Lumetri plus SpeedGrade Looks


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

DaVinci Resolve – 10 Tips to Improve Your Skills


Blackmagic Design’s DaVinci Resolve is one of the pre-eminent color correction applications – all the more amazing that it’s so accessible to any user. Even the free Lite version does nearly everything you’d want from any color grading software. If you have an understanding of how to use a 3-way color correction filter and you comprehend procedural nodes as a method of stacking corrections, then it’s easy to get proficient with Resolve, given a bit of serious seat time. The following tips are designed to help you get a little more comfortable with the nuances of Resolve. (Click on the images below for enhanced views.)

df2215_resolvetips_1_smPrimary sliders. Resolve gives you two ways to adjust primary color correction – color wheels and sliders. Most people gravitate to the wheels control panel, but the sliders panel is often faster and more precise. Adjustments made in either control will show up in the other. If you adjust color balance using the sliders, while monitoring the RGB parade display and/or the histogram on the video scopes, then it’s very easy to dial in perfect black and white balance for a shot. If the blue shadow portion looks too high on the RGB parade display, it means that the shadows of the image will look bluish. Simply move the blue lift slider lower to push the shadows closer to a true black. An added benefit of this panel is that the controls react to a wheeled mouse. This is great if you don’t have access to a control surface. Hover the mouse over the slider that you want to adjust and twirl the mouse wheel up or down to make your correction.

df2215_resolvetips_2_smGang/ungang curves. Given the propensity of cameras to record with log gamma profiles, you often find the need to apply an s-shaped luma curve during color correction. This shifts the low and high ranges of the image to expand the signal back to full levels, while retaining a “filmic” quality to that image. In the custom curves panel you’ll encounter a typical layout of four curves for luma and RGB. The default is for these to be ganged together. Adjust one and they all change. However, this means you are jacking around chroma levels when you might simply want to alter luma. Therefore, make sure to disable ganging before you start. Then adjust the luma curve. Only adjust the R, G or B curves if it’s beneficial to your look.

df2215_resolvetips_3_smHue/sat curves. If you toggle the curves pulldown menu, you’ll notice a number of other options, like hue vs. hue, hue vs. sat, and so on. These curve options let you grab a specific color and adjust its hue, saturation or brightness, without changing the tone of the entire image. When you sample a color, you end up with three points along the curve – the pin for the selected color and a range boundary pin on either side of that color. These boundary points determine the envelope of your selection. In other words, how broad of a range of hues that you want to affect for the selected color. Think of it as a comparable function to an audio EQ.

It is possible to select multiple points along the curve. Let’s say you want to lower the saturation of both bright yellows and bright blues within the frame. Choose the hue vs. sat curve and select points for both yellow and blue. Pulling these points down will lower the saturation of each of these colors using a single panel.

The hue vs. hue curve is beneficial for skin tones. A film that I’m currently grading features a Korean lead actress. Her skin tones normally skew towards yellow or green in many shots. The Caucasian and African American actors in the same shots appear with “normal” skin tones. By selecting the color that matches her flesh tones on the curve, I am able to shift the hues towards a value that is more in keeping with pleasing flesh tone colors. When used in combination with a mask, it’s possible to isolate this correction to just her part of the frame, so as not to affect the coloration of the other actors within the same shot.

df2215_resolvetips_4_smTracking/stabilization. Most folks know that Resolve has one of the best and fastest trackers of any application. Add an oval mask to someone’s face, so that you can brighten up just that isolated area. However, as the person moves within the shot, you have to adjust the mask to follow their face. This is where Resolve’s cloud-point tracker is a lifesaver. It’s fast and most of the time stays locked to the subject. The tracking window also enables stabilization. Use the pulldown menu to toggle from tracking to stabilization. This is a two-step process – first analyze and then stabilize. You can dial in an amount of smoothness, if you want to retain some of the camera drift for a more natural appearance to the shot.

df2215_resolvetips_5_smBlurs/masks/tracking. Resolve (including the free version) enables blurring of the image. This can be used in conjunction with a mask and with tracking, if you need to blur and track an object, like logos that need to be obscured in non-scripted TV shows. Using a blur with a vignette mask lets you create a dreamy effect. This is all possible without resorting to third-party filters or plug-ins.

