A Deeper Dive into Lumetri Color

df2715_lumetri_1_sm

With the introduction of Premiere Pro CC 2015, Adobe altered how color correction can be handled within its editing application. The addition of the Lumetri Color effect puts a very powerful and intuitive color correction tool at the editor’s fingertips. I touched on some of its capabilities with SpeedGrade look files in a previous post, but now I’d like to dive into a deeper explanation of the features of Lumetri Color.

Previously in Premiere Pro CC 2014, the Lumetri effect was the conduit between grades in SpeedGrade and Premiere Pro. When you sent a sequence to SpeedGrade CC via Direct Link, the correction done there would show up back in Premiere Pro CC as a self-contained Lumetri effect applied to the clip or an adjustment layer. You could add more effects to the clip, but not edit the Lumetri effect itself in Premiere Pro. If you bounced back into SpeedGrade, then you had further edit control to change the settings from the earlier SpeedGrade session.

Now in Premiere Pro CC 2015, that previous method has been altered. When a Lumetri Color effect is added in the Premiere Pro CC timeline, that is no longer editable when you send it to SpeedGrade CC via Direct Link. Any grading added in SpeedGrade is in addition to the Lumetri Color effect. When you go back to Premiere Pro, those corrections will show up as a SpeedGrade Custom group at the bottom of the Lumetri Color effect stack. It is a separate, self-contained, uneditable correction applied to the clip. It can only be disabled if desired. In other words, Lumetri Color adjustments made in Premiere Pro are separate and apart from any color corrections done in SpeedGrade.

You can apply a Lumetri Color effect in two ways. The first, traditional way is to drag-and-drop the filter from the Effects palette (Color Correction folder) onto the clip or adjustment layer. The new, CC 2015 way is to select the Color workspace, which automatically reveals the Lumetri Color panel and the new, real-time Lumetri scopes. If you change any setting in the panel, it immediately applies a Lumetri Color effect to that clip. Color corrections can be made either in the Lumetri panel or in the standard Effects Control panel. If you don’t like the Lumetri Color effect or panel, you can still use the other color correction filters, like the Three-Way Color Corrector, Luma Curve, etc. These options have not been removed. (Click on any image for an expanded view.)

Master Clip Effects

df2715_lumetri_2_smSince CC 2014, Premiere Pro has enabled Master Clip effects. These are source-side settings and any change made as a Master Clip effect will affect all instances of that clip throughout the timeline. This is important with camera raw files, like CinemaDNG or REDCODE raw, because there are color metadata adjustments that can be made at the point where the raw image is encoded into RGB video. This is in addition to any color corrections made in the Lumetri Color panel, another filter, or in SpeedGrade. Previously these controls were accessed as a right-click contextual menu option called Source Settings.

With CC 2015, source setting adjustments have been moved to the Effects Control panel. At the top of the panel you’ll see the clip name appear twice – once as the master clip (left) and once in the sequence (right). The sequence portion has all the usual controls, like motion, opacity, time remapping, and any applied filters. The master clip portion will show all the source color controls. In the case of RED files, you’ll find the full range of RED controls made available from their SDK. For CinemaDNG files, such as from Blackmagic cameras, the options are limited to exposure, temperature and tint. You should make any necessary camera raw adjustments to these clips here, before applying Lumetri Color effects.

In addition to raw adjustments, Lumetri Color effects can also be applied as Master Clip effects and/or as timeline effects. The Lumetri Color panel also displays the clip name twice – master clip (left) and sequence clip (right). Generally you are going to make your corrections to sequence clips, however, some common settings, like adding a Log-to-Rec709 LUT might be best done as a Master Clip effect. Just understand that adjustments in the Lumetri Color panel can be applied to either or both sides, but that Master Clip effects will automatically ripple to other instances of that same clip elsewhere on the timeline. When you make changes to the sequence side (right), you are only altering that one location on the timeline.

The Lumetri Color Panel

df2715_lumetri_8_smThe Lumetri Color panel is organized as a stack of five control groups – Basic Correction, Creative, Curves, Color Wheels and Vignette. The controls within each group are revealed when you click on that section. You can enable or disable a group, but you can’t change the order of the stack, which flows from Basic out through Vignette. This control method and the types of controls offered are very similar to Adobe Lightroom’s Develop page. Its control groups include Basic, Tone Curve, HSL/Color/B&W, Split Toning, Detail, Lens Corrections, Effects and Camera Calibration. There are more groups in Lightroom simply because there are more image attributes available to be adjusted within a still photo image.

Basic Correction 

df2715_lumetri_3_smThe Basic Correction group is where you’ll perform the majority of your primary color grading. It includes a pulldown for input LUTs (camera-specific color transforms), white balance, tone and saturation. White balance adjusts temperature and tint. When you move the temperature slider it increases or decreases red versus blue in an inverse relationship of one to the other, with minimal change of green. Sliding tint alters red and blue together versus green.

Tone gives you control over the luminance of the image with sliders for exposure, contrast, highlights, shadows, whites and blacks. White and black controls move the top and bottom ends of the image up or down toward clip points, while the highlight and shadow sliders adjust the upper and lower portions of the image within the parameters set by the white and black sliders. The highlight and shadow sliders would be what you use to see more or less detail within the bright or dark areas of the image.

Creative 

df2715_lumetri_4_smThe Creative group is where stylistic adjustments are made, including the addition of creative “looks” (.look or .cube LUTs).  There are sliders for the intensity of the LUT, plus adjustment controls for a faded film effect, sharpening, vibrance and saturation. Finally, there are shadow and highlight tint controls with a balance slider to change the crossover threshold between them.

The faded film slider moves the black level you’ve established for the image higher for elevated blacks, but without opening any shadow detail. If you slide the control more to the right it will also compress the highlights, thus creating an overall flatter image. The sharpen slider blurs or enhanced detail in the image. Saturation uniformly increases the intensity of all chroma. Vibrance is a smart tool that increases the saturation of the more muted colors and has less change on the already-intense colors. The highlight and shadow tint controls shift the color balance of those portions of the image towards any area on the color wheel. The tint balance slider changes how much much of the image is considered to be the shadow or highlight range. For example, if you move the slider all the way to the left, then all of the image is affected by the highlight tint wheel only.

