![]() ![]() Technicolor does need to simplify the installation of the Premiere Pro plug-in, but once that’s done, you’re good to go. The S-Curve also works really well if you captured the RAW look with the GoPro HERO3.Ĭolor Assist works as a standalone application, but you also can use it with Premiere Pro or Final Cut Pro 7. The S-Curve is sort of like an LUT that adds the proper saturation and contrast levels back to your neutral, flat look from CineStyle. But if preset looks are a little too gimmicky for you, S-Curve is probably the best solution, especially if you shot with the CineStyle profile on your Canon EOS 5D Mark II or III. It has 25 looks that were developed by Technicolor colorists, such as Ruby Slippers, Movie Musicals, Film Emulation, and B&W Horror Film. ![]() The Looks tab should be the most popular tool for most users. With the Color Control tab, you can adjust hues, luminance, shadows, midtones, and highlights with standard three-way color-corrector wheels, as well as accessing saturation-level bars. Curves is a very useful tool, and Color Assist lets you create your own, adjust each RGB channel, or use pre-selected curves. On the left side of the program, there are four color tools. You can save up to nine color compositions per clip even better, any look or adjustment you apply to your clip is completely non-destructible to your original video files. One of the best tools in Color Assist is the History Panel, which lets you review the different looks and changes you’ve added to your clips. On the right side of the application, Color Assist has professional scopes, such as a histogram, waveform, and vectorscope. Like Premiere Pro and Final Cut Pro X, you can organize clips as thumbnails that can be adjusted, or you can view them as a list. In the Main Viewer window, you’ll see your video clip preview, as well as your video control tools when applying a look or adjustment, you can preview it in real time.īelow the Main Viewer is the File Browser tab, where you can locate your video files. ![]() When first opening Color Assist, the interface is very easy to navigate if you’ve done any amount of color correction before. The technology is based on Technicolor’s DP Lights, a professional on-set color-grading tool. ![]() Now Technicolor also has a software application, Technicolor Color Assist, that makes color grading easier and more efficient, and works hand-in-hand with the CineStyle color profile. This is the first installment in this new series.įor the Canon DSLR shooter, one of the best third-party applications out there has been Technicolor’s CineStyle profile, which enables you to capture a flat Log-like look, offering considerably more latitude during color grading. You can go in and browse manually one by one but that's an absolute pain.We’ve partnered with our friends at HDVideoPro to bring you some features and reviews on the best HD Video tools available. However, I am still lost as to how to relink those previously used LUTs so that the red and white checkers are gone. look they appear within Premiere just fine. cube LUTs and changed the suffix to ".look" (therefor it also changed my icon for each LUT to have a Speedgrade icon) and you must put them here:Īdobe Premiere Pro CC 2015/Contents (you access this by right clicking Adobe Premiere and selecting "show package contents" )/Lumetri/Looks/Cine Looks I'm new to the LUT game, but there appear to be 3 different suffixes used for LUTs. I have not been able to solve the issue of the white and red checkered screen as mentioned by nelslau, however I have figured out how you can make your 3rd party LUTs appear in the Creative dropdown under Lumetri within Premiere. ![]()
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