df2215_resolvetips_6_smScene detection/slicing. There are three ways to get a show into Resolve: a) edit from scratch in Resolve; b) roundtrip from another NLE using FCPXML, XML, AAF or an EDL; or 3) export a flattened media file of your timeline from another NLE and import that master file into Resolve. This process is similar to when masters were output to tape, which in turn were graded in a DaVinci “tape-to-tape” color correction session. Resolve has the ability to analyze the file and determine edit points with reasonable accuracy. It will break up the files into individual master clips within your media pool. Unfortunately, these are viewed in the timeline as individual media clips with boundaries, thus making trimming difficult.

My preference is to place the clip onto a new timeline and then manually add splices at all edit points and dissolves. Since Resolve includes editing capabilities, you can trim, alter or add points in case of error or missed edits. This can be aided by importing a matching, blank XML or EDL and placing it onto a higher track, which then lets you quickly identify all edit points that you’ll need to create.

df2215_resolvetips_7_smAdd dissolves. In the example above, how do you handle video dissolves that exist in the master file? The solution (in the Resolve timeline) is to add an edit point at the midpoint of the dissolve that’s embedded within the media file. Next, add a new dissolve equal to the length of the existing dissolve in the video. This way, color correction for one shot will naturally dissolve to the color correction of the second shot. In effect, you aren’t dissolving video sources – only color correction values. This technique may also be used within a single shot if you have correction changes inside that shot. Although in the second case, adding correction keyframes in the Color page is normally a better solution. This might be the case if you are trying to counteract level changes within the shot, such as an in-camera iris change.

df2215_resolvetips_8_smNode strategy. Resolve allows you to store complex grades for shots – which will include as many nodes as required to build the look – at a single memory register. You can build up each adjustment in multiple nodes to create the look you desire, store it and then apply that grade to other shots in a single step. This is very useful; however, I tend to work a bit differently when going through a scene in a dramatic project.

I generally go through the scene in multiple “passes”. For instance, I’ll quickly go through each shot with a single node to properly balance the color and make the shots reasonably consistent with each other. Next, I’ll go back through and add a second node (no adjustment yet) for each shot. Once that’s done, I’ll go back to the head of the scene and in that second node make the correction to establish a look. I can now use a standard copy command (cmd-C on the Mac) to store those values for that single node. When I go to the next shot, the second node is already selected, so then I simply paste (cmd-V on the Mac) those values. Let’s say the scene is a two-person dialogue scene using two singles. Angle A is a slightly different color than Angle B. Set the second node adjustment for Angle A, copy, and then paste to each Angle A shot (leapfrogging the Angle B shots). Then repeat for the Angle B shots.

Lastly, I might want to add a vignette. Go back through the scene and add a third, blank node for each shot. Create the vignette in node three of the first shot, then copy and paste into each of the others. I can still adjust the darkness, softness and position of the vignette at each shot, as needed. It’s a bit of an assembly line process, but I find it’s a quick way to go through a scene and build up adjustments without getting fixated on a single shot. At any point, I can review the whole scene and get a better feel for the result of my corrections in the context of the entire scene.

df2215_resolvetips_9_smLUTs. Resolve enables the application of technical and creative LUTs (color look-up tables). While I find their use limited and should be applied selectively, it’s possible to add your own to the palette. Any .cube LUT file – whether you found it, bought it, or created your own – can be added to Resolve’s library of LUTs. On the Mac, the Resolve LUT folder is found in Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT.

df2215_resolvetips_10_smExport with audio. You can export a single finished timeline or individual clips using the Deliver page. At the time of this post, Resolve 12 has yet to be released, but hopefully the audio export issues I’ve encountered have been completely fixed. In my experience using Resolve 11 with RED camera files, it has not been possible to accurately export a complete timeline and have the audio stay in sync. I haven’t found this to be the case with other camera formats, though. So if you are exporting a single master file, expect the potential need to bring the picture into another application or NLE, in order to marry it with your final mix. Resolve 11 and earlier are not really geared for audio – something which Resolve 12 promises to fix. I’ll have a review of Resolve 12 at some point in the future.