Curves

df2715_lumetri_5_smThe Curves group includes both standard RGB curves and a color wheel for control of the hue/saturation curve. The RGB curves offer four dots – white (overall control), plus red, green and blue for individual control over each of the R, G or B curves. The hue/sat curve is really a vector-based secondary color control and is akin to Lightroom’s HSL group. However, in the Lumetri Color panel a wheel control is used.

If you select one of the six color vector dots under the hue/sat curve wheel, then three control points are added along the circular curve. The center point is the color chosen and the points to the left and right establish a boundary. Pull the center point up or down to increase or decrease the saturation of the curve. Pulling the point left or right doesn’t change the hue of that color. The wheel works like a “hue vs. sat” curve and not as “hue vs. hue” when you compare it to the way in which other color correction tools operate. If I select red, I can increase or decrease the intensity of red, but pulling the control point towards orange or magenta doesn’t shift the red within the image itself towards that hue. You can also select one or more points along the curve without selecting a vector color first and make more extensive adjustments to the image.

Color Wheels 

df2715_lumetri_6_smColor Wheels is the next control group and it functions as an standard three-way corrector would. There are luma sliders and a color wheel for shadows, midtones and highlights. Moving the color wheel control effectively adds a color wash to that portion of the image instead of shifting the color balance. If you shift a wheel towards blue, the blue portion of the parade signal on a scope is increased, but red and green are not lowered in a corresponding fashion. Therefore, these wheels act as secondary color controls, which explains why Adobe placed them further down in the stack.

Vignette 

df2715_lumetri_7_smThe last group is Vignette and it works in much the same fashion as the Post-Crop Vignetting control in Lightroom. There are sliders for amount, midpoint, roundness and feather. In general, it acts more like a photographic vignette or one that’s a result of a lens artifact – and less like masks that you typically add in creative grading for vignette effects. Moving the amount slider controls the lightness or darkness of the vignette (yes, you can have a white vignette), but it only changes the outer edges of the frame. You cannot invert the effect. Midpoint moves the vignette edge farther into or out of the frame. Roundness adjusts the aspect ratio of the vignette and feather controls the softness of the edge.

There is no position control to move the vignette away from dead center. While the vignette group is useful for “pinching in the edges of the frame” (as a DP friend of mine is fond of saying), it’s less useful for directing the viewer’s attention. That’s the “power windows” approach, which I often use in tools like Resolve, Color, or SpeedGrade. There are other ways to achieve that inside of Premiere Pro, but just not self-contained within a single instance of the Lumetri Color effect.

It’s clear that Adobe has added a very deep toolset within this single effect and its corresponding control panel. For most color correction sessions, you can pretty well get everything done using just Lumetri Color. I believe most editors prefer to use a comprehensive grading tool that allows them to stay within the confines of the editing application. Lumetri Color within Premiere Pro CC 2015 brings that wish to reality without the need for roundtrips or third-party color correction filters.

©2015 Oliver Peters

Adobe Premiere Pro CC 2015

df3015_PremierePro2015_Workspace_Editing

To reinforce the value of the Creative Cloud subscription, Adobe continues to improve its core video and design products, but is also expanding the implementation of mobile-to-desktop and cloud workflows. The Creative Cloud 2015 video products were previewed at NAB and released this summer.

Mobile-to-desktop

Incorporation of mobile products into the production pipeline has become an important theme for Adobe. For Premiere Pro CC users, this primarily involves two products: Premiere Clip and Adobe Hue CC. Premiere Clip is a lightweight video editor for smartphones. Shoot your video on your phone and start cutting. Now Premiere Pro allows you to import Premiere Clip projects so you can continue cutting there. Media assets and projects can be moved among systems via Creative Cloud Libraries, powered by Adobe CreativeSync. With a Creative Cloud subscription you can access your own library, as well as shared libraries created by other users.

df3015_AdobeHueCC_editAdobe Hue CC supports the new color workflow within Premiere Pro CC. This smartphone application was previewed at NAB under the code name “Project Candy”. It will analyze the color tonality of any photo in 3D color space on your smartphone and turn that into a 3D LUT (color look-up table). Adobe Hue CC displays this analysis in the form of floating color bubbles over the image. You can rotate the cloud of bubbles on your smartphone screen to change the relative values of the selected colors. When you’re happy with the choice, this is saved as a 3D LUT to your Creative Cloud Library. Back on your laptop or desktop in Premiere Pro CC, access this LUT through the Creative Cloud Library and apply it as a “look” using Adobe’s new color controls.

New color workflow

The most visible addition to Premiere Pro CC 2015 is the new Lumetri Color panel. If you are familiar with Adobe Lightroom or SpeedGrade CC, then you’ll instantly recognize the similarities. It combines several color grading functions into a single, multi-tabbed interface panel. These controls are accessible through either the standard Effect Control panel or the separate Lumetri Color panel. The best part is that you can keyframe all of the functions. With either control panel you get a set of task-specific color wheels and curves. When the color workspace is activated, the display automatically docks the Lumetri Color panel, along with a new set of high-resolution, real-time videoscopes brought over from SpeedGrade.

df3015_Premiere_LumetriPanel_CurvesHueSaturationThere are two points within Lumetri Color to introduce LUTs. For example, in the Basic Correction tab’s pulldown menu, you can add a log-to-rec709 color transform LUT. Then in the Creative tab’s pulldown, add a stylized look. Premiere Pro CC comes with a number color transform and custom look files created by Adobe and LookLabs (SpeedLooks). Some of these, like the SpeedLooks options, work in two steps for the best results. For instance, if you were applying the SpeedLooks Blue Ice creative LUT to an ARRI Alexa log-C file, you would also need to use the SpeedLooks profile for ARRI cameras. Both generic .cube and Adobe’s .look formats work, so if you’ve purchased other LUT collections, like Osiris, Rocket Rooster, SpeedLooks, Koji, or others, then these will work with Premiere Pro CC. I created a set of SpeedGrade Look files last May and these can be easily accessed and applied inside Premiere Pro from the new Lumetri Color panel.

