Processing R,G and B separately?

Peter,

For your example ... you can do it in one Lumetri instance easily and probably better than your current workflow. Use the Curves tab HSL curve Hue vs Hue to shift the hue in the first step you mention, then the HSL Secondary tab to do the second part. You can go forth and back between tabs trimming things quickly in one step and instance of Lumetri. I think this will save you a lot of time and hassle.

A bit of general color info ... in general with color correction it is often best to do things in small bits if much correction is needed. Especially if you're not dealing with Arri or RED media with 14 stops of dynamic range and in 10 or 12 bit codecs. Given that most of us get far more 8-bit and other non-fancy media to work with than we'd like, it's a part of Life.

So doing a bit of work on a clip using some tools to do a general movement towards better, then coming back in another instance especially using other tools to get closer, and finally finishing in a third is a fairly solid workflow. It will separate out your parts into organized sections, and it results in fewer induced artifacts and introduced video noise from the corrections themselves. And can all be done on one instance of the clip.

As you can quickly create and name instances of Lumetri from within the Lumetri panel, and move between them, this is assumed to be a needed part of the process by the engineers (thankfully). I'm a bit hacked that only the LAST instance will be affected by controls of any surface you have no matter which instance is 'up' in the panel and adjusted by mouse/keyboard shorts.

I work with a full Tangent Elements panel which is an awesome tool getting better as they are adding things in, and I'm testing a few with them, including new audio mixer capabilities. But ... working with stacks of Lumetri isn't as slick as it should be as I have to use the mouse more than I'd like.

Neil

Before giving more information on using the secondaries, I would note ... check out the HSL curves first ... I don't make nearly as many secondaries anymore, as the Hue vs Hue, Sat, Luma, and Sat vs Sat curves make it possible to do most of the things I would have done with secondaries in those HSL curves.

Secondaries ...

You can only make one selection at a time to key with any HSL secondary unit I know of ... you need additional HSLs to make additional keys. In Resolve, you add another node. In Premiere, you add another instance of Lumetri.

One issue with pulling multiple secondaries is of course any change in a prior instance of Lumetri, or earlier in that instance after you create a secondary key, makes a change in the data 'seen' by the HSL key.

You can use a 3-clip high stack to grab a key from the original pixels.

• Alt-drag up to track 2, let go.
• Alt-drag up to track 3, let go.
• Now go to track three, set an HSL key, using the black/color mode of showing the key, and LEAVE THAT ON.
• Go to the track  2 copy, and drop a Track Matte effect on that copy of the clip.
• Set the Matte to Video 3 (the track with the HSL key).
• Set the Composite to Matte Luma ... as it will take the color data coming "through" the HSL key on track 3.
• Use any controls in Lumetri on track 2, make sure you do this after setting the track matte key. You want the Lumetri work done after ... (below in the ECP stack) ... the track matte.

Using this setup, the pixels from the original data in track 1 will be modified by the effect of the Lumetri HSL on track 3 and the Lumetri effects applied on track 2.

You can even apply extra pairs of the track 3/2 example above, all pulling from and affecting track 1. So you could alt/drag say five copies of the clip, and set tracks 5 and 4 like the instructions for 3 and 2, and do a different key with that pair.

That sounds complicated but actually after you've done it twice it takes a few seconds to set up. But try the HSL curves also.

Neil

There are some really smart and dedicated people who respond to posts here. Please explain what you mean by disparte and confusing responses to your question.

If you don't know what your source stuff is that is messed up and can't do it in post it could be you are inventing a new solution to a critical visual flaw you noticed in your own footage !

you'll fix it.... 

🙂

you can dynamic link to AE and use the effect 'Shift channels'. That's how you can do channel blurring.

You can also use AE's find edges with a luma matte blur to soften the hard edges. you can also try denoising the mosaic with neatvideo or algosoft. 

that doth verily explain it nicely

Resolve, as it started as a colorist/grading app, doth have a ton of abilities for color work that Premiere does not have. And the ability to split a color to work only one channel in a node can be useful at times.

In Premiere, the closest would be like the Channel Mixer's ability to work some things per channel, or the RGB Color Corrector effect, which allows you to set the Pedestal, Gamma, and Gain for each channel separately ... or of course what you can do with each channel in the RGB Curves tab of Lumetri.

Neil

what plugin do you mean when you say you use it in resolve ?

I can imagine making nodes that pass the yrgb signal to R,G,B separarately and activating the nodes for the 3 export 'versions' ( but don't understand the point of doing it myself )... ???