Dunno if it's been cover but to add LUTs to Color workspace, you can "Show Package Contents" over PR (mac), then go through Contents > Lumetri > LUTs > Technical and drop there a copy of your LUTs. They will show at input LUT's drop-down list =)   I wish though there was a next/previous button option, as 3D Lut Creator has, to go through a set of "looks" much faster... and also being able to apply them as the output...

Handy to know that there is a custom keyboard shortcut available to bypass the effects.

The current operation of Direct Link is not what my "ideal" would be. Say, you do something in the PrPro Color Workspace, which uses the Lumetri stuff (which is actually SpeedGrade's color "engine") and then go to Sg ... that Lumetri work you did in PrPro is LOCKED in Sg ... you can't touch it. Very ... non-intuitive, to be mild.

Using Sg's own color software, in PrPro, creates a "layer" that I can't touch in Sg? Bizarre. This is ... well, rather known to the interior staff. I hope it's clear enough that with a few changes that are promised soon this will be fixed also. There are a couple things that get totally locked up from the Mac side ... such as say clicking the eyeball to turn off a layer from the PrPro workspace while in Sg ... can at times result in that layer just going buh-bye. Permanently. So there are a few tech fixes that must be rolled out soonest.

That's why currently I do most of my grade/look work in Sg and skip the new workspace that on first trial, I was thrilled with. As far as basic grading goes, the color workspace in PrPro can't touch the speed and controls within even a Di-Link workflow from PrPro to Sg to PrPro.

I like the layout of the tools of Sg vastly better than say Color Finesse over in Ae. Sg's a bit of an odd duck, but quite a capable one once you get the feel for it. Just hoping we can get some of the tech problems totally handled for once. Ah well ... tomorrow is another day! ;-)

Neil

Color Correction & Grading with the Lumetri

Preview files are often considered something one should simply purge from the system every so often. They can take up MASSIVE amounts of space, are rarely used in export computations, and can be regenerated if needed. No particular reason I know of to save them with project archive work.

Neil

I've not heard a complaint about this particular issue before ... I've heard a lot of complaints about the difficulty in figuring out what the choices in migrating/cleaning projects through Project Manager actually DO ... which is a total pain. If you're not sure what something does exactly, how do you make an intelligent choice?

The most common comment from working folks I know is they organize their folder/project-bit placements themselves, and use Project manager for a few things, but their own practices for most stuff involving archiving/migrating projects. Big pain, really ... and yea, it would be quite useful if this was a clearer, simpler process.

Neil

Loading LUTs

Whatup mafiadi casa di banhu =)
Yet another bug, Premiere - AME (adobe media encoder) related; and its simple workaround.
If like in this post above you're bringing your own LUTs or an external set to Premiere's Lumetri panel, beware that those same LUT's have to live inside AME's lumetri folder too, otherwise any export through AME will be off, they have to be clone folders (so to speak). Probably the same happens to SpeedGraVe as the ref final image is already showing this.

My personal view of new lumetri space is unchanged, it looks good on paper but it's very resources hungry, a minimally complex look turns system into a zombie horny for brains to a point of having to chop several heads. For some small and precise finishing touches it works, not so for any serious grading process. This voodoo mojo seems to escalate when using other LUTs than the supplied by default.

I still have to encounter (other than 3dlut creator) a platform that empowers user with a simple shortcut (previous - next) to preview all LUTs of a given set/list.

Stills from (remerci) Nick Driftwood's Gh4 showGun run viloGO noseque+

Except ... be careful in the Mac world ... quite a few intriguing problems with El Capitan ... sigh. And for PC's, Win10 is working for more folks, still problematic for others.

Neil

@rNeil I have found the same issues. The saturation and hue controls don't seem very "tight" they tend to just flood the entire image with color that doesn't quite match up with other scripts that you can adjust saturation with. With gh2 footage I can't ever seem to get these controls to fit quite right. HOWEVER the tonality controls in Lumetri are fantastic, and the temperature controls fair very well. I tend to use Lumetri to get my base and then use RedGiant or AE's Color Finesse to fine tune my colors. I still LOVE LOVE LOVE that I can have my wavelengths and effects and adjustments (stable) on the same page/workspace.

@thpluto

you mention tonality controls...which specific tools in Lumetri are you referring to?

Thanks!

@soulkeeper look at rNeil's first picture (to the left) for reference.

Furthermore: In a video I just posted we had a lot of lighting issues. It was raining on and off all day, and on some days it was bright and sunny. Other days the light was not coming into the room at all. I adjusted the temperature in lumetri along with some other adjustments individually to get the clips to match and had some great results without being in there for hours matching wavelengths and checking levels for every adjustment. The saturation controls though just bled everywhere, not my favorite.

If I need more color I'll adjust the saturation with something like RedGiant or just use AE's standard controls. Then I'll use RedGiant's cosmo to target the skin specifically and adjust to where I want it to be, within reason.