Color Correction Workflow Questions.

[whitebalanceinc]

1.  Best way to save and wipe stills and offline references?  Right now I use comparison view, drop locators on the timeline, and use a macro to copy the timecode from a locator and paste it in the reference side of the comparison view.  It’s OK, and fast, but requires so much more thought.  Also there is no way to compare more than two shots.  Other apps have a place you can store stills of your grades and your able to call up the stills and wipe them against your current shot to compare.

2.  Is there anything like color trace in DaVinci Resolbe, or some macro that can copy and paste Lumetri FX using tape or clip name and source TC?

3.  A better way of working with Lumetri source and clip mode for corrections.  I still think AVID Symphony has the best method for this.  You can color source tapes, master clips, subclips, etc, and then convert them to segment mode (each clip has it correction).

I want to do dailies in PPro using source clip.  Those corrections will then follow the clip to any sequence.  Once the cut locks, I’d like to convert source clip Lumetri FX to clip Lumetri FX.

If none of this is possible, what are you doing when working in PPro to compensate?

[R Neil Haugen]

1) Sorry, but there's no Resolve-like 'stills' option ... which is (in Resolve) actually simply a quick storage of the selected node/nodes settings as a preset. Yea, it would be incredibly handy.

In Premiere, you save Lumetri presets ... which are, unfortunately, only that entire Lumetri instance,. as set. You can't save say the Curves or HSL tab to apply to another clip. Which is something I've been asking for ... well, since they killed SpeedGrade ... sigh.

I've seen people use a second sequence, just a short bit of a couple seconds of maybe 3-10 shots, that have grades on them. So that sequence is only what, 30 seconds long?

They bring that in as clips not nests before anything else on the sequence, and can decently quickly jump clip to clip to get a reference image, and/or copy-paste a Lumetri instance or stack to a timeline clip. Might help you. Yea, it's a bit of a pain to setup, but for projects with a lot of clips on the sequence, the setup time saves a ton of hassle and time down the road.

2) Nope. The only way to do something similar would be to use the "Source" process. With some Lumetri presets, select clips in a bin (you can use search bins for this of course to get all the clips with X metatdata) ... then apply the selected Lumetri preset to the selected clips in the bin.

As a Source effect, that is applied to every use of any bit of any of those clips anywhere in the project.

3) See the answer above. You can do what you need mostly using Source processes.

I get (mostly) clips with chip chart shots, or at least, of cameras I have a chip chart shot with. I will pick a clip or two of each camera, make a sequence. Do a Basic tab operation to get tonal response "normal" or to taste. Then a Curves tab process of Hue v Hue and Hue v Sat to get them similar. Save the individual Lumetri presets named for those cams.

Then select all of each cam in the Project, apply that Lumetri preset. Now dropping any clip on a sequence, they're at least mostly close enough to start working. Best alternate to Resolve's long list of camera input transforms.

I hope that helps some ...

[whitebalanceinc]

Absolutely the best answer I have received.  Thank you for taking the time.

One last question.  Let's say I worked through all the clips in source mode.  Is there a way to shift all clips in a timeline to clip mode at once?  Instead of having to change each clip to clip mode manually?

[R Neil Haugen]

Nope, and yes, I've asked for that via the old Features Request thing and the new Ideas suggest posts. AND in person.

So when dealing with a number of clips, sort them in a bin by type ... and select a group and apply a preset to the entire group at once in the bin. That will go to the Source 'tab'.