@RJH It's all in the Automatic Duck tutorial (#6), and the 5DtoRGB settings you listed are correct

Dynamic Range tutorial is now live.

@tinbeo I've messaged you several times to send me 2 clips (1 GH1, 1 GH2) that you are trying to match, I can't tweek a specific GHear for this without such footage, but I'm more than willing to do so.

@shian wish you could do a tutor matching color of gh1&gh2 as promised " help is coming" soon

@artiswar nope. You are only attaching them, like a wrapper, so they are 2 separate files that operate as one

Not sure I understand the question, but i always do audio separately, either in Soundtrack Pro (if I'm doing it), or export an OMF for Protools (if I'm having done by someone else), and marry them back together in QT Pro.

Right here is the best place. It's seems to be where the public is going for info on CGT

http://colorghear.com/the-revolution-begins-january-1st/

As far as PP and ME, I don't really know, that'd probably be a question for Adobe. I don't have the full Suite, just AFX. But by all means, feel free to do some short tests and comparisons to see if the quality is the same.

I go from 5DtoRGB into ProRes 444 no gamma, then import into FCP for editing - FCP into AE via Automatic Duck - grade and render out ProRes 444 from there, then export everything else from either QT Pro or Compressor.

@shian - Some intereresting stuff from Adobe

"Color and Dynamic Link After Effects works with the RGB (red, green, blue) color model. AdobePremiere Pro, however, works with the YUV color model. When you work with a dynamically linked composition, Adobe Premiere Pro either converts it to YUV or retains the RGB colors, depending on the output format.

Dynamically linked compositions are rendered in the color depth of the After Effects project (8, 16, or 32 bpc, depending on project settings). Set the After Effects project color depth to 32 bpc if you’re working with HDR (high dynamic range) assets."

Especially the first bit about color.

The Hollywood Reporter's obituary on my mentor, John Lowry. RIP http://www.hollywoodreporter.com/news/john-lowry-renowned-restorer-hollywood-284089

@artiswar I hate re-compressing. I used to have to do it coming out of FCP without automatic duck, and I hated it. My advice: never re-compress anything unless you have no other choice.

With the new tutorial addendum to working with sequences, I think I've eliminated the need to have to do any selective grading and roundtripping.

Although, I'm curious how CGT performs in your Premiere roundtrip model, vs rendering out of AE.

Thank you guys for your well wishes, I'm feeling better physically, and emotionally, and am determined to knock out the legacy support today.

I was checking the site's trackback stats of late, and noticed that not everyone that comes to the CGT site comes from here, nor are they privy to these conversations or the grateful emails I have received from many of you. I would appreciate it, if those who have bought CGT and like it, would post comments on the site itself, and let those checking it out know how you feel. Thanks to those who already have, no need to post a comment again.

Also feel free to share links to the videos and the site on other message boards. I've seen a few links coming in from other forums, thanks to whoever posted those.

Also, when the next tutorial goes live, many of you will find that your patronage will have long lasting benefits you probably hadn't anticipated. You are not just going to get grading and color correction insight from me, but I'll be launching a new tutorial series with tips on pre-production, test shooting to find the right look, cinematography, building your own lights, as well as Industry Professionals dropping by to give you hands on demos - everything from storyboarding, production design, VFX, fabrication (making, pouring, and pulling molds), set construction on a budget, costuming, make-up (camera and FX), and much more. And everyone who has purchased CGT before Feb 15th will be grandfathered in. So it won't cost you a dime extra.

A quick question about workflow. Shian , or anyone else, do you do basic cuts in Premiere or FCP and then import into AE for grading? Does anyone prefer Dynamic Linking to Importing? And also, if you do use Premeire, is ther an advantage to using the curves in AE in 32 bit mode over using the curves in Premiere in native 32 bit mode? The reason I ask is the response in Premiere is realtime for 32 bit curves/levels using the CUDA openGL acceleration.

Thanks. P.S. I am a proud owner of ColorGHear!

@shian: sorry to hear about your friend and mentor. Life... Think of it, still he contributed to the arts and passed it on - great deed, as we all shall pass. It made me think of color grading and the process of image manipulation and scanning, development etc. Pre-computers (fast enough and budget-wise feasible) what was the workflow? How much more "creative" and experimental can we be now (yes, i LOVE the undo button - it is a cost saver and a curse, since there is also a lot of indecision)?

What was the worklflow then? Now that "everybody" got HD and filmlooks, how can we stand out? Is it again bringing content and story, not just good looks? I know they are intertwined. No story, we turn to the other noise to see what's up... ;) What do you think? Interesting to hear ppl in the "business" as an aspiring artist. If you have the time I'd love to hear your stance and point of view... Maybe wrong forum - as a subscriber, should I take it at CGH?

Peace! Best from Sweden!

ALWAYS LABEL :P... YEP!

+1. Everyone needs a break sometimes.