What the best way to add different color grade to multiple clips

[Eko Wardoyo]

Plese see my attachment picture. I have multiple clips on my timeline. I have labelled it with rose color and yellow color.

I want to add an adjustment layer to rose labelled clips, and also add another adjustment layer for yellow labelled clips.

How to do this? Until now i can not find the best to add adjustment layer to these clips. thanks.

Attachment :

[R Neil Haugen]

Copy the Lumetri from one of the adjustment layers ... simply click on the Lumetri tab in the Effects Control Panel, right-click, copy.

Select one color by right-clicking in the timline, Label/select label group. Right click on one of the selected clips, Ctrl/Cmd-V to paste. Should apply the Lumetri to all the labeled/selected clips.

I don't hardly ever use adjustment layers as it is very fast to copy/paste Lumetri from one clip to many.

Neil

[Michael Grenadier]

but....  if you make changes to the adjustment layer, it get's applied to all the underlying clips.  If you make adjustments to a lumetri effect on one clip, you have to remove the previous lumetri effect from other clips and the paste the updated lumetri effect.  Unless there is a better way to do this.  Always been a pain...  But the OP's keeping each set of clips to it's own video track is a great way to work and does make applying and updating color correction easier...

[Michael Grenadier]

Thinking about it, you could put the adjustment layer above v1 so at least you could change the color correction for all v1 quickly...

[R Neil Haugen]

ALs are a bit of a pain ... as you can't set any track to only affect one other. So you could use your suggested process for one set of clips if you put all of X clips on V1, and the AL on V2, and other clips above that.

But you can't apply multiple ALs to different tracks. So yea, that's a pain.

Which is why copy/paste to "Source" clip tabs via pasting to clips in bins is normally better. It's still a fairly quick process to remove those and replace if you change something. Compared to other possible solutions.

Neil

[Jim Curtis]

It looks like several of your clips on the timeline have the same source clip.  If so, you can apply effects to the source clips and avoid Adjustment Layers.  Just load a source clip into the Viewer, and paste or drag the effect onto it. You can use the same Effect Controls on that clip.  If you want to tweak it later, just select the clip in the Timeline and use the Sequence > Match Frame feature to adjust it in the Effects tab.

[R Neil Haugen]

Actually, loading onto the Source clip is even easier. With it simply in a bin, drag/drop the Lumetri settings onto it. That process applies the Lumetri to every instance of every use of the clip.

You need to remove the first application of course to prevent duplication. But I do a ton of applying to the clip in the bin. Or even more, selected clips in a bin.

Neil

[Michael Grenadier]

Hey Neil, my gut tells me that adding a lumetri effect to the source clip does impact system performance.  I was recently working on a job with a 2 camera shoot where I needed to do a preliminary adjustment to one of the camera's clips so that the 2 angles would match enough to allow everyone to judge the edit...  I thought that applying a lumetri effect to all that camera's clips would be a great way to work...  and it was, but I work on 3 different  systems in 2 different locations, both mac and windows, some decent machines but others not so much and the combo of the lumetri effect applied to one of the angles and the added overhead of the multicamera clip definitely created issues on the oldest of the systems.  In case you're wondering, I shlepp the media drive between machines or work with a clone of the media drive.

I did have proxies created which did help but still it's something to consider when choosing the best workflow.

In retrospect, it probably would have been smarter to export the clips with the lumetri effect burnt in and worked with those clips (and proxies) and then relinked to the camera original when the picture was locked (or at least close enough to flatten the multicamera clips).  Since there was less than 90 minutes of source material from each camera, this workflow would have probably saved me a great deal of angst.  

Any opinions on a better workflow for this situation in the future would be appreciated...  Gotta say I love the alternatives and discussion of these kind of problems.  

[R Neil Haugen]

Render & replace is our friend!

Sort of humorously stated, but still ... setting a good "preview" format/codec and then just doing an R&R when you've applied something serious like hefty Lumetri or Warp or time-remapping to run while you're away ... makes the work a lot smoother.

