ProLUT is a color grading pack of looks based on real films and movies.

It comes in every format you can think of so that you can use it in whatever software you're using.

Watch the demonstration video here:

More info http://www.davidhjlindberg.com/?product=prolut

BUT - an unexpected project just came up and I'll be shooting doc interviews straight away. Producer just found out I have a GH4 and asked about shooting 4K -- mostly to have better reframing options in post.

My first (and second) instinct is to say "not a good idea" because I know I can deliver beautiful 1080P with no surprises in post. And no one on this project has 4K experience. Post will be quick: Adobe Premiere CS6, 1080P timeline and minimal grading if any. All the shoots will be interviews, interiors, nicely lit. SD cards limited to existing Sandisk Extreme Pro 95mb/s.

Frankly, the real problem is that I'm overwhelmed by the number of 4K recording options for resolutions, recording formats and data rates, with little time to figure things out. (And no time for testing so I can have my own professional certainty.)

Anyone with GH4/Premiere experience have any wisdom or suggestions about "safe and easy" 4K recording format settings for this situation? Or links to good discussions/posts about merits of the various 4K format choices on the GH4?

Any advice, help or links will be much appreciated. Thanks!

I'm open to purchasing 3rd party filters, just haven't found any that will work in CS6 specifically (it's the version I have).

Thanks!

I would prefer not to use a stand-alone software or maybe mocha in AE and export the data from there into our plug-in which would be really easy, but to integrate it directly.

Here is the Imagevideo that shows what it is all about:

Here is the link to our homepage for more detailed information:

http://www.accevolution.net

So please let me know what you think!

Which factors are important? How do I get colors as true as possible? Do you guys have any recommendations?

I found that one from EIZO:

• http://www.eizo.com/na/products/foris/fs2434/index.html
• http://www.eizo.com/na/products/flexscan/ev2336w/index.html

Thank you in advance.

I'd like to know any strategies for shortening this process. Would it be best to simply import the sequence into Encore,. and let Encore handle the DVD rendering? Or, should I use Premier Pro to export the video to an MPEG-2 file, and important that as an Encore asset?

(Also, if anyone has an FAQ on how to adjust render quality in Encore, send me the link. I've never been able to figure out anything beyond the basic bitrate setting.)

https://www.reelhouse.org/stonekeyfilms/dyrafjordur

Everything shot with the GH3, all Natural -5, -5, 0, -5, 1080p @ 50Mbs MOV I've used Olympus 12mm f2 and 45mm f1.8. Some shots with ETC mode, mostly handheld with the Aputure MagicRig.

Edit in Premiere Pro CS6, some correction with Fast Color Correction.

Your comments are welcome !

My current workflow is: MTS files into AE > converted to 2.33 aspect ratio (1920x824) DNxHD format > footage imported and edited within Premiere Pro > exported as 175 bit DNxHD 1920x1080 master file. Note that the 2.33 conversion is strictly letterboxing via composition settings in AE and not altering the pixel dimensions (as those 1920x824 files don't show the pixilation).

One thing I noticed was that when I expand the video feed in Premiere it shows the pixilation that's outputted in the final format, but I wrote that off as simply being reduced resolution for real time playback that wouldn't translate to the final video. Also the preview remains pixilated even with no effects applied (only effects on clips are quick color corrector, Neat Video, and shadows/highlights).

Any insight would be greatly appreciated. I've included a still of the 175 bit DNxHD final video, and a matching frame of the original MTS file straight from the camera. Ignore the top and bottom margins, but look at the high contrast lines like on the Marshal logo, and the metal frame of the B-52 amp below it.

SAN JOSE, Calif. -Sept. 24, 2013 - Adobe (Nasdaq:ADBE) today announced the availability of Adobe® Photoshop® Elements 12 and Adobe® Premiere® Elements 12, new versions of the No. 1 selling consumer photo and video-editing software*. Customers will enjoy powerful mobile capabilities, and reap the benefits of professional-grade editing technology delivered in an intuitive experience that makes it easy to create stunning results.

