Help translating Plug-in Colour Settings, to Adobe Lumetri Settings/Presets?

I use CS6 creative suite and resolve 15 on dedicated edit computer with color calibrated monitors including SDI video monitor ( 3 monitors total ). Nothing is perfect. When I export and upload to Vimeo it's not exact.

But it's close, using resolve.

I also use a panel ( which gives way more minute adjustments than mouse can do generally ). But I struggle with the same stuff....making adjustments and getting stuff the way I want, just like you and Neil.

I am expecting a delivery of a color chart today ( x rite colorchecker passport VIDEO ( rec 709), which should help me do stuff faster to correct color ( and skin tones) and luminance. But I shoot my own stuff and can shoot the chart. You may not be shooting what you are trying to edit. Who knows.

Basically there are some chips that respond differently in different cameras, some introducing green, some lights bring out yellow in skin, etc. etc...so it's nice to have a workflow that just works without having to be a rocket scientist.

This is a basic vectorscope... notice where the yellow is. If you mask an area ( skin ) you can use color wheels or bars or curves or whatever you want to move it toward BLUE... which cancels out the yellow. Desaturating stuff just moves it toward black and white ( less chroma )... so that might work too.

fcp and resolve have special 'masks' to use this particular color chart ( as well as other pro charts ) so it's fast and easy. Neil recently posted he tried using the chart in PPro and it worked great ( but didn't elaborate on how he did it ).

Maybe that's your answer if you can't figure out how to use the color controls manually ??

The Lumetri panel has a drop-down at the top for adding multiple instances ... and for renaming them (so you know what you do in each one) and of course, selecting which one you want to work on at this moment. So you don't need to waste time drag/dropping, just use the interface as-is.

Next ... as HSL keys are pulled in sequential order of processing ... strictly top-down ... the HSL tab key is pulled not from original image data but from the image+data from control changes "above" that HSL key. Including everything in the ECP panel above that instance of Lumetri that affects color ... like other Lumetri instances.

So the HSL key for the top instance is made from the image as modified in the Basic, Creative, Curves, and Wheels tabs.If you go back and adjust anything in those tabs, then ... the image data the key is pulled from has now changed, so the pixels pulled by the key may have changed. The key may need re-adjusting.

Of course, with multiple instances of Lumetri, you have many controls affecting the pixels the key is pulled from.

This is one of the reasons why working in the HSL Curves is actually smarter for many things. You can accomplish within one instance of Lumetri, using the HSL Curves, what would take several instances of the HSL Secondary tab. And yes, you do need a bit of blur and denoise each key, because those don't blur or denoise the image, they blur and denoise the key.

Again, when using the HSL Curves, make sure to greatly enlarge the width of the Lumetri panel so each curves panel is quite large, and if possible, set your mouse to a very fine or "slow" control movement level, so a lot of physical mouse movement is only a small amount of cursor movement.

An option I use when I do need careful HSL Secondary or need to emulate the 'parallel nodes' from Resolve is stacking using the Track Matte Key effect. After you've done it twice, it takes only a few seconds to do all the following bulleted steps:

Original clip on V1 ...

• Alt/option - drag to V2, to create a copy.
• Alt/option - drag to V3, second copy.
• On V3 clip, set the Lumetri HSL key as needed to make the selection.
• On V3 clip, set the HSL Secondary mask to "black/color" and LEAVE ON.
• On V2 clip, drag/drop Track Matte Key effect, set Matte to V3, Composite to "Matte Luma".
• Apply Lumetri to clip on V2, making sure it is below the Track Matte Key effect.

Now you can work in the Lumetrio on V2, using any control within Lumetri, as the only pixels changed will be those passed by the key on V3. The work of this will be applied to the clip on V1, and is taken from the original un-corrected pixels, so the data stays the same no matter what else is done to the image.

And ... you can use multiple masked instances of Lumetri on V2, each affecting only the area that their mask allows.

Further, if you create additional stacked pairs as in the V2/V3 work above, you can apply additional HSL instances to the original pixel data.

Plus, yes, you can do all your normal correction work on the original clip in V1, with the benefit ... you're not messing with your keys.

To roughly equivalent a parallel node option, use two sets of copied/track-matte clips, and use the opacity controls on the lower clip of each pair (the one you apply tm-key and Lumetri to) to 'balance' how much you see of that control versus how much you see the other one.

Neil

Per-color saturation in Lumetri would be with the Hue v Sat curve tool or by selecting the color in the HSL tab.

Neil

I can't even guess exactly what to do to match those.

The HSL Curves are quite fast in response, and to use them, it's best to have the Lumetri panel quite wide ... so each curve tool is very good sized. That way you can do finer control with them. I've got a 2560x1080 ultra-wide monitor for my UI, and I like the Lumetri panel covering up the right third of that panel if I'm working with the HSL curves.

Prior to the addition of those curves, I did very little with any curve, as well ... they're pretty fiddly to work with and you can't really do easy work with a control surface with them. However, after messing with them a bit, it was well worth the time spent to learn how to work them better, and I remapped my Tangent Elements panel so that in the Curves tab, the left ball/ring is a very fine control mouse emulation, the right one a very fast mouse emulation.

With some mice, I know you can have a setting to change the 'speed' of motion if you hold down a modifier key. Having very small movements of the cursor mapped to larger movements of the mouse is very useful with those curves.

Neil