Editorial enhancements

There are a number of improvements that editors will appreciate. Workspace selections are now grouped across the top of the viewers. They are still available as pulldowns, but by having them grouped across the top, it’s easy to change between layouts that have been organized for editing, color, effects, audio, etc. These presets can be customized according to your needs.

One new marquee effect is Morph Cut, which is intended to make jump cuts in interviews appear seamless. This transition is similar to the FluidMorph effect available in Avid Media Composer. Editors cutting talking-head corporate videos and documentaries are frequently challenged to assemble cogent soundbites from sentence fragments – the so-called “frankenbite”. The inevitable jump cuts in the interviewee’s video are either left to jump or are covered with B-roll cutaway shots. When you apply a Morph Cut transition, Adobe’s warp stabilizer technology is used to analyze the video and create new in-between frames for a seamless transition across the cut.

In actual practice Morph Cut isn’t a panacea for all situations. If the frame size and position matches, the person is largely in the exact same spot, and they paused mid-sentence at the cut, then Morph Cut works quite well. However, if the camera has reframed, the person has their head turned at either the out or in-point of the cut but not the other, or they are still quickly talking through the cut, then the result isn’t very pleasing. Morph Cut requires analysis before being applied, which can proceed in the background.

A few of the less obvious improvements include trimming and timeline scrolling. These came with prior versions, but are still worth noting. You can now loop the trim window and make trim adjustments, which are dynamically updated. You can also JKL-play the middle of the cut or either side of the cut in the trim window to make a direct “double-roller” or “single-roller” trim. The point at which you stop the playback is the point to which the cut is then updated. The timeline will scroll smoothly or page as you play, depending on your preference. Auto-selection of clips is new with Creative Cloud 2015. As you move through the timeline, the playhead auto-selects the clips that it is parked over, based on the enabled target tracks. This is a handy feature, but it’s always on, unless you deselect the target tracks containing your video clips.

Interoperability

df3015_AfterEffects_FaceTracker_DetailedTrackingAdobe’s strength has always been its interoperability among the applications. Dynamic and/or Direct Links to Adobe After Effects CC, Adobe Audition CC, Adobe Media Encoder CC, and SpeedGrade CC make it easy to use Premiere Pro CC as the central hub in your workflow. After Effects got a huge update with CC 2015. I won’t go into depth, since this is mainly a Premiere Pro review, however, for editors the most important thing is the performance bump. Playback in After Effects is now as easy as a spacebar tap. This will be in near real-time after caching, complete with audio. You can make dynamic changes without stopping playback. As you loop the playback, these changes are quickly re-cached. The bottom line for editors is that After Effects now finally becomes a more interactive tool that fits with the temperament and workflow of most editors.

It’s not new with this version, but another workflow improvement is Premiere Pro’s Render and Replace command. When you send a set of clips from Premiere Pro to After Effects using Dynamic Link, those clips are replaced with an After Effects composition on the timeline. Until rendered, the After Effects composition is always “live” and negatively affects Premiere Pro’s performance. If you have a lot of compositions in the timeline, it can become bogged down. With Render and Replace, the “live” composition is replaced with rendered, “flattened” media. You are no longer having to access dynamic After Effects compositions, thus returning real-time playback to normal. Thanks to Adobe’s linking, you can still choose to edit that rendered file, which automatically sends you back to the original After Effects composition.

Interoperability between Premiere Pro CC and SpeedGrade CC has changed. Adobe had previously added Direct Link, which sends the Premiere Pro timeline to SpeedGrade. In the CC 2014 versions, color corrections applied in SpeedGrade show up as a Lumetri effect applied to the clip or adjustment layer when you send it back to Premiere Pro. The addition of the Lumetri Color panel in CC 2015 creates Lumetri Color effects in the Premiere Pro timeline, but these are not editable inside of SpeedGrade. The same is true going back to Premiere Pro.

The performance of SpeedGrade CC 2015 varies on my two Macs. It’s very sluggish when using the Direct Link path on the 2009 Mac Pro with a Sapphire 7950 graphics card. But when I run it on my Retina MacBook Pro with the built-in NVIDIA card, it’s an entirely different story. I don’t know if that’s an AMD versus NVIDIA issue, but whatever the reason, newer software runs best on newer hardware configurations. Yet, Premiere Pro seems about the same.

During the testing period, when I had installed CC 2015 preview versions alongside CC 2014 applications, SpeedGrade was extremely unstable on both Macs. Fortunately, now that the release versions are out, I’m glad that Adobe fixed these problems. It’s noteworthy that the CC 2015 update replaces all previous versions, so maybe they found that running multiple versions caused problems. It now works likes it’s supposed to. Nevertheless, with the Lumetri Color panel covering 90% of what nearly any editor would want, there seems less justification to use the SpeedGrade roundtrip, when you can get nearly everything done right inside Premiere Pro.

Other

df3015_CA_big_tracking_but_no_timelineSince After Effects is integral for many editors, a few more features are worth noting. New in CC 2015 is a Face Tracker. This is a simple mask based on identifying points on the face, like eyes, pupils, mouth and nose. The Face Tracker will follow the shot’s or person’s movement. It will even track exaggerated mouth movements without frame-by-frame adjustments. This is a very useful tool for locking an object to head movement or facial blurs to protect identity.

The Face Tracker ties into a new Adobe application – Adobe Character Animator. As the name implies, this is an application that enables you to create 2D character animation. Facial tracking technology can be used to animate the characters according to prerecorded tracking data, as well as to live, real-time tracking. For example, a webcam could be used to animate the characters live, complete with lip-sync. Animation passes can be recorded and edited for a complete production featuring multiple interactive characters.