Hopefully these tips will give you a deeper dive into Resolve. For serious training, here are some resources to check out:

Color Grading Central




Mixing Light

Ripple Training

Tao of Color

©2015 Oliver Peters

The FCP X – RED – Resolve Dance II


Last October I wrote about the roundtrip workflow surrounding Final Cut Pro X and Resolve, particularly as it relates to working with RED camera files. This month I’ve been color grading a small, indie feature film shot with RED One cameras at 4K resolution. The timeline is 1080p. During the course of grading the film in DaVinci Resolve 11, I’ve encountered a number of issues in the roundtrip process. Here are some workflow steps that I’ve found to be successful.

Step 1 – For the edit, transcode the RED files into 1080p Apple ProRes Proxy QuickTime movies baking in camera color metadata and added burn-in data for clip name and timecode. Use either REDCINE-X Pro or DaVinci Resolve for the transcode.

Step 2 – Import the proxies and double-system audio (if used) into FCP X and sync within the application or use Sync-N-Link X. Ideally all cameras should record reference audio and timecode should match between the cameras and the sound recorder. Slates should also be used as a fall-back measure.

Step 3 – Edit in FCP X until you lock the cut. Prepare a duplicate sequence (Project) for grading. In that sequence, strip off (detach and remove) all audio. As an option, you can create a mix-down track for reference and attach it as a connected clip. Flatten the timeline down to the Primary Storyline where ever possible, so that Resolve only sees this as one track of video. Compound clips should be broken apart, effects should be removed, and titles removed. Audition clips should be finalized, but multicam clips are OK. Remove effects filters. Export an FCPXML (version 1.4 “previous”) list. You should also export a self-contained reference version of the sequence, which can be used to check the conform in Resolve.

Step 4 – Launch Resolve and make sure that the master project settings match that of your FCP X sequence. If it’s supposed to be 1920×1080 at 23.976 (23.98) fps, then make sure that’s set correctly. Resolve defaults to a frame rate of 24.0fps and that won’t work. Locate all of your camera original source media (RED camera files in this example) and add them to your media bin in the Media page. Import the FCPXML (1.4), but disable the setting to automatically load the media files in the import dialogue box. The FCPXML file will load and will relink to the RED files without issue if everything has gone correctly. The timeline may have a few clip conflicts, so look for the little indicator on the clip corner in the Edit window timeline. If there’s a clip conflict, you’ll be presented with several choices. Pick the correct one and that will correct the conflict.

Step 5 – At this point, you should verify that the files have conformed correctly by comparing against a self-contained reference file. Compound clips can still be altered in Resolve by using the Decompose function in the timeline. This will break apart the nested compound clips onto separate video tracks. In general, reframing done in the edit will translate, as will image rotation; however, flips and flops won’t. To flip and flop an image in FCP X requires a negative X or Y scale value (unless you used a filter), which Resolve cannot achieve. When you run across these in Resolve, reset the scale value in the Edit page inspector to normal from that clip. Then in the Color page use the horizontal or vertical flip functions that are part of the resizing controls. Once this is all straight, you can grade.

Step 6 option A – When grading is done, shift to the Deliver page. If your project is largely cuts-and-dissolves and you don’t anticipate further trimming or slipping of edit points in your NLE, then I would recommend exporting the timeline as a self-contained master file. You should do a complete quality check the exported media file to make sure there were no hiccups in the render. This file can then be brought back into any NLE and combined with the final mixed track to create the actual show master. In this case, there is no roundtrip procedure needed to get back into the NLE.

Step 6 option B – If you anticipate additional editing of the graded files – or you used transitions or other effects that are unique to your NLE – then you’ll need to use the roundtrip “return” solution. In the Deliver page, select the Final Cut Pro easy set-up roundtrip. This will render each clip as an individual file at the source or timeline resolution with a user-selected handle length added to the head and tail of each clip. Resolve will also write a corresponding FCPXML file (version 1.4). This file will retain the original transitions. For example, if you used FCP X’s light noise transition, it will show up as a dissolve in Resolve’s timeline. When you go back to FCP X, it will retain the proper transition information in the list, so you’ll get back the light noise transition effect.

