FS7: Need help with a LOG post workflow

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PMP1115

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Hey guys, I am new to this forum but have spent a decent amount of time lurking and searching for information related to my new FS7 purchase. I dig the camera a lot. I spent a lot of time reading Alister and Doug's exposure lessons, and am starting to feel a lot better about exposing my images properly in SLOG3/SLOG2 mode.

My big question mark now is what is the best way for me to do quick video turnaround edits in Premiere. I know this may not be the right forum, but if someone could point me in the right direction as to how best to move forward, it would be a huge help. I'll provide a few details of my setup:

-I purchased the Vision Color ImpulZ Ultimate and OSIRIS Film Emulation pack.

-I primarily edit in Adobe Premiere

-I just downloaded Sony Catalyst browse, and love being able to preview playback and have all the modification tools. I'm not sure how this integrates into my post workflow other than previewing. It is nice having all the metadata and tools for modifying and tweaking.

My main question is: How do I go about being able to make my edits in Premiere and apply the correct LUTs or Look Profiles if I just want to edit normally? I like shooting in LOG but it is seriously slowing me down having to use the Lumetri effect for a clip and basically just keep "guessing" what vision color clip looks appropriate. Where are the LUTs / Look Profiles from Sony like 709(800) that I can just quickly apply to the edited clips in my timeline for a quick turnaround edit without extensive grading time?

thanks in advance

-Percy
 
For myself, I just shoot in CineEI using LC709a as the monitor LUT. Like you, I just use Catalyst Browse to review dailies (which it's great for since it takes in the Metadate).

Personally, it kind of drives me nuts to look at the flat image, so I just do the Lumetri effect with LC709a LUT applied to the first clip, then I just cut and paste the LUT to each of the clips I'm adding. Or sometimes, I just do the entire edit with the Log footage, select all the clips, then paste the LC709a to all of them.

Also, I do have Vision Color Impulz. What I have noticed is that those LUTs are really hit or miss. Not sure if this is the case or not, but LC709a was developed by Sony specifically for CineEI, so it seems to work really well across the board whereas specific Vision Color looks really good on certain clips and the same profile looks terrible on another clip.

After Editing, I usually do the color grading in After Effects or Resolve. It's a lot slower, but I've been using After Effects for so long I usually just do it in that application as I'm just really use to it.

Hope that helps a little.
 
Working with longer projects in Premiere I found the best method to set up LUTs and colour correcting is to just apply a Fast Colour Corrector to each clip. Then add an adjustment layer above that holds the Lumetri effect with the Sony LC709A LUT and any additional look filters. On each clip, if necessary, I do adjustments to fine tune exposure and colour.
 
Osslund said:
Working with longer projects in Premiere I found the best method to set up LUTs and colour correcting is to just apply a Fast Colour Corrector to each clip. Then add an adjustment layer above that holds the Lumetri effect with the Sony LC709A LUT and any additional look filters. On each clip, if necessary, I do adjustments to fine tune exposure and colour.
Click to expand...

I didn't even know that you could do an adjustment layer in Premiere, as I do that all the time in After Effects. That's awesome as that saves a bunch of cutting and pasting in Premiere like how I've been doing.

Thanks for the tip.
 
Apply adjustment layer for the whole timeline when editing then use the cut-tool (press c on mac) on the layer when edit is locked to make adjustments to individual clips. When using a LUT its important to make sure "when" an adjustment is made in the grading pipeline. For example its usually necessary to adjust exposure and contrast before a LUT because it will usually clip information otherwise. On the other hand its usually best to edit the colour after a LUT because the output will be more predictible (not transformed in the LUT). Also keep in mind what the LUT do alters "when" you should make an adjustment.
 
I apply a three way corrector - to make any adjustments to WB or exposure, then apply the LC709A LUT via Lumetri. Then add anything else or nothing at all...

Osslund said:
Working with longer projects in Premiere I found the best method to set up LUTs and colour correcting is to just apply a Fast Colour Corrector to each clip. Then add an adjustment layer above that holds the Lumetri effect with the Sony LC709A LUT and any additional look filters. On each clip, if necessary, I do adjustments to fine tune exposure and colour.
Click to expand...
Won't that apply the LUT before you have normalised the exposure?
 
