Furthermore, you can play around with the rest of the settings, but if you already managed to balance your image properly, you can jump straight to Saturation. There, you can tweak the white balance of your clip in case it’s off as well as adjust the contrast of the image to your taste. Long story short, you need to create a nice S-curve so that both your shadows and highlights areas stay within range without going above 100 and below 0 respectively.Īfter that, navigate to the Basic Color Correction tab. It’s also highly recommended to open up your Waveform monitor to be able to tweak this setting more precisely, as opposed to making adjustments only by eye.
#PREMIERE CC S LOG 3 LUT PRO#
Once you import the footage in Premiere Pro CC 2017, go to your Color Workspace and navigate to the Curves tab. In the meantime, keep an eye on your highlights and adjust your exposure accordingly in case you need to. Even though the following workflow refers to Premiere Pro CC 2017, you can apply basically the same rules in every other color grading platform that features the color grading tools utilized in the video below.įirst of all, it’s important to overexpose your footage with at least two stops when shooting with this color profile, as the Sony mirrorless cameras tend to produce some grain even when properly exposed while shooting in S-Log 3. Yet, there are certain recommendations that you should bear in mind to be able to get the best results quickly and efficiently. In fact, you can do this just as you would normally do with any other footage that needs to be color graded. Nevertheless, many people still struggle when it comes to pulling off this tricky color grading task. So if you have just one adjustment layer that holds one LUT effect for color correction and another one for color grading, make sure the color correction effect is on top in the Effect Settings panel.Color grading Log footage isn’t rocket science by any means. Keep in mind that effects on a clip are rendered top to bottom. So I would suggest this layer order for your timeline: Adjustment Layer with color grading effectsĪdjustment Layer with color correction effectsĪlternatively, you could just put all your LUT effects on the same adjustment layer. This wouldn't work if that layer hadn't been rendered yet. This blending mode takes into account the pixels of the video layer below it. Let's say I have two video layers, the upper one being set to multiply as it's blending mode. If it was the other way around, blending modes and certain other effects couldn't function properly. Rendering layers from bottom to top is also the logical order.
For continuously rasterized vector layers, the default rendering order is masks, followed by transformations, and then effects.
Within each raster (non-vector) layer, elements are applied in the following order: masks, effects, transformations, and layer styles. When the composition is rendered-either for previewing or for final output-the bottom layer is rendered first. I have found several sources that confirm this behaviour for After Effects, but nowhere is it stated explicitly for Premiere Pro.įrom the Adobe documentation for After Effects:Ī composition consists of layers stacked on top of one another in the Timeline panel. I'm fairly certain that Premiere Pro renders all layers from bottom to top.
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