Resolve generates this list with the assumption that the media files were rendered at source resolution and not timeline resolution. Therefore, even if your clips are now 1920×1080, the FCPXML represents these as 4K. When you import this new FCPXML back into FCP X, a spatial conform will be applied to “fit” the files into the 1920×1080 raster space of the timeline. Change this to “none” and the 1080 media files will be blown up to 4K. You can choose to simply live with this, leave it to “fit”, and render the files again on FCP X’s output – or follow the next step for a workaround.

Step 7 – Create a new Resolve project, making sure the frame rate and timeline format are correct, such as 1920×1080 at 23.976fps. Load the new media files that were exported from Resolve into the media pool. Now import the FCPXML that Resolve has generated (uncheck the selection to automatically import media files and uncheck sizing information). The media will now be conformed to the timeline. From the Edit page, export another FCPXML 1.4 for that timeline (no additional rendering is required). This FCPXML will be updated to match the media file info for the new files – namely size, track configuration, and frame rate.

At this stage, you will encounter a second serious flaw in the FCP X/Resolve/FCP X roundtrip process. Resolve 11 does not write a proper FCPXML file and leaves out certain critical asset information. You will encounter this if you move the media and lists between different machines, but not if all of the work is being done on a single workstation. The result will be a timeline that loads into FCP X with black clips (not the red “missing” icon). When you attempt to reconnect the media, FCP X will fail to relink and will issue an “incompatible files” error message. To fix the problem, either the colorist must have FCP X installed on the Resolve system or the editor must have Resolve 11 installed on the FCP X system. This last step is the one remaining workaround.

Step 8 option A – If FCP X is installed on the Resolve machine, import the FCPXML into FCP X and reconnect the media generated by Resolve. Then re-export a new FCPXML from FCP X. This new list and media can be moved to any other system. You can move the FCP X Library successfully, as well.

Step 8 option B – If Resolve is installed on the FCP X machine, then follow Step 7. The new FCPXML that you create there will load into FCP X, since you are on the same system.

That’s the state of things right now. Maybe some of these flaws will be fixed with Resolve 12, but I don’t know at this point. The FCPXML list format involves a bit of voodoo at times and this is one of those cases. The good news is that Resolve is very solid when it comes to relinking, which will save you. Good luck!

©2015 Oliver Peters

Building a Free FCP X Color Correction Filter

df2315_opcolor_1One nice aspect of the symbiotic relationship between Final Cut Pro X and Motion is that Motion can be used to create effects, transitions, titles and generators for use in FCP X. These are Motion Templates and they form the basis for the creation of nearly all third-party effects filters, both paid and free. This means that if you learn a bit about Motion, you can create your own custom effects or make modifications to the existing ones supplied with FCP X. This has become very easy to do in the newest versions (FCP X 10.2.1 and Motion 5.2.1).

I decided to build a color correction filter that covered most of the standard adjustments you need with the usual types of footage. There are certainly a number of really good color correction/grading filters already on the market for FCP X. Apple’s own color board works well and with 10.2 has been broken out as a normal effects filter. However, a lot of folks don’t like its tab/puck/swatch interface and would still rather work with sliders or color wheels. So as an experiment, I built my own color correction filter for use with FCP X – and you may download here and use it for free as well.

df2315_opcolor_4_smLet me point out that I am no Motion power user. I have nowhere near the skills of Mark Spencer, Simon Ubsdell or Alex Gollner when it comes to using Motion to its fullest. So all I’ve done is combine existing Motion filters into a single combined filter with zero modifications. But that’s the whole point and why this function has so much potential. A couple of these individual filters already exist singly within FCP X, but Motion has a lot more to choose from. Once you launch Motion, the starting point is to open a new Final Cut Effects project from the Motion project browser. This will default to a blank composition ready to have things added to it. Since I was creating a color correction filter, all I needed to do was select the existing Motion filters to use from the Library browser and drag-and-drop the choices into the composition.

