I don't think Greenkill works the way you're thinking. It compensates for the universal green cast on the GH2. It's not a spill suppressor. If you're using it with greenscreen apply it AFTER collapsing/nesting your layers

GHrainkiller works better than NV [IMO] in that you can adjust how it selects and eliminates noise in various channels. But it is slower.

but no, there's no loss of green data by using either GK or GHrainKiller.

GHrainKiller uses an algorithm to reduce blue and red noise. The tutorial explains it all.

@shian

The way the Lumetri panel/workspace works in PrPro 2015, the "Basic" tab will take any type of LUT, whether CUBE, Look, itx, ilut, whatever. There's a way to get your LUT's easier found within that than the full navigate-to thing, but I don't have PrPro available at the moment, so can't answer that. You can always navigate to the folder you have your Ghears in. They'll all load fine.

And to get them usable in the Creative tab's "Look" drop-down, you need to open SpeedGrade with a "clean" totally unadjusted clip on the timeline, use the " + " icon below your layers palette to open the pop-up window and choose "Film" ... which brings up the LUT options ... and use the three little dots to the right of the drop-down LUT box to navigate to your folder of Ghears.

Apply one to the clip, then save as a Look file ... copy that Look file to the right folder in PrPro, and it's now available as a Look on the Creative tab. I have the whole process down on a post in the last couple weeks on either the Editor or Grading thread here ...

The one thing to realize is PrPro applies the actions to the clip in a sequential, top-to-bottom manner. So ... you apply a Ghear via the Basic tab, EVERYTHING you do past that in Lumetri there will be done after that Ghear.

In order to get things in the right order, sometimes you need to use the Effects panel, and use a couple instances of the Lumetri panel putting things in ... and then doing things above or below them ... to control how you want effects layered.

Neil

@adamquesada I finally got around to playing with PP 2015 and you won't need to install LUT Buddy to be able to use CG Pro - the tutorial is the same, but you can apply LUTs directly to adjustment layers from Lumetri.

Don't know if you can import the whole CG Pro package into a preset folder yet, but maybe @rNeil knows.

@shian CG for AE has been our main grading tool, I will try PRO for PP! Thanks for the sale.

Has anyone tried the new CG Pro V-log LUTs on their v-log footage, or... any footage for that matter? Just curious if it's working for you guys.

The LUT total is up to 5

• SOLID should be the 1st one you reach for.

• LIMIT is second, raises mids, and clamps highlights

• GENTLE is very subtle, doesn't stretch the H and L's out too far from the middle

• WRANGLER is for white walls and sidewalks, etc. Still not perfect but an improvement

• VARIABLE leaves the saturation alone and allows you to move it up or down on your own, cuz increasing or decreasing it causes a chroma shift. Almost like the tint slider in Photoshop.

Remember these aren't a drag-and-drop-and-then-you're-done solution, these are to give you better starting points for grading.

They are available on the Pro Member page, and come standard with the Pro LUT package. Tutorials for how I use them are coming.

I would personally like new videos talking specifically about the GH4. An exposing in the Zone V-Log Sequel and a V-Log L color correction and color grading video.

cool. looking forward to it

How did you already get your activation?

What the hell went wrong?

So I'm watching 2 movies the other night trying to apply the principles of the tutorials on composition I'm still producing, and I'm just stumped.

"Fury" - Incredibly well thought out and shot, really fantastic!! (Ayer and Vasyanov) and "The Equalizer" - A complete shitshow (Fuqua and Fiore)

Now, either "Fury" had comprehensive storyboarding that was followed to the letter, or an amazing tandem of Director and Cinematographer who were both in alignment with how the movie should be shot. Judging by the almost flawless composition and in some cases brilliant composition, I'm gonna go with storyboarding with a lot of Vasynov's input... as Ayer is hit and miss.

But with "The Equalizer" I'm totally befuddled. I now have to go back and watch the other movies Fuqua and Fiore have done together, cuz I know Fiore knows his shit. But maybe they had no pre-production to plan everything out, and maybe neither he nor Fuqua can compose shots on the fly... cuz it's just fucking awful, it was distractingly awful.

So I'm working on a pretty extensive look at Blade Runner for the Film School course, and in it, I talk about how to translate the 3d world into 2 dimensions and then into something you can use to make better images. And one of the things I am suggesting to EVERYONE is that they take some sort of an art class... mostly to learn about perspective and composition.

This class is amazing! And it's only $15 http://artstudyonline.com/rc01/course/ipad-artist-environment-perspective

I highly recommend it to anyone who wants to be a cinematographer and/or director. One of the things that lent itself heavily to Ridley Scott's vision was his background as an artist and art director - his ability to translate the 3 dimensional world into 2 dimensions, and his ability to draw. I'm not saying you have to learn to draw. I am saying you should UNDERSTAND drawing techniques because they will change the way you view the world, and subsequently they will change the way you shoot. I can't draw very well, but I understand the techniques employed and when I learned them it changed the way I view the world when it comes to shooting.

It's possible. With the 3rd party LUT Utility it still functions the same way, but I don't really recommend it as the stacking order with the color correction node is confusing. It uses the in-app color correction first, but won't allow you to do any further tweaks after the LUTs. And changing your mind is a pain. There's a lot of deleting nodes, and then having to copy and paste attributes.

If you can get Resolve to at least operate on your system, whether or not it will render fully, you can export your work as a LUT from Resolve (I show you how) and apply it in FCP-X. Resolve is the best place to learn. AFX is 2nd best.