You're right on about the issue with multiple Lumetri instances on a clip ... and it's a real pain in the patookie. NOT advised to move the instances around, however ... PrPro is very linear in the way it applies the effects/controls: as you go down the Effect Control Panel, the effects are applied. And as you go down the Lumetri panel, the effects are applied ... in order top to bottom. If you've got a Secondary in a second instance, but move it "up" to work the previous with your controls ... that Secondary is now applied before what was the first instance. So when you're working the (now) lower panel, you're working after the key. Move them back, you're probably going to wonder what happened with your pretty pixels as the key is applied in a different place. There's quite a number of other issues ... from more of a colorist's perspective. There's two LUT/Look application slots, one for camera/tech LUTs at the top of the Basic tab so it's the very first thing applied to the clip, the other in the second tab, Creative, where supposedly you would put print-stock type LUTs to use. Problem is, no one on the planet suggests those locations for such LUTs. Tech/camera LUTs are supposed to go after your basic neutralization/white-balance controls so you feed a corrected signal to the LUT. And print-stock LUTs ... well, if you want a final product that's a 70's soft shadows/highlights movie look, and you drop it on ... then do ANYTHING in the Creative, Curves, or Color Wheels tabs ... you've now screwed up your carefully chosen look. You can only use that slot to put something you're expecting to modify out of whatever it once was. Which is apparently all the designers of this thought "we" would want. Really. Sigh. Some things you can get around by using Adjustment Layers over your clip ... if you've got one Lumetri applied per AL, you can of course use the Lumetri panel ... and your Tangent gear ... with each layer. From my testing, the application there is sort of upside-down kind of ... I think the stuff applied to the clip is processed first, the next layer up next, the next layer up next ... I need to do more testing to be absolutely certain of that but so far that's worked for me. The one handy thing about the placement of the "tech" LUT slot at the top of the basic tab, is if your media is seen by Lumetri as having values below 1 or above 99 on the left side of the RGB Parade/Waveform scopes, you can drop a pre-built LUT/Look in there that rolls off the media so the signal falls within 1-99, and then be able to properly use the Basic tab. As they have set it so the Basic tab controls are NOT allowed to touch data below 1/above 99, you get very weird results if you try to move that data within "bounds" just using Basic tab controls. The out-of-bounds data stays put, "super-blacks" and "over-brights" both, but you can move the data within bounds around. Making horrid banding of course. So I've built a couple variant LUTs to drop there, named so they are the first couple things to get to via the drop-down/right-arrow routine. Otherwise, the first Lumetri panel that can successfully "touch" the media is the Curves tab .... Color Wheels are also allowed to work on that out-of-bounds signal. For my work, one of the biggest issues is no shot-matching capabilities ... or even procedures ... built in. Which is why I use Patrick's little app here to modify some of my 2017 projects so I can still use them in "Direct Link" mode with SpeedGrade 2015.1. (Referenced in this thread on the SpeedGrade forum: Update: My little Speedgrade/Premiere Project Converter still works with 2017 .) You then run your PrPro project back through his little app, and go back to working the project in PrPro 2017. It's a HECK of a lot easier and faster than exporting an XML and flattened timeline to Resolve, conforming there, and round-tripping back to PrPro! I do have a quasi-shotmatching setup I've created in PrPro ... I've got a keyboard short to turn off Mercury Playback on a second screen (normally on for all other work), and a custom "Shot-matching" workspace I created and put on the Workspace bar. It's got a second panel that is placed to cover the monitor I use for playback work, with the Source, Reference, and Program monitors on it in three sections left to right. I only use the Source for stills reference shots, so normally it's only the far left inch of the screen. The Reference and Program monitors take up the majority of the screen, and I use the image size/percentage controls and the scrolling tools to get the parts of each I need at the size that works best, use the timeline of the Reference monitor to get to a good frame of the clip I'm matching to, and the main timeline to set the program monitor to the clip/frame I am going to correct. Clicking forth & back between images can get either on the Lumetri scopes which are always out in this worskpace, which is a big help. It ... works ... kind of ... but there's not an auto-shot-match button as in SpeedGrade, which typically gets me 80-90% of the way there with a click ... nor is this any real replacement for a decent 2-up/3-up monitor setup. Which is why I quite frequently go through Patrick's app to SpeedGrade. AfterEffects comps are a problem for that, so if you've got those, you need to export a full DI clip out of AE, and replace the comp on the sequence with that AE exported clip. I have found that by totally mapping out the Basic tab controls for both the Ripple and the Elements panels, that is suddenly a pretty decent "neutralization" tab. I've got the Blacks, Exposure, and Whites controls mapped to the Ripple Dials and outer rings of the Elements; and left-to right on the balls, Contrast (horizontal axis) versus Saturation (vertical axis); Temperature (hor. axis) versus Tint (ver. axis); and Shadows (hor. axis) versus Highlights (ver. axis). So ... small project, a few clips, nothing much ... I'll stay in PrPro, use the Ripple or Elements and do neutralization in Basic, Creative, Curves, or more typically Color Wheels to touch the clip for a better look or match, secondary at need, and be done with it. If I do need to more closely match a few clips, I can go to the shot-matching workspace and do ok. Then apply an AL for a total 'look' over a scene or project. Much of a project ... edit in PrPro, "open" the project file in Patrick's app, take the output of that into SpeedGrade for color, save and "open" the project file back in Patrick's app, and it's ready for work back in PrPro 2017. I would LOVE it if you'd file a ton of bug/feature forms about the parts of Lumetri that need work ... and if you're interested, returning Direct Link to SpeedGrade ... https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform Oh ... tracking: yeah, PrPro's tracking isn't particularly totally spiffy, that's another b/f report form ... Neil
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