This release has a number of large and small upgrades that will make editors and compositors quite happy. I like the direction Adobe has taken. It just reiterates that the designers are working hard to integrate user input and build upon the professional momentum that Adobe has earned to date.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Lumetri plus SpeedGrade Looks

df2515_lumsglooks_3_sm

Last year I created a series of Looks presets that are designed to work with SpeedGrade CC. These use Adobe’s .look format, which is a self-contained container format that includes SpeedGrade color correction layers and built-in effects. Although I specifically designed these for use with SpeedGrade, I received numerous inquiries as to how they could be used directly within Premiere Pro. There have been solutions, but finally with the release of Premiere Pro CC 2015, this has become very easy. (Look for a full review of Premiere Pro CC 2015 in a future post.) Click any image for an expanded view.

df2515_lumsglooks_1_smOne of the top features of the CC 2015 release is the new Lumetri Color panel for Premiere Pro. When you select the Color workspace, the Premiere Pro interface will automatically display the Lumetri Color panel along with new, real-time videoscopes. This new panel provides extensive color correction features in a single panel (controls are also available in the Effects Control panel). It is based on a layer design that is similar to the Lightroom adjustment controls.

df2515_lumsglooks_6_smThe top control of the panel lets you select either the source clip (left name) or that one instance on the timeline (right name). If you select the source clip, then any correction is applied as a master clip effect. This correction will ripple to any other instances of that source on the timeline. If you select the timeline clip, then corrections only affect that one spot on the timeline. Key, for the purposes of this article, is the fact that the Lumetri Color panel includes two entry points for LUTs, using either the .cube or .look format. Adobe supplies a set of Adobe and LookLabs (SpeedLooks) LUTs. You can access built-in or third-party files from either the Basic or the Creative tab of the Lumetri Color panel.

df2515_lumsglooks_5_smIf you want to use any custom Look file – such as the free ones that I built or a purchased set, like SpeedLooks – simply choose browse from the pulldown menu and navigate to your hard drive location containing the file that you want to use. Sometimes this will require two LUTs. For example, SpeedLooks are based on corrections to a default log format optimized for LookLabs products. This means you’ll need to apply one of their camera patches to move the camera color into their unified log format. On the other hand, my Looks are based on a standard image, so you may or may not need an additional LUT. If you have ARRI Alexa footage recorded with a log-C gamma profile, then you’ll want to add Adobe’s default Log-C-to-Rec709 LUT, along with the Look file. In both examples, you would add the camera LUT in the Basic tab, since this is where the correction pipeline starts. Camera LUTs should be applied as source effects, so that they are applied as master clip effects.df2515_lumsglooks_2_sm

The next step is to apply your creative “look”, which might be a film emulation LUT or some other type of subjective look. This is applied through the pulldown in the Creative tab. Usually it’s best to apply this as a timeline effect. Simply select a built-in option or browse to other choices on your hard drive. In the case of my SpeedGrade Looks, pick the one you like based on the style you are after. Since the .look format can contain SpeedGrade’s built-in effect filters and vignettes, these will be included when applied in the Lumetri panel as part of a single LUT file.

df2515_lumsglooks_4_smAs with any LUT, not all settings work ideally with your own footage. This means you MUST adjust the other settings in the Lumetri Color panel to get the results you want. A creative LUT is only a starting point and never the final look. As you look through the various controls on the tabs, you’ll see a plethora of grading tools for exposure, contrast, color balance, curves, vignettes, and more. Tweak to your heart’s content and you’ll get some outstanding results without ever leaving the Premiere Pro environment.

Click here to download a .zip archive of the free SpeedGrade Looks file.

©2015 Oliver Peters

Fresh Dressed

df0515_frdress_2_smThe Sundance Film Festival is always a great event to showcase not just innovative dramas and comedies, but also new documentaries. This year brought good news for Adobe, because 21 of the documentaries to be shown were edited on Premiere Pro, which is more than double last year’s count. One such film is Fresh Dressed, which chronicles the history of hip-hop fashion from its birth in the Bronx during the 1970s to its evolution into a mainstream industry. It digs underneath the surface to look into other factors, like race and the societal context. Fresh Dressed was the first film written and directed by veteran producer Sacha Jenkins (Being Terry Kennedy, 50 Cent: The Power and the Money). The film features interviews with Pharrell Williams, Nas, Daymond John, Damon Dash, and Karl Kani, among others. It includes archival footage and some animation.

I recently spoke with Andrea B. Scott (Florence Arizona, A Place at the Table), who was brought in to complete the editing of the film to get it ready in time for Sundance submission. Scott explains, “Sacha and the team started shooting interviews in September of 2013. Initially there was another editor on board, who handled the first pass of cutting and organization of the project. I came to the film in May of 2014 after a basic assembly had been completed. This film was being produced by CNN and they recommended me. I definitely agree with the sentiment that editing is a lot like ‘writing with pictures’. It was my job to streamline the film and help craft the narrative, and bring Sacha’s vision to life as a moving story.”

df0515_frdress_1_smScott has worked on several documentaries before and has her own routine for learning the material. She says, “I usually start by watching the interviews through a couple of times, making notes with markers, and also by reading interview transcripts and highlighting certain passages. Then, I’ll pull selects to whittle down the interview to the parts that are most likely to be used in any given section. On Fresh Dressed, because I started with an assembly and needed to work quickly to get to a rough cut, I relied heavily on interview transcripts – going through the film section-by-section and interview-by-interview, and pulling selects – going back and forth from reading the transcript to watching the interview. Fresh Dressed involved about 30 interviews and totaled approximately 200 hours of raw footage. A lot of the archival search had already been done by the time I came on board, so I also had to watch through that footage and had a lot of good material to pull from.”