I bring all my footage into Resolve and choose the clips that I want to use in my edit, and trim them down to a rough cut. I add a primary node to fine-tune the exposure on a clip-by-clip basis, then I apply the same LUT to all the clips, add a secondary node, and any power window nodes that I feel might be necessary for specific parts of the clip. Then I export everything as ProResHQ and import those those clips as my raw footage in Premiere. The advantage here is that I get to do all my editing with clips that already have their final look, I get to use the power of Resolve, and I'm not wasting any computing horsepower grading on the timeline. I know this approach won't work for everyone, but I like it.
 
Impulz manual says you should do any exposure, WB etc. adjustments in the middle:
- slog3 to cineon conversion first
- any necessery adjustments
- print lut

That's what I've been doing but like Gene said: results are all over the place, not very consistent. Still trying to find my perfect workflow, I am thinking of moving to "cut in PP, grade in Resolve" concept.
 
I should add to my earlier post that I first grade one clip in Resolve, then apply that same grade to all the clips. Then I just fine-tune the nodes as necessary, which isn't much unless I want to add power windows. It's a pretty fast workflow if you are at all consistent with your exposure. And if I see something I don't like when I'm editing, I just open Resolve, change the clip(s) and spit out the new version into the same location -- which automatically replaces the old version on the Premiere timeline.
 
I typically put an adjustment layer across the whole timeline, and then I drop a basic LUT on it. I started using one of the Sony LUTs, but eventually moved to a modified LUT I built in resolve. If some kind of exposure adjustment is needed, you can do that with a fast color corrector on the clip. This is for editing.

Once the editing is done, I output to Resolve, correct, and grade.

I've tried doing things the way that Doug mentioned—correcting before the edit—but I ended up spending way too much time correcting takes I didn't use. Plus I like to match color between shots to prevent massive shifts in hue or contrast that aren't intentional. This is obviously very difficult (if not impossible) to do before the edit is final.
 
ChristopherA said:
I've tried doing things the way that Doug mentioned—correcting before the edit—but I ended up spending way too much time correcting takes I didn't use. Plus I like to match color between shots to prevent massive shifts in hue or contrast that aren't intentional. This is obviously very difficult (if not impossible) to do before the edit is final.
Click to expand...

Yup, and I do it that way sometimes too. Depends on the project. But even if I edit first and grade second, I'll round-trip the edited timeline through Resolve because I find Resolve so much faster, easier, and more powerful to use for grading. Whether it comes before the edit or after is the part that varies.
 
Doug Jensen said:
Yup, and I do it that way sometimes too. Depends on the project. But even if I edit first and grade second, I'll round-trip the edited timeline through Resolve because I find Resolve so much faster, easier, and more powerful to use for grading. Whether it comes before the edit or after is the part that varies.
Click to expand...

+1
 
Thanks for the replies guys. I will experiment will all the suggested methods and see what works best for me. For the time being, I just used catalyst browse to preview a handful of clips and then export LUTs out of there that I can load into Premiere applied to an adjustment layer. Being able to slide the exposure index and white balance controls white having a nice waveform visible is HUGE for me and that alone is enough to get me started with confidence. Thanks again guys!
 
First thanks to Doug for FS7 video training...it helped a lot for basic understanding ...highly recomended....its a time and problem safer.

Second:
i am developing my Fs7 4K workflow on Win7 NLE.
i think roundtrip PPro CC 2014 to Resolve 11 light works good for me...with HD resloution.
4K-xml sending from PPro CC to resolve and import to 4K Resolve 11 lite timline works. Also grading in resolve. But export from resolve 11 lite in 4K resolution does not work. Exports will be rendered (i see rendering line) but i cannot open in PPro.
Maybe i use wrong export settins in Resolve 11 lite or is it the limitation of lite verson.
Does Resolve 11 lite export-deliver 4K ? which settings i have to use?

thanks for your help
klfi
 
Thanks Dermot,

which deliver settings i should use for roundtrip UHD-422 10bit color space.
Basic-intermediate-advanced: ??
Easy setup: ??
Video Format: ??
Codec: ??

I found out it works on AVI - but uncompressed 10b
reply_small.gif
it 422.....hughe files, impossible for proper workflow and long archiv.

Thanks klfi
 
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