df2315_opcolor_5I decided to combine Brightness, Contrast, Color Balance, Hue/Saturation and Tint, which were also stacked in that exact order. The next step in the process was to determine the state of the filter when you apply it and which parameters and sliders to publish. Items that are published, such as a slider, will show up in the inspector in FCP X and can be adjusted by the editor. In my case, I decided to publish every parameter in the stack. To publish, simply click on the right side edge of each parameter line and you’ll find a pulldown selection that includes a publish/unpublish toggle. Note that the order in which you click the publish commands will determine the order of how these commands are stacked when they show up inside FCP X. To make the most sense, I followed a straight sequence order, top to bottom.

df2315_opcolor_3_smYou can also determine the starting state when you first apply or preview the effect.  For example, whether a button starts out enabled or disabled. In the case of this filter, I’ve enabled everything and left it at a neutral or default value, with the exception of Tint. This starts in the ‘off’ position, because I didn’t want a color cast to be applied when you first add the filter to a clip. Once everything is set-up, you simply save the effect to a desired location in the Motion Templates folder. You can subsequently open the Motion project from there to modify the effect. When it’s saved again, the changes are updated to the filter in FCP X.

If you’ve downloaded my effects filter, unzip the file and follow the Read Me document. I’ve created an “Oliver FX” category and this complete folder should be placed into the User/Movies/Motion Templates/Effects folder on your hard drive.df2315_opcolor_2

Applying the filter inside Final Cut Pro X is the same as any of the other effects options. It has the added benefit that all parameters can be keyframed. The Color Balance portion works like a 3-way color corrector, except that it uses the OS color picker wheels in lieu of a true 3-color-wheel interface. As a combination of native filters, performance is good without taxing the machine.

UPDATE (12 June 2015) : I have added one addition filter into the download file. The second filter is called “Oliver DVE” and designed to give you a full set of transform controls that include XYZ rotation. It comes from the transform control set included with Motion. This provides you with the equivalent of a 2.5D DVE, which is not available in the default control set of FCP X.

UPDATE 2 (15 June 2015) : These filters are not backward compatible. They will work in FCP X 10.1.2 and Motion 5.1.2 and forward (hopefully), but not in earlier versions. That’s due to technology changes between these versions. If you downloaded these prior to June 15, for FCP X 10.1.2 or 10.1.4 and they aren’t working, please download again. I have modified the files to work in FCP X 10.1.2 and later. Thank you.

Download the free “Oliver Color” and “Oliver DVE” filters here. My previously-created, free FCP X color board presets may be found here.

©2015 Oliver Peters

FCP X Grading Strategy


I’ve expounded on ways to tackle color grading in numerous posts. Recently in “Understanding SpeedGrade” I explained a workflow combining color grading tools with LUTs to create custom looks. In this post, I’m going to follow a similar process for FCP X users. (Note: This post was written before the release of FCP X 10.2. However, the fundamental items I discuss herein haven’t changed with the update. The main differences are that the Color Board has become a standard color correction effect and that all effects filters now have built-in masking.)

The approach I’m taking is using a creative LUT to define the overall look and then color correct individual clips for consistency.  A creative LUT should only be considered as spice, not as the main course. You can’t rely solely on the creative LUT for your shot. There is no “easy” button when grading shots on a timeline. In this example, I’m using one of the SpeedLooks LUTs from LookLabs. They offer a variety of styles from clean to stylized. To use any third-party LUT with FCP X, you have to use some plug-in that reads and applies LUTs as an effects filter. I use Color Grading Central’s LUT Utility. Any .cube formatted LUT copied into its folder (located in the Motion Templates folder) will show up as a pulldown option when LUT Utility is applied to a clip in FCP X. (Click images to enlarge.)

df1715_fcpx_clrstrat_11_smSpeedLooks LUTs are based on log or Rec 709 color space. If you have log footage and it has already been corrected to Rec 709, then you could simply use one of the Rec 709 versions. However, if you want to get the most out of their looks, then it’s best to shoot log and use a log-based LUT. Since log values vary among camera manufacturers, LookLabs designed their LUTs around a universal log value used within their LUT curves. To properly use one of their looks requires two stages of LUTs. The first stage is a camera patch, which shifts the video (by camera type) into LookLabs’ intermediate log space. They even include a patch for generic Rec 709 video. Once the first LUT has been applied, you may add the second LUT for the desired look. df1715_fcpx_clrstrat_12_smIn our grading strategy, the grading filters and/or tools are sandwiched between the first LUT (camera patch) and the second LUT (creative look).