Create Unforgettable Movies with ease with Premiere Elements 12.

New features and tools include:

Guided Edits – Step-by-step navigation on how to get started, trim frames, add scores, transitions, titles and narrations, as well as animating graphics and creating pictures within pictures.

Scores - More than 50 soundtracks that automatically regenerate to fit the duration of a clip, making it easy to create home movies with perfectly timed intros, outros and background music.

Sound Effects – More than 250 effects that add excitement and dimension to audio tracks.

Auto Smart Tone - The same exclusive technology found in Photoshop Elements 12, for video.

Film Looks – Four new filters to add stylized Hollywood flare to home movies including Comic, Trinity, Yesteryear and Cross Process.

Motion tracking – Spotlight your subject by adding graphics, text and effects that move with the object.

Pricing and Availability

Premiere Elements 12 (Mac and Windows) are immediately available for purchase at www.adobe.com for US$99.99, with upgrade pricing of US$79.99. The Photoshop Elements 12 & Premiere Elements 12 bundle is available now for US$149.99, with upgrade pricing of US$119.99.

Info at:

• http://www.photoshop.com/products/premiereelements

Available at:

• http://www.amazon.com/Adobe-Photoshop-Elements-Premiere-Download/dp/B00F8LK22M/

http://blogs.adobe.com/premierepro/2013/09/adobe-premiere-pro-cc-october-2013-release.html

There is a ton going on with this update, but this paragraph is what has me smiling.

"Color is becoming increasingly important throughout an entire production workflow, and the addition of the Lumetri Deep Color Engine in the June 2013 Premiere Pro CC release gave editors the ability to work with beautiful SpeedGrade grades right inside the application. With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro. From there, create your grades, and then reopen the same project in Premiere Pro with all your color work fully intact. This workflow uses no interchange formats and no importing or exporting – it’s just the same Premiere Pro project moving between the two applications."

A quick demo of the capabilities apparently. I guess this whole CC thing has some merit update wise.

http://tv.adobe.com/watch/adobe-at-ibc-2013/adobe-premiere-pro-cc-speedgrade-cc-direct-link

Under the hood:

• AMD Phenom II X4 840 @ 3200 Mhz,
• ATI Radeon Sapphire 5870,
• 8GB of Ram,
• 16GB virtual RAM,
• 8GB for page file

This computer was built for me buy the company I work for. I was told "Dude, this computer will handle anything you throw at it. There's no reason for Premiere to crash it." So now I'm being accused of messing with the hardware or some such thing.

Please help me figure this out. Like seriously. Need help bad. I've poured over system requirements and can't understand why this is happening. I'm getting no support from my company IT.

So I turn to you guys.

For the actual CC-Version we want to do a major update which is really expensive, depending on the new features we want to have implemented. We are only designing the PlugIn and defining the features, but we have a company to do the programming for us (in c++ with the adobe premiere sdk). Before we start reinvesting and because we want to be real close to the market, we would like to hear which features YOU would like to have implemented and if you think, that this tool would be useful for you or not. We did not make the decision if we will sell it or not by now.

At the moment the PlugIn has the following features:

• You can do push-, wipe- and dissolve-transitions and all of them are fully keyframable, which means that if you have a dolly track you can push the next video with the speed of the dolly into the frame

• You can completely customize your transition by taking a Photoshop-Layer with Alpha-Channel an make this PSD-Layer the basis for the transition. For example: you can start your wipe-transition in the upper left corner and make it go down to the right corner with a soft border, the feather of the border is also customizable. This effect is used very often in TV-Shows for example in "White Collar Season 2", when they change from outside into the police headquarter.

