chase down both the color gamut and color space (two very different things) of the clips they're working.Īnd they may have a couple thousand clips in a job. I work daily with a wide group of colorists, who of course rarely shoot what they're working. Consider what? And I'm not being flippant here, just.
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