df1715_fcpx_clrstrat_2Step 1. For this example, I’m using ARRI Alexa footage that was encoded with a log-C gamma profile. FCP X has built-in LUT processing to convert these clips into Rec 709 color space. Disable that in the inspector for all clips. df1715_fcpx_clrstrat_3Assuming you have installed the LUTs into the correct template folder, apply LUT Utility to the first clip. From the pulldown menu select a camera patch LUT appropriate for the camera (in this case, Alexa log-C). Now copy-and-paste-attributes for just this filter to all clips on the timeline (assuming all clips use the same camera and gamma profile).df1715_fcpx_clrstrat_10

df1715_fcpx_clrstrat_4Step 2. Add your preferred color correction effect to the clip. It will be stacked after the LUT Utility filter. I’m using Color Grade from Lawn Road’s Color Precision group. I like it because the controls are fast and I’ve grown fond of using exposure/contrast/temperature/tint controls in this type of grading. I could just as easily use one of the color wheel, color correction filters (Color Finale, Moods, Hawaiki Color, Colorista III) or even the FCP X Color Board. If the camera clips are reasonably consistent, the creative LUT you select is going to define the tonality of shadows and highlights, so there’s no reason to get carried away with big color balance changes in this grade.

df1715_fcpx_clrstrat_9Note: At this stage, you can copy-and-paste the Color Grade filter to all other clips or wait until later when you’ve actually started to make adjustments. If all shots are different, you might at well copy-and-paste now to have the filter in place with default starting values. If it’s a situation where you want to match the same cameras cutting back and forth – like A and B cameras in an interview – then you might opt to grade the first few clips and then copy-and-paste for the rest.

df1715_fcpx_clrstrat_5Step 4. Next it’s time to apply the creative LUT. Since you want to apply a single LUT across all clips, you’ll want to apply a blank, adjustment layer title effect as a connected clip. You can produce your own using Motion or download one of the free ones from the internet. The length of the adjustment layer should span the length of your timeline. To this title clip, add LUT Utility and select the desired SpeedLooks LUT (or any other you’ve added) from the pulldown menu. In this example, I used one of their Clean Kodak looks.

df1715_fcpx_clrstrat_7_smStep 5. I generally apply a slight vignette to most of my graded clips. This  is used to subtly darken the edge of the frame. FCP X won’t let you do this using a shape mask within the Color Board setting of a blank title, like the adjustment layer. (Note: This was corrected in 10.2. It is now possible to add a mask and color correction adjustment within an adjustment layer.) You will need to add a specific Vignette effect as another connected title. I’m using the Ripple Training RT Vignette in this example. Adjust the vignette’s size, shape, and darkening to taste. The RT Vignette lets you also blur of the edges and mix in an overall sepia toning to the clip as added features. I wouldn’t use these features as part of a standard vignette effect, but in some cases they might be appropriate.

df1715_fcpx_clrstrat_8_smStep 6. Finally! You’ve arrived. Now it’s time to do the real grade. Simply go clip by clip and only adjust the values of the Color Grade filter until you get the right look. Depending on the original shot and the way the LUT is being applied, part of what you are doing in this pass is adjusting the grade so that it looks optimum through the curves of the LUT. Generally you are working with smaller adjustments than without the LUT, since the creative LUT is doing most of the work to set your look.

©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.


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.


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

Color LUTs for the Film Aesthetic


Newer cameras offer the ability to record in log gamma profiles. Those manufactured by Sony, ARRI and Canon have become popular, and with them, so have a new class of color correction filters used by editors. Color look-up tables, known as LUTs, have long been used to convert one color space to another, but now are increasingly used for creative purposes, including film stock emulation. A number of companies offer inexpensive plug-ins to import and apply common 3D color LUTs within most NLEs, grading software and compositors.