• The transition can have any angle that you want

• You can start the dissolve transition from any position that you want

• You can "dip" to a logo which can be useful if you use the Logo of a fair/exhibition/trade show and you can use the logo as a kind of "separator" between different companys at the exhibition.

I know that you can do all of this with after effects, but it really saves a lot of time if you can do those things directly in PremierePro.

We are planning to add some other new features, but for me it would be interesting to hear, if such a PlugIn would be useful for your every day work and which features you would like to have included into a transition PlugIn. What you see on the pictures is NOT the real PlugIn, it is the functionality that we gave to the company to do the programming for us. The User Interface will look different. Please let me now your thoughts.

Windows 8 Intel Corei7-3630QM Geforce GTX 680M / 4GB GDDR5 12GB RAM DDRIIII 750GB 7200RPM

hence, should have no problem running any of these programs in cohesion.

And, It's breakdown;

http://mohitseb.com

I shot some footage at 50fps on my GH3. After ocking a movie on Premiere (at 25fps) I moved it to Resolve 9 Lite via an XML file. For some unknown reason some clips (only some of them) show different in/out points than the Premiere version. All clips were shot in a 30 min time window. I suspect that it might be because of the Timecode settings of the original clips, inherited from GH3 settings (maybe cause it shifted from 3:xx:xx to 4:xx:xx during shooting?).

What have I done wrong? If it's related to Timecode settings: How should I set my camera to prevent this from happening? How can I fix it in post (either Premiere or Resolve)?

Thanks for answering!

P.

I am thinking of doing a system restore and reinstalling CS5.5 again.

I'm looking for a new external harddrive. For some months I've been editing on Premiere CS6 using a Macbook Pro non Retina (you probably know the drill: i7 2.6 8Gb Ram and 750 Gb HDD). The footage is in 2.5" USB 3.0 Western Digital HDDs which I know is a suboptimal solution but I normally have all the HD footage (mostly GOP1 and GOP3 from a hacked GH2) on one track and playback is smooth 90% of the time. Since things are not always going to be that simple and Lightroom (which I also use profusely) would certain benefit from a faster harddrive I'm thinking about buying one. Caldigit has some solutions that are expensive but seem sturdy and reliable. I have my eyes on the AV Pro wich they sell on HDD and SDD flavors with USB3.0 and optional Firewire. They claim that with the UASP USB 3.0 protocol the SDD option can reach speeds of 430 Mb/s on new Macbook Pros and 200 Mb/s for the HDD option. There are a couple of reviews around the web that seem to confirm that. Normally manufacturer's speed claims are not reliable at all, so one can't never be sure. But, if we were to trust their speed claims, these are my questions:

Do you think that the SSD option is overkill for my current setup? Should I be better spending the premium on more storage? (The 4TB HDD option costs more or less the same as the 256 SSD one.)

Here's the product page:

http://www.caldigit.com/avpro/

By the way, I live in Berlin so the fact that Caldigit has a European Store is a plus (the dreaded customs and whatnot). That's why I ignored some other nice options out there. Of course if you know of other offers here in Europe, they will be more than welcome!

Thanks!

For a long time, I've shot videos with any photo camera that I'd have around, not taking care about shutter speed, fps, etc. After some months of saving and research, I decided to go for a GH3. I feel now confident enough to show some of my work to the world (via Vimeo).

Last week I shot a movie in a hospital. Not every space was well lit, and after editing and some basic color grading, I realized there's some kind of noise (or blocks, I'm not sure) on the darker areas (specially black plastic chairs in waiting rooms).

Technicalities: GH3+12-35 f2,8 , MOV at 25fps and 50fps, ISO not higher than 1600, Premiere on Mac.

My question is: is there any serious noise reduction technique in Premiere? Photoshop is excellent at noise reduction, and I am really surprised that everybody is skipping Premiere when talking about N-R, and talking about 3rd party apps.

Please find below a link to the video.

Thank you in advance for your answers!

P.

Thanks for your help!

P.