All film editing involves a working relationship between the editor and the director and Fresh Dressed was no exception. Scott continues, “It’s always a process of gaining the trust of the director. I come from the suburbs and I’m a bit younger than some of the crew, so it was a steep learning curve for me to understand the history of the hip-hop culture and fashion. It basically evolved from the urban gang culture of the 1970s, moved out from New York City, and went global from there. Inevitably, as the editor, you bring fresh eyes to the project and part of the editing process is to refine. The goal was to tell the story without voice-over, so we used the interviews to create that narrative thread. I put in a lot more archival material than was there before, which served to enliven the film with moments of nostalgia and infuse it with a fun energy. In a written script or book there can be a lot of side stories, which make sense on paper and are easy for the reader to follow and digest. But, the film we were making had to be more direct, with a linear timeline. Part of what I did was to strip away tangents that take you away from the main story.”df0515_frdress_3_sm

Scott’s touch also extended to the music. “The film was originally delivered to me with wall-to-wall music,” she explains. “I stripped out the music at first, so I could really think about story. Then I added temp score back in places to help steer the audience and underscore certain moments with another level of meaning.  In the end, we hired a talented composer, Tyler Strickland, to write the bulk of the score, and we also used some popular tracks from critical moments in the history of hip-hop.”

This was Scott’s first experience with Adobe Premiere Pro CC. Her prior experience had been with Apple Final Cut Pro (the “legacy” version). She found it to be a relatively easy transition. “The production company had already started the edit on Premiere Pro and so I continued with it. I welcomed being pushed to a new editing platform. It took about a week for me to get the hang of it. Since we were on a short deadline by that time, I simply ran it like I was used to running Final Cut. I really didn’t have the time to learn all of its nuances. I used the FCP keyboard settings, so everything felt natural to me. There’s a lot about Premiere Pro that I really like now. For example, the way it works with native media and using Adobe Media Encoder to export files.” The workstations were connected to shared storage, allowing the Scott to access material from any computer in the production office.

df0515_frdress_4_smEditors considering a shift to Premiere Pro CC sometimes question how its performance is with long-form project. Scott responds, “I was editing on an iMac and performance was fine. One tip I found that helps to speed up the loading of a large project is to discard old sequences. When I edit, I generally duplicate sequences and continue on those as I make changes. So on a large project you tend to build up a lot of sequences that way. While it’s good to save the past few versions in case you need to go back, you still have a lot of the oldest ones that simply aren’t ever needed again. These tend to slow down the speed of loading the project as all the media is relinked each time you launch it. By simply getting rid of a lot of these, you can improve performance.”

To handle the final stages of post, Scott exported an OMF file from Premiere Pro CC to be used by the audio mixer and and an XML file for the colorist. The final color correction of Fresh Dressed is being handled by Light of Day in New York. They will also complete the conform and recreate all moves on archival stills.

Scott concludes, “The film was, for the most part, made in New York, which makes sense, because Fresh Dressed really is a New York story at its heart.  Working on this film, I gained another level of love for New York, a deeper appreciation for all the many stories that start in this city, and for the deeper context that surrounds those individual stories.  Plus I had a lot of fun along the way.”

Read more about Fresh Dressed at Adobe’s Premiere Pro blog.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Understanding SpeedGrade

df1615_sg_1How you handle color correction depends on your temperament and level of expertise. Some editors want to stay within the NLE, so that editorial adjustments are easily made after grading. Others prefer the roundtrip to a powerful external application. When Adobe added the Direct Link conduit between Premiere Pro CC and SpeedGrade CC, they gave Premiere Pro editors the best of both worlds.

Displays

df1615_sg_4SpeedGrade is a standalone grading application that was initially designed around an SDI feed from the GPU to a second monitor for your external video. After the Adobe acquisition, Mercury Transmit was eventually added, so you can run SpeedGrade with one display, two computer displays, or a computer display plus a broadcast monitor. With a single display, the video viewer is integrated into the interface. At home, I use two computer displays, so by enabling a dual display layout, I get the SpeedGrade interface on one screen and the full-screen video viewer on the other. To do this you have to correctly offset the pixel dimensions and position for the secondary display in order to see it. Otherwise the image is hidden behind the interface.

Using Mercury Transmit, the viewer image is sent to an external monitor, but you’ll need an appropriate capture/monitoring card or device. AJA products seem to work fine. Some Blackmagic devices work and others don’t. When this works, you will lose the viewer from the interface, so it’s best to have the external display close – as in next to your interface monitor.

Timeline

df1615_sg_3When you use Direct Link, you are actually sending the Premiere Pro timeline to SpeedGrade. This means that edits and timeline video layers are determined by Premiere Pro and those editing functions are disabled in SpeedGrade. It IS the Premiere Pro timeline. This means certain formats that might not be natively supported by a standalone SpeedGrade project will be supported via the Direct Link path – as long as Premiere Pro natively supports them.

There is a symbiotic relationship between Premiere Pro and SpeedGrade. For example, I worked on a music video that was edited natively using RED camera media. The editor had done a lot of reframing from the native 4K media in the 1080 timeline. All of this geometry was correctly interpreted by SpeedGrade. When I compared the same sequence in Resolve (using an XML roundtrip), the geometry was all wrong. SpeedGrade doesn’t give you access to the camera raw settings for the .r3d media, but Premiere Pro does. So in this case, I adjusted the camera raw values by using the source settings control in Premiere Pro, which then carried those adjustments over to SpeedGrade.

df1615_sg_2Since the Premiere Pro timeline is the SpeedGrade timeline when you use Direct Link, you can add elements into the sequence from Premiere, in order to make them available in SpeedGrade. Let’s say you want to add a common edge vignette across all the clips of your sequence. Simply add an adjustment layer to a top track while in Premiere. This appears in your SpeedGrade timeline, enabling you to add a mask and correction within the adjustment layer clip. In addition, any video effects filters that you’ve applied in Premiere will show up in SpeedGrade. You don’t have access to the controls, but you will see the results interactively as you make color correction adjustments.

df1615_sg_17All SpeedGrade color correction values are applied to the clip as a single Lumetri effect when you send the timeline back to Premiere Pro. All grading layers are collapsed into a single composite effect per clip, which appears in the clip’s effect stack (in Premiere Pro) along with all other filters. In this way you can easily trim edit points without regard to the color correction. Traditional roundtrips render new media with baked-in color correction values. There, you can only work within the boundaries of the handles that you’ve added to the file upon rendering. df1615_sg_16Not so with Direct Link, since color correction is like any other effect applied to the original media. Any editorial changes you’ve made in Premiere Pro are reflected in SpeedGrade should you go back for tweaks, as long as you continue to use Direct Link.

