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Currently they list things as requiring an AJA or BlackMagic device to get the signal off the computer and into the HDR monitor's inputs, but the most recent public beta seems to have some capabilities to work with Windows HDR settings if Windows recognizes a monitor as having HDR capabilities. They're also working to get HDR capabilities for general working. #Color finesse 3 premiere pro pdf#They have a pdf file if you can find it that has their HDR and other color management data for the current time listed with all export options. It is clearer with ProRes which options to use. In the Scopes panel they have options for Rec709, Rec.2020, and Rec.2100HLG and Rec.2100PQ.Įxporting is a bit tricky as to get to the Rec.2100HLG/PQ options with H.264 requires selecting the Level as High10 rather than Baseline or High. There are the same options for the Sequence panel. Currently options are Rec.709, Rec.2100HLG, and Rec.2100PQ. Select one or more clips in a bin, right-click/Modify/Interpret Footage. The basic structure is they are adding is the ability to set color space for clips in the bins for media clips, a working color space in the Sequence settings, in the Scopes panel, and in export settings.Ĭurrently the only media types you can set or override color space for are ProRes and Sony XAVC-Intra media. It's going to be great with the black magic pocket camera since you really get to play with the look there a lot more than the dslr's I've been shooting with that bake in 80% of the look.The Adobe developers are working at adding in color management options and they are coming in piecemeal and are a bit confusing at times. I'm getting much more subtle grades than I was getting from looks or colorista. grade the clip in speedgrade, then save the look, then apply a lumetri preset to my clip in premiere, then load the look I made in speedgrade, then copy and paste that look on to all my other clips with the same color. What I do is export a clip from premiere to speedgrade. Also, I use a track ball and speedgrade lets you use your trackball like a trackball on a color grading interface (resolve doesn't seem to let me do that.) ![]() But the integration between speedgrade and premiere makes it my favorite. I'd been using colorista II, color finesse in after effects and dabbled with resolve. Just started using adobe's speedgrade and it took me a little while to appreciate how great it is but I'm really liking it now. RGB Parade: Displays the balance between red, green, and blue values on an identical "waveform" 0-100 scale.Vectroscope: Displays the chrominance or color values of the image in a circular "color wheel" fashion, where the angle within the circle represents the hue and the distance from the center represents saturation.Waveform: Displays luminance or gray-scale values on a vertical scale from 0 to 100, where 0 is pure black and 100 is pure white.Here's a quick breakdown of the three major scopes and what they do: Jordan breaks this webinar excerpt down into an analysis of the three main scopes that are used to perform color correction: the waveform, vectroscope, and RGB parade. #Color finesse 3 premiere pro how to#Here's an in-depth video from Larry Jordan in which he discusses what scopes are and how to read them: On the other hand, through learning to quickly decipher the luminance and chrominance information in your shots with a quick glance at your scopes, you can take your color correction skills to the next level. Trying to correct them by eye, while not entirely impossible, is not only an incredibly tedious and time-consuming process, but it's easily the most impractical way to go about the task of color correction. Color correction can be a real drag, especially if a good portion of your shots are improperly exposed or color balanced poorly. ![]()
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