Ahhh ... SpeedGrade! ... oh yes, in fact, I've still got that on my "old" backup computer, everything back to CC2014 on it.
Lumetri ... well, the color wheels are sorta out of SpeedGrade, and the HSL is similar. Other than that, um ... no.
SpeedGrade was OGG ... Offset, Gamma, Gain, for the three balls/rings, while Lumetri is LGG ... Lift Gamma Gain.
Offset moves everything up or down the same amount. Lift, like Gain, is like grabbing the end point of a Curves panel. So Lift moves the black point with all other values maintaining a straight line between that and the white point as if grabbing the black point in Curves.
I prefer to work OGG, but oh well ...
The Basic tab is ending up a lot more useful than I used to think, especially as I work on a full Tangent Elements panel mapped out like crazy. But even with the Ripple unit on my laptop, it's pretty spiffy. I could go over the actions of the various tools, which aren't always exactly as expected, but that's a LONG discussion.
If you go to my rneilphotog.com blog, you can go back to some older posts on an earlier page that really cover the details there.
The Curves tab is pretty spiffy ... I do a chip-chart shot of each camera to get the way that body 'creates' color. They each have their own mathematical process and resulting pattern. By setting the gray levels to get my 'normal' contrast, then using the Hue V Hue to get the six primaries and secondaries lined up correctly in the Vectorscope, then the Hue v Sat to get their sat values also 'normal', and I set them to a spot halfway between center and outer edge ... save as a named preset, apply to all clips from that camera in a bin.
It's things like that, that you have to think through, that get both far more capable work out of Lumetri and save you massive amounts of time.
I work for/with/teach pro colorists, am decent in Resolve of course, and I can do a lot of what others think can't be done in Premiere in Lumetri ... by out-thinking that somewhat limited tool.
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