12-way and more

df1615_sg_5Most editors are familiar with 3-way color correctors that have level and balance controls for shadows, midrange and highlights. Many refer to SpeedGrade’s color correction model as a 12-way color corrector. The grading interface features a 3-way (lift/gamma/gain) control for four ranges of correction: overall, shadows, midrange, and highlights. Each tab also adds control of contrast, pivot, color temperature, magenta (tint), and saturation. Since shadow, midrange, and highlight ranges overlap, you also have sliders that adjust the overlap thresholds between shadow and midrange and between the midrange and highlight areas.

df1615_sg_7Color correction is layer based – similar to Photoshop or After Effects. SpeedGrade features primary (“P”) , secondary (“S”) and filter layers (the “+” symbol). When you add layers, they are stacked from bottom to top and each layer includes an opacity control. As such, layers work much the same as rooms in Apple Color or nodes in DaVinci Resolve. You can create a multi-layered adjustment by using a series of stacked primary layers. Shape masks, like that for a vignette, should be applied to a primary layer. df1615_sg_10The mask may be normal or inverted so that the correction is applied either to the inside or the outside of the mask. Secondaries should be reserved for HSL keys. For instance, highlighting the skin tones of a face to adjust its color separately from the rest of the image. The filter layer (“+”) is where you’ll find a number of useful tools, including Photoshop-style creative effect filters, LUTs, and curves.

Working with grades

df1615_sg_13The application of color correction can be applied to a clip as either a master clip correction or just a clip correction (or both). When you grade using the default clip tab, then that color correction is only being applied to that single clip. If you grade in the master clip tab, then any color correction that you apply to that clip will also be applied to every other instance of that same media file elsewhere on the timeline. Theoretically, in a multicam edit – made up of four cameras with a single media file per camera – you could grade the entire timeline by simply color correcting the first clip for each of the four cameras as a master clip correction. All other clips would automatically inherit the same settings. Of course, that almost never works out quite as perfectly, therefore, you can grade a clip using both the master clip and the regular clip tabs. Use the master for a general setting and still use the regular clip tab to tweak each shot as needed.

df1615_sg_9Grades can be saved and recalled as Lumetri Looks, but typically these aren’t as useful in actual grading as standard copy-and-paste functions – a recent addition to SpeedGrade CC. Simply highlight one or more layers of a graded clip and press copy (cmd+c on a Mac). Then paste (cmd+v on a Mac) those to the target clip. These will be pasted in a stack on top of the default, blank primary correction that’s there on every clip. You can choose to use, ignore, or delete this extra primary layer.

SpeedGrade features a cool trick to facilitate shot matching. The timeline playhead can be broken out into multiple playheads, which will enable you to compare two or more shots in real-time on the viewer. This quick comparison lets you make adjustments to each to get a closer match in context with the surrounding shots.

A grading workflow

df1615_sg_14Everyone has their own approach to grading and these days there’s a lot of focus on camera and creative LUTs. My suggestions for prepping a Premiere Pro CC sequence for SpeedGrade CC go something like this.

df1615_sg_6Once, you are largely done with the editing, collapse all multicam clips and flatten the timeline as much as possible down to the bottom video layer. Add one or two video tracks with adjustment layers, depending on what you want to do in the grade. These should be above the last video layer. All graphics – like lower thirds – should be on tracks above the adjustment layer tracks. This is assuming that you don’t want to include these in the color correction. Now duplicate the sequence and delete the tracks with the graphics from the dupe. Send the dupe to SpeedGrade CC via Direct Link.

In SpeedGrade, ignore the first primary layer and add a filter layer (“+”) above it. Select a camera patch LUT. For example, an ARRI Log-C-to-Rec-709 LUT for Log-C gamma-encoded Alexa footage. Repeat this for every clip from the same camera type. If you intend to use a creative LUT, like one of the SpeedLooks from LookLabs, you’ll need one of their camera patches. This shifts the camera video into a unified gamma profile optimized for their creative LUTs. If all of the footage used in the timeline came from the same camera and used the same gamma profile, then in the case of SpeedLooks, you could apply the creative LUT to one the adjustment layer clips. This will apply that LUT to everything in the sequence.

df1615_sg_8Once you’ve applied input and output LUTs you can grade each clip as you’d like, using primary and secondary layers. Use filter layers for curves. Any order and any number of layers per clip is fine. Using this methodology all grading is happening between the camera patch LUT and the creative LUT added to the adjustment layer track. Finally, if you want a soft edge vignette on all clips, apply an edge mask to the default primary layer of the topmost adjustment layer clip. Adjust the size, shape, and softness of the mask. Darken the outside of the mask area. Done.df1615_sg_11

(Note that not every camera uses logarithmic gamma encoding, nor do you want to use LUTs on every project. These are the “icing on the cake”, NOT the “meat and potatoes” of grading. If your sequence is a standard correction without any stylized creative looks, then ignore the LUT procedures I described above.)

df1615_sg_15Now simply send your timeline back to Premiere Pro (the “Pr” button). Back in Premiere Pro CC, duplicate that sequence. Copy-and-paste the graphics tracks from the original sequence to the available blank tracks of the copy. When done, you’ll have three sequences: 1) non-color corrected with graphics, 2) color corrected without graphics, and 3) final with color correction and graphics. The beauty of the Direct Link path between Premiere Pro CC and SpeedGrade CC is that you can easily go back and forth for changes without ever being locked in at any point in the process.

©2015 Oliver Peters

Adobe Anywhere and Divine Access

df0115_da_1_sm

Editors like the integration of Adobe’s software, especially Dynamic Link and Direct Link between creative applications. This sort of approach is applied to collaborative workflows with Adobe Anywhere, which permits multiple stakeholders, including editors, producers and directors, to access common media and productions from multiple, remote locations. One company that has invested in the Adobe Anywhere environment is G-Men Media of Venice, California, who installed it as their post production hub. By using Adobe Anywhere, Jeff Way (COO) and Clay Glendenning (CEO) sought to improve the efficiency of the filmmaking process for their productions. No science project – they have now tested the concept in the real world on several indie feature films.

