@konjow

Always happy to help. And yes, Adobe's trying to nail down some of the things that El Capitan don't like ... but no idea when that "fix" will be out. Or another Apple patch for E-C.

Neil

@konjow

From the things I'm still seeing on the Adobe boards & elsewhere, I wouldn't go to El Capitan quite yet. A number of the worst things have been fixed in the latest patch for that OS, but still ... many people are having cursor-lag issues & such.

I'd give Apple another month or so on this one.

And as to the PrPro2015 ... there are some nice new things in this, but for some the Direct Link to SpeedGrade is problematical to plain unusable (though some seem to be fine). Some are having issues going into AE, others not. Best practice is as always, install 2015 and keep the previous versions installed.

The stupid installer some upper brain at Adobe insisted on over the advice of the PrPro team (noted publicly on the forum) automatically uninstalls any previous version ... UNLESS ... you dig through the install options to find the one to leave previous versions alone. Why did this change this time? Because some upper ... um ... whatever ... thought that they should have "uniformity" of installer actions across their programs so people don't get confused. And this is the way several other programs have typically installed, so the PrPro installer HAD to be set up to default to removal of previous versions ... which is 180 degrees AGAINST the proper procedure publicly listed for PrPro use on the Adobe PrPro blogs & all information.

As ... any project created in one version should probably be run to completion in that version, as most of the time but NOT always do projects update properly because of changes in how tools & effects work.

For continuing projects, start a new instance of that project in the new version (while still working it in the old) ... copy assets to new folders for this project and bring them in testing how it all works ... and when you've got it working fine, take off "officially" in the newer build.

I have some projects still in 2014.2, some in 2015. A few new projects that would need heavy grading I've started in 2014.2 because I'm one for whom the PrPro/Sg Direct Link works better there than in 2015.

2015's "cool new" Color workspace with a Lumetri panel fresh-designed is quite useful for many who just need some quick modification of the look/feel of the image and don't need a full-blown grade. They've also updated some of the audio processes to work better.

Neil

I need to EDIT my previous remarks ... sorry!

The way Lut Buddy works in PrPro 2015 I can't actually add a LUT ... so screw that! In the "last" step where you are adding a film/style type LUT, you need to apply another Lumetri effect placed below the color correction steps in the Effects panel, and use the "Creative" twirl down triangle to get to the "Look" LUT option.

So ...

1) add a Three-Way color corrector effect; 2) next, put your input/tech/log-correcting LUT in the Lumetri panel "Input" LUT on the Basic tab; 3) adjust the "top" Three-Way to get best color balance & exposure/gamma/gain "through" that LUT; 4) apply another Lumetri effect to the Effects panel, in the Creative tab put your output/films-style LUT; 5) go back to the first Lumetri effect/panel and do your looks-adjusting grading.

Or just Direct Link over to Sg ... 1) make a LUT layer as the second layer up in the lower right panel (click the + icon at bottom, then "Film-LUT" options) 2) use the bottom 'base' Primary layer to adjust WB/offset/gamma/gain to get your image technically controlled; 3) add another primary layer above the tech LUT; 4) add another LUT layer above 3) for your output/film-style LUT; 5) go to the primary in 3) and do your grading, adding secondaries or other primaries along with this one sandwiched between the two LUT layers as needed.

Similar steps but I'm much faster at this in Sg ...

In Resolve, make three nodes ... input LUT on first one, grading on second, output on third ... add nodes as needed. Similar workflow.

Neil

@MikeLinn,

Thanks for the link. Excellent and short tut on this especially considering this is in Ae .

You're probably good to go using the native mov files, though some have reported better playback using ProRes & DNxHD, as apparently they might be less compressed (though larger) than the mov files, and playback for editing smoother as there's less CPU work to decode.

Most of the time, I don't need to render previews. So I've not spent a lot of time with that setting, and realistically, it's not that useful for a lot of export purposes so I've not a ton of knowledge. Personally, I think people worry too much about that. And no, PrPro won't make p-view files unless you tell it to, or say for Warp Stabilization it HAS to. The rest of the work it does is by reading the original file on disc, applying your settings to that and giving the result to the computer to display on the monitor.

Doing a lot of time altering effects, heavy color grading, multiple layers on the timeline, those things can make using a preview file a good thing. At that point, take one of the choices and see if it improves playback time and is usable while viewing. Choosing something good enough to use in an export will take a bit more space on disc ... and yet may not save that much of the export time as a total percentage of the time to make the new file.

Neil

@soulkeeper, the first picture to the left in the post above mine.

In the various tabs ... as displayed in the images, you've sliders, curves control, & wheels with the vertical sliders for luminance next to them ... all in PrPro CC2015's Color workspace.

Neil

Yea ... parts of the movement of Lumetri panel controls into PrPro are great. And right now the Direct-Link to Sg is working ok for me. Was slowish & occasionally just glitchy a while back. I still find it's so fast for me to work in Sg that I prefer that to the PrPro-Lumetri panel for most work.

But if it's a quick dash-off, the WB & exposure, sat, & contrast are pretty decent in-cam ... a few moments in that Lumetri "workspace" and it's outta here ... that's nice.

Neil

Ahh ... Dave Dugdale found a blurble in the Premiere Pro CC2015.2 color workspace ... the sat controls. Increasing sat using the controls on that right-side color-control panel caused the color to "bend" towards the "left" around the color wheel. Skin tones that lined up right in a narrow spike on the i-line that people often call the "skin-tone" line became very diffused and shifted quite a ways to yellow as you push more sat into the image.

I tested and confirmed ... Dave also says the hue controls gave him some trouble, I've not tested that yet.

However ... the 3-way & fast color corrector sat controls worked as expected. And bug reports are filed.

Just an fyi ...

Neil

Again, some update details

For Video, Adobe ushers in a new era of UltraHD via comprehensive native format support for editing beautiful 4K-to-8k footage; and advances color, with support for High Dynamic Range (HDR) workflows in Premiere Pro CC and improved color fidelity and adjustments in After Effects CC. Remix, a powerful new audio feature is added to Audition CC. New Touch capabilities are introduced, with Premiere Pro CC, After Effects CC and Character Animator optimized for Surface Pro, Windows tablets or Apple track pad devices.

Tilt shift effect

Broadcast Finishing Techniques for Premiere Pro

@rNeil maybe so, but this is not a choice, it is A BUG... like many others adobe very very very slowly irons out... hey but wait, if nobody complains it's it's not there. Anyway dear costumers here's an exciting revamped, re-vitalized new interface on what to drool over, quad extra cheese on top of all brand new bugs and still some old ones for those of you who gained affection. Give me a brake!!!