While many of these developers include their own film look LUTs, it is also easy to create your own LUTs that are compatible with these plug-ins. A commonly used LUT format is .cube, which can easily be generated by a knowledgable editor using DaVinci Resolve, AMIRA Color Tool or FilmConvert, to name a few.

Most LUTs are created with a particular color space in mind, which means you actually need two LUTs. The first, known as a camera profile patch, adjusts for a specific model of camera and that manufacturer’s log values. The second LUT provides the desired “look”. Depending on the company, you may have a single filter that combines the look with the camera patch or you may have to apply two separate filters. LUTs are a starting point, so you will still have to color correct (grade) the shots to get the right look. Often in a chain of filters, you will want the LUT as the last effect and do all of your grading ahead of that filter. This way you aren’t trying to recover highlights or shadow detail that might have been compressed by the LUT values.

Color Grading Central’s LUT Utility

df_lut_2a_smThe LUT Utility has become a “go to” tool for Final Cut Pro X editors who want to use LUTs. It installs with eleven basic LUTs, which include a number of camera log to Rec 709 patches, as well as several film looks for Fuji, Kodak, 2 Strip and 3 Strip emulation. LUT Utility installs as a Motion template and also appears as a System Preferences pane. You may use this pane to install additional LUTs, however, you can also install them by placing the LUT file into the correct Motion template folder. Since it uses LUTs in the .cube format, any application that generates a 3D LUT in that format can be used to create a new LUT that is compatible with LUT Utility. When you apply a LUT Utility filter to a clip or an adjustment layer inside FCP X, the inspector pane for the filter gives you access to all recognized LUTs through a pulldown menu. The only control is a slider to adjust the amount of the LUT that is applied.

Color Grading Central also has a partnership with visionColor to bundle the Osiris film emulation filters separately or together with LUT Utility. The Osiris set includes nine film emulations that cover a number of stocks and stylized looks. They are provided in the .cube format. Although both the Color Grading Central and Osiris filters are offered for FCP X, it’s worth noting that the LUTs themselves are compatible with Avid Media Composer, Adobe Creative Cloud, Autodesk Smoke and DaVinci Resolve. One thing to be careful of in FCP X, is that Apple also includes its own log processing for various cameras, such as the ARRI ALEXA, and often applies this automatically. When you apply a LUT to log footage in FCP X, make sure you are not double-processing the image. Either use a LUT designed for Rec 709 imagery, or set the FCP X log processing for the clip to “none”, when using a LUT designed for log color space.

In addition to Osiris, visionColor and Color Grading Central developed the ImpulZ LUT series. ImpulZ comes in a Basic, Pro and Ultimate set of LUTs, based on the camera profiles you typically need to work with. It covers a mixture of stock brands and types, including negative print and still film stocks. The Ultimate collection includes about 1950 different LUT files. In addition to camera profiles, these LUTs also cover four gamma profiles, including film contrast, film print, VisionSpace and Cineon Log (Ultimate only). The VisionSpace profile is their own flatter curve that is more conducive to further grading.

Koji Color

df_lut_2b_smAnother LUT package just released for Final Cut Pro X – but also compatible with other applications – is Koji Color. This is a partnership between noted color timer Dale Grahn (Predator, Saving Private Ryan, Dracula) and plug-in developer Crumplepop. This partnership previously resulted in the Dale Grahn Color iPad app. Unlike many other film emulation packages that attempt to apply a very stylized look, Koji Color, is design to provide an accurate emulation of a number of popular print stocks.

As implied by the name (Koji appears to be a mash-up of “Kodak” and “Fuji”), three key stocks from each brand are covered, including Kodak 2383, 2393, 2302 (B&W) and Fuji 3514, 3521, 3523. Each print stock has specific contrast and color characteristics, which these LUTs seek to duplicate. In FCP X, you select and apply the correct version of the filter based on camera type. Then from the inspector, select the film stock. There are extra skiers to tweak saturation and exposure (overall, hi, mid, shadow). This helps you dial in the look more precisely.

Koji Color comes in three product packages. The basic Koji DSLR is a set of filters that you would apply to standard HD cameras running in the video and not log mode. The output format is Rec 709 video. If you shoot with a lot of log profile cameras, then you’ll want Koji Log, which also includes Koji DSLR. This package includes the same LUTs, but with filters that have built-in camera patches for each of the various camera models that shoot log. Again, the output format is Rec 709.