Their latest film, Divine Access, produced by The Traveling Picture Show Company in association with G-Men Media, is a religious satire centering on reluctant prophet Jack Harriman. Forces both natural and supernatural lead Harriman down a road to redemption culminating in a final showdown with his long time foe, Reverend Guy Roy Davis. Steven Chester Prince (Boyhood, The Ringer, A Scanner Darkly) moves behind the camera as the film’s director. The entire film was shot in Austin, Texas during May of 2014, but the processing of dailies and all post production was handled back at the Venice facility. Way explains, “During principal photography we were able to utilize our Anywhere system to turn around dailies and rough cuts within hours after shooting. This reduced our turnaround time for review and approval, thus reducing budget line items. Using Anywhere enabled us to identify cuts and mark them as viable the same day, reducing the need for expensive pickup shoots later down the line.”

The production workflow

df0115_da_3_smDirector of Photography Julie Kirkwood (Hello I Must Be Going, Collaborator, Trek Nation) picked the ARRI ALEXA for this film and scenes were recorded as ProRes 4444 in 2K. An on-set data wrangler would back up the media to local hard drives and then a runner would take the media to a downtown upload site. The production company found an Austin location with 1GB upload speeds. This enabled them to upload 200GB of data in about 45 minutes. Most days only 50-80GB were uploaded at one time, since uploads happened several times throughout each day.

Way says, “We implemented a technical pipeline for the film that allowed us to remain flexible.  Adobe’s open API platform made this possible. During production we used an Amazon S3 instance in conjunction with Aspera to get the footage securely to our system and also act as a cloud back-up.” By uploading to Amazon and then downloading the media into their Anywhere system in Venice, G-Men now had secure, full-resolution media in redundant locations. Camera LUTs were also sent with the camera files, which could be added to the media for editorial purposes in Venice. Amazon will also provide a long-term archive of the 8TB of raw media for additional protection and redundancy. This Anywhere/Amazon/Aspera pipeline was supervised by software developer Matt Smith.

df0115_da_5_smBack in Venice, the download and ingest into the Anywhere server and storage was an automated process that Smith programmed. Glendenning explains, “It would automatically populate a bin named for that day with the incoming assets. Wells [Phinny, G-Men editorial assistant] would be able to grab from subfolders named ‘video’ and ‘audio’ to quickly organize clips into scene subfolders within the Anywhere production that he would create from that day’s callsheet. Wells did most of this work remotely from his home office a few miles away from the G-Men headquarters.” Footage was synced and logged for on-set review of dailies and on-set cuts the next day. Phinny effectively functioned as a remote DIT in a unique way.

Remote access in Austin to the Adobe Anywhere production for review was made possible through an iPad application. Way explains, “We had close contact with Wells via text message, phone and e-mail. The iPad access to Anywhere used a secure VPN connection over the Internet. We found that a 4G wireless data connection was sufficient to play the clips and cuts. On scenes where the director had concerns that there might not be enough coverage, the process enabled us to quickly see something. No time was lost to transcoding media or to exporting a viewable copy, which would be typical of the more traditional way of working.”

Creative editorial mixing Adobe Anywhere and Avid Media Composer

df0115_da_4_smOnce principal photography was completed, editing moved into the G-Men mothership. Instead of editing with Premiere Pro, however, Avid Media Composer was used. According to Way, “Our goal was to utilize the Anywhere system throughout as much of the production as possible. Although it would have been nice to use Premiere Pro for the creative edit, we believed going with an editor that shared our director’s creative vision was the best for the film. Kindra Marra [Scenic Route, Sassy Pants, Hick] preferred to cut in Media Composer. This gave us the opportunity to test how the system could adapt already existing Adobe productions.” G-Men has handled post on other productions where the editor worked remotely with an Anywhere production. In this case, since Marra lived close-by in Santa Monica, it was simpler just to set up the cutting room at their Venice facility. At the start of this phase, assistant editor Justin (J.T.) Billings joined the team.

Avid has added subscription pricing, so G-Men installed the Divine Access cutting room using a Mac Pro and “renting” the Media Composer 8 software for a few months. The Anywhere servers are integrated with a Facilis Technology TerraBlock shared storage network, which is compatible with most editing applications, including both Premiere Pro and Media Composer. The Mac Pro tower was wired into the TerraBlock SAN and was able to see the same ALEXA ProRes media as Anywhere. According to Billings, “Once all the media was on the TerraBlock drives, Marra was able to access these in the Media Composer project using Avid’s AMA-linking. This worked well and meant that no media had to be duplicated. The film was cut solely with AMA-linked media. External drives were also connected to the workstations for nightly back-ups as another layer of protection.”

Adobe Anywhere at the finish line

df0115_da_6_smOnce the cut was locked, an AAF composition for the edited sequence was sent from Media Composer to DaVinci Resolve 11, which was installed on an HP workstation at G-Men. This unit was also connected to the TerraBlock storage, so media instantly linked when the AAF file was imported. Freelance colorist Mark Todd Osborne graded the film on Resolve 11 and then exported a new AAF file corresponding to the rendered media, which now also existed on the SAN drives. This AAF composition was then re-imported into Media Composer.

Billings continues, “All of the original audio elements existed in the Media Composer project and there was no reason to bring them into Premiere Pro. By importing Resolve’s AAF back into Media Composer, we could then double-check the final timeline with audio and color corrected picture. From here, the audio and OMF files were exported for Pro Tools [sound editorial and the mix is being done out-of-house]. Reference video of the film for the mix could now use the graded images. A new AAF file for the graded timeline was also exported from Media Composer, which then went back into Premiere Pro and the Anywhere production. Once we get the mixed tracks back, these will be added to the Premiere Pro timeline. Final visual effects shots can also be loaded into Anywhere and then inserted into the Premiere Pro sequence. From here on, all further versions of Divine Access will be exported from Premiere Pro and Anywhere.”