Fewer chances for effects 'bumping into' each other. Slow downs. Unexpected events.

Plus if you do export to the same format/codec as your previews, the export is a ton faster.

Neil

[Harold Silva]

Lo que te sugiero para hacer ese cambio es lo siguiente:
Es reaslidad es algo muy simple has una precomposicion de la pista y la capa de ajuste que deseas corregir y listo.
si tienes algun cambio corriges la secuencioa que necesitas y ya.

Saludos

[wsuen]

I don't think there's any real solution to your problem but I seem to have found a 4 ways that are not so bad.

1. Stack Adjustment layers.

So start with your V2 clips, have an adjustment layer on top that and do your grade as a master adjustment.

So your base layer (V1),  sandwhich another adjustment there and do another grade.

Of course, the adjustment layer for V2 clips will affect your base layer V1 clips, but you adjust your grade based on it. NOT IDEAL, but for a quick job not too bad.

2. Only use Adjustment layer grade on your base level V1 clip, the rest just do the old copy and paste of Lumetri.

3. This is I think the best solution. A bit hard to explain, so sorry in advance.

- Do your base grade on your V1 (yellow) clips with an adjustment layer on top.

- Your V2 Rose clips do another grade for that and put another adjustment layer on top of that.

- COPY the adjustment layer grade for V2 rose clips and stack it on top of that adjustment layer.

So you should have 2 idential adjustment layer grades for V2 rose clips one on top of the other.

- Select all your V2 rose clips and then use the move clip up shortcut (CMD + up arrow).

- With the V2 rose clips still selected move the clips back down (CMD + down arrow).

- Now do the same thing with the adjustment layer that you just poked holes all over.

Select all the clip segments of that adjustment layer and move them up. (CMD + up arrow).

After you've done that with the adjustment layer segments still selected. DELETE THEM.

- Now you'll have the adjustment layer only over the V2 Rose coloured clips.

- Now of course if you change the grade for V2 Rose, you'll have to repeat the process.

It's not ideal, but once you get used to it,  it's pretty quick. Like literally 5 seconds.

4. Use "remove attributes" function.

- Grade your V1 Yellow clips and whack an adjustment layer on top of it as per usual.

- Grade one of your V2 Rose coloured clip and then paste that Lumetri effect on all the clips.

- Now if you want the change grade for V2 Rose clips, select all your V2 Rose clips, right click > Remove Attributes. Under effects, find Lumetri colour, tick it, then press ok. This will delete all the Lumetri effects from all the Rose coloured clips.

- Now grade a Rose clip again, then paste on all the rose clips.

- This method will take about 15 seconds so it's not as good as the other way, but still a good trick.

GOOD LUCK.

[Ali Jaber]

As Harold suggested, you can nest the rose clips and their adjustment layer and do the same with the yellow ones.

If it's me, I will nest the rose clips and then apply the effect to the nested sequence, as there is no need for the adjustment layer in this case.

[wsuen]

I used to use this solution, but it doesn't work in alot of situations because it assumes that the edit is before you grade.

To change the edit you now have to unnest the sequence make your edit changes and re-nest.

For a big job where you can afford that kind of workflow with clients it's ok, but for quick turnaround job, it just takes too long.

[Eko Wardoyo]

Thanks for all your replies. I will try it.

[Michael Grenadier]

just be sure to test the workflow thru output...  gotta be careful of digging yourself a very deep hole...

[R Neil Haugen]

I used to use ALs a lot more than I do now. There are just so many problems you have to work around.

Which is why I do so much more by grouping clips by labels and metadata ... so I can make a fast search bin of cam 1 scene 3. I can then copy both "source" controls for say RED or BRAW or Arri or other control panels along with some Lumetri work, and quickly paste to all the clips in a scene from one camera bang.

Or for applying a whole-scene look, the same way.

I also try and label each cam a different color, so I can select all the clips of one color in a sequence and apply any color work I've created for them in the timeline. Or after finishing the neutralization/matching for a scene, select the scene and apply a look.

Everybody works differently though.

Neil