The most expensive bundle is Koji Studio, which also includes the other two packages. The main difference is that Studio also supports output in the DCI-P3 color space. This is intended for digital intermediate color correction, which goes beyond the needs of most video editors.


df_lut_3_smLookLabs is the development side of Canadian post facility Jump Studios. As an outgrowth of their work for clients and shows, the team developed a set of film looks, which they branded under the name SpeedLooks. If you use Adobe Creative Cloud, then you know that SpeedLooks comes bundled for use in Adobe Premiere Pro CC and SpeedGrade CC. Like the other film emulation LUTs, SpeedLooks are based on certain film stocks, but LookLabs decided to make their offerings more stylized. There are specific bundles covering different approaches to color, including Clean, Blue, Gold and others.

SpeedLooks come in both .cube and Adobe’s .look formats, so you are not limited to only using these with Adobe products. LookLabs took a slightly different approach to cameras, by designing their looks based on the starting point of their own virtual log space. This way they can adjust for the differences in the log spaces of the various cameras. A camera patch converts the camera’s log or Rec 709 profile into LookLabs’ own log profile. When using SpeedLooks, you should first apply a camera profile patch as one filter and then the desired look filter as another.

If you use Premiere Pro CC, all you need to do is apply the Lumetri color correction effect. A standard OS dialogue opens to let you navigate to the right LUT file. Need to change LUTs? Simply click the set-up icon in the effect control window and select a different file. If you use SpeedGrade CC, then you apply the camera patch at the lowest level and the film look LUT at the highest level, with primary and secondary grading layers in between. LookLabs also offers a version of SpeedLooks for editors. This lower-cost package supplies the same film look LUTs, but intended for cameras that are already in the Rec 709 color space. All of these filters can be used in a number of applications, as well as in FCP X through Color Grading Central’s LUT Utility.

Like all of these companies, LookLabs has taken time to research how to design LUTs that match the response of film. One area that they take pride in is the faithful reproduction of skin tones. The point is to skew the color in wide ranges, without resulting in unnatural skin tones. Another area is in highlight and shadow detail. LUTs are created by applying curve values to the image that compress the highlight and shadow portion of the signal. By altering the RGB values of the curve points, you get color in addition to contrast changes. With SpeedLooks, as highlights are pushed to the top and shadows to the bottom, there is still a level of detail that’s retained. Images aren’t harshly clipped or crushed, which leaves you with a more filmic response that rolls off in either direction.


df_lut_4_smFilmConvert (an arm of Rubber Monkey Software) is now in the 2.0 version of its popular film emulation application and plug-ins. You may purchase it as a standalone tool or as filters for popular NLEs. Unlike the others that use a common LUT format, like .cube, FilmConvert does all of its action internally. The plug-ins not only provide film emulation, but are also full-fledged, 3-way color correction filters. In fact, you could use a FilmConvert filter as the sole grading tool for all of your work. FilmConvert filters are available for Adobe, Avid, Final Cut and in the OFX format for Resolve, Vegas and Scratch. The Resolve version doesn’t include the 3-way color correction function.

You may keep your setting generic or select specific camera models. If you don’t have that camera profile installed, the filter will prompt you to download the appropriate camera file from their website. Once installed, you are good to go. FilmConvert offers a wide range of stock types for emulation. These include more brands, but also still photo stocks, such as Polaroid. The FilmConvert emulations are based on color negative film (or slide transparencies) and not release print stocks, like those of Koji Color.

In addition to grading and emulating certain stocks, FilmConvert lets you apply grain in a variety of sizes. From the control pane, dial in the amount of the film color, curve and grain, which is separate from the adjustments made with the 3-way color correction tool. New in this updated version is that you can generate a 3D LUT from your custom look. In doing so, you can create a .cube file ready for application elsewhere. This file will carry the color information, though not the grain. The standalone version is a more complete grading environment, complete with XML roundtrips and accelerated rendering.

Originally written for Digital Video magazine / CreativePlanetNetwork

©2014, 2015 Oliver Peters