Glendenning points out that, “To make sure the process went smoothly, we did have a veteran post production supervisor – Hank Braxtan – double check our workflow.  He and I have done a lot of work together over the years and has more than a decade of experience overseeing an Avid house. We made sure he was available whenever there were Avid-related technical questions from the editors.”

Way says, “Previously, on post production of [the indie film] Savageland, we were able to utilize Anywhere for full post production through to delivery. Divine Access has allowed us to take advantage of our system on both sides of the creative edit including principal photography and post finishing through to delivery. This gives us capabilities through entire productions. We have a strong mix of Apple and PC hardware and now we’ve proven that our Anywhere implementation is adaptable to a variety of different hardware and software configurations. Now it becomes a non-issue whether it’s Adobe, Avid or Resolve. It’s whatever the creative needs dictate; plus, we are happy to be able to use the fastest machines.”

Glendenning concludes, “Tight budget projects have tight deadlines and some producers have missed their deadlines because of post. We installed Adobe Anywhere and set up the ecosystem surrounding it because we feel this is a better way that can save time and money. I believe the strategy employed for Divine Access has been a great improvement over the usual methods. Using Adobe Anywhere really let us hit it out of the park.”

Originally written for DV magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Stocking Stuffers 2014

df_stuff14_1_smAs we head toward the end of the year, it’s time to look again at a few items you can use to spruce up your edit bay.

Let’s start at the computer. The “tube” Mac Pro has been out for nearly a year, but many will still be trying to get the most life out of their existing Mac Pro “tower”. I wrote about this awhile back, so this is a bit of a recap. More RAM, an internal SSD and an upgraded GPU card are the best starting points. OWC and Crucial are your best choices for RAM and solid state drives. If you want to bump up your GPU, then the Sapphire 7950 (Note: I have run into issues with some of these cards, where the spacer screws are too tall, requiring you to install the card in slot 2) and/or Nvidia GTX 680 Mac Edition cards are popular choices. However, these will only give you an incremental boost if you’ve already been running an ATI 5870 or Nvidia Quadro 4000 display card. df_stuff14_2_smIf you have the dough and want some solid horsepower, then go for the Nvidia Quadro K5000 card for the Mac. To expand your audio monitoring, look at Mackie mixers, KRK speakers and the PreSonus Audiobox USB interface. Naturally there are many video monitor options, but assuming you have an AJA or Blackmagic Design interface, FSI would be my choice. HP Dreamcolor is also a good option when connecting directly to the computer.

The video plug-in market is prolific, with plenty of packages and/or individual filters from FxFactory, Boris, GenArts, FCP Effects, Crumplepop, Red Giant and others. I like the Universe package from df_stuff14_3_smRed Giant, because it supports FCP X, Motion, Premiere Pro and After Effects. Red Giant continues to expand the package, including some very nice new premium effects. If you are a Media Composer user, then you might want to look into the upgrade from Avid FX to Boris Red. Naturally, you can’t go wrong with FxFactory, especially if you use FCP X. There’s a wide range of options with the ability to purchase single filters – all centrally managed through the FxFactory application.

df_stuff14_4_smFor audio, the go-to filter companies are iZotope, Waves and Focusrite to name a few. iZotope released some nice tools in its RX4 package – a state-of-the-art repair and restoration suite. If you just want a suite of EQ and compression tools, then Nectar Elements or Nectar 2 are the best all-in-one collections of audio filters. While most editors do their audio editing/mastering within their NLE, some need a bit more. Along with a 2.0 bump for Sound Forge Pro Mac, Sony Creative Software also released a standard version of Sound Forge through the Mac App Store.

df_stuff14_5_smIn the color correction world, there’s been a lot of development in film emulation look-up tables (LUTs). These can be used in most NLEs and grading applications. If that’s for you, check out ImpulZ and Osiris from Color Grading Central (LUT Utility required with FCP X), Koji Color or the new SpeedLooks 4 (from LookLabs). Each package offers a selection of Fuji and Kodak emulations, as well as other stylized looks. These packages feature LUT files in the .cube and/or .look (Adobe) LUT file formats and, thus, are compatible with most applications. If you want film emulation that also includes 3-way grading tools and adjustable film grain, your best choice is FilmConvert 2.0.

df_stuff14_6_smAnother category that is expanding covers the range of tools used to prep media from the camera prior to the edit. This had been something only for DITs and on-set “data wranglers”, but many videographers are increasingly using such tools on everyday productions. These now offer on-set features that benefit all file-based recordings. Pomfort Silverstack, ShotPut Pro, Redcine-X Pro and Adobe Prelude have been joined by new tools. To start, there’s Offload and EditReady, which are two very specific tools. Offload simply copies and verifies camera-card media to two target drives. EditReady is a simple drag-and-drop batch convertor to transcode media files. These join QtChange (a utility to batch-add timecode and reel IDs to media files) and Better Rename (a Finder renaming utility) in my book, as the best single-purpose production applications.

df_stuff14_7_smIf you want more in one tool, then there’s Bulletproof, which has now been joined in the market by Sony Creative Software’s Catalyst Browse and Prepare. Bulletproof features media offload, organization, color correction and transcoding. I like it, but my only beef is that it doesn’t properly handle timecode data, when present. Catalyst Browse is free and similar to Canon’s camera utility. It’s designed to read and work with media from any Sony camera. Catalyst Prepare is the paid version with an expanded feature set. It supports media from other camera manufacturers, including Canon and GoPro.

df_stuff14_8_smFinally, many folks are looking for alternative to Adobe Photoshop. I’m a fan of Pixelmator, but this has been joined by Pixlr and Mischief. All three are available from the Mac App Store. Pixlr is free, but can be expanded through subscription. In its basic form, Pixlr is a stylizing application that is like a very, very “lite” version of Photoshop; however, it includes some very nice image processing filters. Mischief is a drawing application designed to work with drawing tablets, although a mouse will work, too.

©2014 Oliver Peters