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1. Best color correction techniques in premiere pro how to#
2. Best color correction techniques in premiere pro full#
3. Best color correction techniques in premiere pro software#

Note on VFXīefore we move to the next step, I’d like to talk about VFX and compositing. It’s also good practice to keep media bins inside your Premiere project neatly organized and clearly named.

Best color correction techniques in premiere pro full#

In case of a ramp, I would suggest asking the colorist to grade the full clip and re-apply the speed ramp post-coloring. If it’s unavoidable, try to use constant (linear) retiming and not variable retiming like ramps.

Retiming introduces a higher risk of timing and sync issues, so it’s something to avoid if possible, as it requires coloring the retimed clip(s) separately. Clips with speed adjustments are allowed if they’re constants. If there is any retiming, you might want to leave it and tell the colorist about it so they can make sure it translates well. Remove empty tracksĪny empty tracks should be deleted so our timeline is as concise as possible. It makes it easier for the colorist to check for sync errors. Remove audio and/or leave one audio master track for referenceĪudio is not necessary but you could leave a stereo export of the audio as a reference for the colorist. Remove effects / graphics / textĪnything that doesn’t need coloring should be removed, like texts, graphics, etc. Nested sequences won’t make the round-trip. For complex sequences, you should render the nested sequence and replace it with the rendered file in your flat timeline. For simple nested sequences, I recommend un-nesting (returning the nested footage to the main timeline). In my experience, nested sequences never translate well.

Best color correction techniques in premiere pro software#

Coloring software like DaVinci Resolve offers stabilization tools, so this is another task you might want to hand off to your colorist. Stabilization doesn’t translate well, so it’s better to remove it for now and apply it again later. You can use Premiere Pro’s Remove Attributes tool to get rid of multiple effects simultaneously. In cases where the crop is severe, the colorist might want to sharpen or add some grain post cropping, to compensate for the loss of resolution. If you resized or cropped footage it’s better to remove it for now and do it when you get the colored footage back. This way you can adjust each transition later. Especially if handles are needed, transitions can’t be applied in the coloring process. I would recommend removing transitions and applying them back after color grading. In the remaining timelines, you’ll need to flatten the tracks, ideally merging all your video tracks until only one (or two) remain.

Create a new version so that you have the original as a backup. I usually rename the new file by adding “FOR COLOR” at the end before stripping this new project file down to only the timelines that you’ll be sending to the colorist. M ake sure the editing is finished before you do this. Then duplicate your Premiere Project file (.prproj) and keep the original as a backup. As well as saving the colorist a lot of time, you’ll also be protecting your own edit from being lost in translation. So your best approach is to strip your timeline down to basic cuts, making it simple enough for both the NLE and coloring app to interpret it correctly. Because editing and coloring software have different ways of handling the edit data, it’s not easy for projects to survive this trip with everything intact. If you’re not already aware, round tripping means sending a timeline from editing software to coloring software and back again before the editor exports the final cut. It’s necessary because we’re round tripping. Time to clean house.Ī flat timeline means that your timeline only contains one or two video tracks with basic cuts (in/out) and nothing else. First, flatten and simplify your timelines This is not what your colorist wants.

Best color correction techniques in premiere pro how to#

So here’s how to prep your Premiere Pro project in a way that will make colorists want to work with you more than once. By properly anticipating the needs of the colorist you can save them a considerable amount of time and stress, as well as reducing the overall project cost. This is stressful when the client is expecting you to color grade and instead you’re wasting time trying to get things to import properly.Īs a colorist, there’s a lot to keep on top of, from color spaces to LUTs, screen types and scopes. Building your reputation as an editor who makes things easier for the colorist will help to build stronger relationships that can only benefit your career.ĭuring my own career, I’ve worked on a number of projects that took longer to reconcile properly in the coloring software than to actually color the project. Just like editors, colorists have different sets of rules and requirements, but they all want the same thing as the rest of us – a simpler life.