Anyway, I'm looking to get better performance without having up upgrade the system, and it appears that there may be 2 strategies. The first is to set up a RAID disk system for video editing. The second is to convert my video files to a less-compressed, more intraframe-like format, so playback may be faster, and edit that. So I have a few questions.

1. Let's say I want to take my hi-def AVHCD files, and render copies in another format that PP can play back faster. Is there a video format that'd work for this purpose?

2. How much can a decent RAID system speed up playback in Premiere Pro?

3. Which is preferred; SATA drives hooked to the motherboard, or USB 3.0 drives?

I did a few searches and can see there are numerous topics scattered about, relating to Premiere Pro and Flow motion, but did not want to derail those ones as they are more focused on CS6 or Flowmotion Patch itself.

Been a while since I posted again.. Ive been experimenting with my GH2 a lot lately and have found that straight from the SD card into a Panasonic Plasma HD TV, the footage looks perfect. Then when I edit the footage together in Premiere Pro using import export settings recommended on EOSHD, I have trouble with distortion of image (graininess, low quality etc)

Can anyone suggest how to import the footage or how to set up my projects with which preset, and then suggest a custom export setting/preset that they work with using Premiere Pro CS5.5?

Basically, I use a standard GH2, hacked with Flowmotion V2.2, then a 95mbps SDXC card by Sandisk (64gb) Class 10.

In terms of my in camera settings I try to usually opt for Pal, in either HBR or Manual Movie Mode. Everything looks how I want it to when using my SD card into a friends TV as described before.

Thanks so much for any help I really appreciate all the advice I have received so far. I realise that when I have uploaded my footage to youtube and Vimeo it will be compressed somewhat but at the moment I just want to export the video at the highest possible quality so it ends up looking exactly how it did directly from SD card into TV.

Many Thanks again.

:)

I shot this last August. I got Flow Motion v2 hack and shot this 720p/50fps.

Thank´s all working around these amazing hacks :)!

I cannot recall what the rendering settings on my old laptop's PPro CS4 were. So I have to ask the community here: What rendering settings would you recommend for best video output quality? with minimal or no loss of original quality.
* Format:

• Preset:

• Frame Rate:

• Aspect:

• TV Standard:

• Profile:

• Level:

• Render at maximum depth: ?

• Bitrate encoding:

• Target Bitrate

• Maximum Bitrate

• Key frame distance

• etc

• etc

Videos will be used for BlueRay disks to be sent to festivals and cinemas, as well as for demonstrations on Vimeo as well as on my own 1920x1200 computer screen.

Many thanks in advance!

PS: I have a GH13 and I live in the UK (so I'm not sure if PAL or NTSC matter when it comes to displaying your work on a cinema screen).
PSS: I'm sorry if this question may seem as coming from a novice. I'm more of a writer/director rather than cinematographer/editor/director, although always learning new things.

Where it was stated that shooting flat in 8bit was a terrible idea, and the nonsense we've heard over and over that you can't bring that color back, which everyone who has seen my work knows is just not true.

While it is true you cannot magically turn 8 bit color into 32bit color. Working in a 32bit environment does allow your corrections to enhance your footage rather than deteriorate your footage.

@FilmingArt FCP X, Premiere Pro CS6, Vegas Pro 12, Smoke 2013, are all 32bit

Just go to my vimeo channel to see tons of video's shot using this method on 8bit cameras https://vimeo.com/channels/shianstorm

And then check these threads for why you are catastrophically wrong about "noise and all kinds of other problems." And welcome to the discussion.

http://www.personal-view.com/talks/discussion/1817/colorghear-toolkit-color-grading-system-for-ae/p1

http://www.personal-view.com/talks/discussion/5346/colorghear-toolkit-color-grading-system-for-ae-part-2#Item_10

http://www.personal-view.com/talks/discussion/3773/expose-in-the-zone-getting-the-best-image-for-grading./p1