Hands On the Tangent Element and Premiere Pro CC

July 20, 2016

The first Creative Cloud update in 2016 has given us integration between the Tangent Element and Premiere Pro. This video shows it in action.


Series

Part 12: Premiere Pro Desert Island Challenge

If one of the goals of this ‘Premiere Pro Desert Island Challenge’ series is to figure out what one add-on I’d purchase to enhance our color correction workflow within Premiere Pro then the 2015.3 update has given us a serious contender… with their new support for Tangent control surfaces.

Color correcting quickly and efficiently in a non-linear editor is really hard.

Non-linear editing interfaces just aren’t designed for the many nuanced tasks that an experienced, talented colorist wants to perform on their images. And working with a mouse? I like to say, that’s like color correcting with the tip of a single fingernail. Color correcting with a control surface? Suddenly you can use all ten fingers on both your hands—to perform multiple actions at once.

A control surface allows a colorist to try and discard multiple ideas, very very quickly—something that can’t be replicated when using a ‘single action at a time’ mouse.

With the 2015.3 update, the Tangent Element and Premiere Pro CC are now integrated.

In fact, the entire line of modern Tangent control surfaces are now supported with the Premiere Pro CC 2015.3 update. This includes the Element, the Wave and the newest Tangent hardware, the Ripple. In this Insight, I’ll show you how well this new integration works. Frankly, I’m impressed.

And since the Adobe team utilized the Tangent Hub software APIs, as an end user you’ll be able to customize the default settings with your own flourishes and favorite features.

Keep in mind: This new integration isn’t just keyboard shortcuts but truly integrated UI controls and impressive responsiveness

Yes, you can adjust multiple trackballs and contrast rings, simultaneously. You can jump between the various Lumetri effect sub-panels with the push of a button, and spin multiple knobs simultaneously without the software lagging.

And the Jog control is A-List, top-notch… as good as it gets

Seriously, for editors or colorists needing to do detailed work who want to spin a jog wheel to rock across edit points or dial in to a precise on-screen moment? You will jump for joy with the precision of the Jog and Shuttle wheel. It’s clear that Adobe copied this functionality directly from SpeedGrade CC, since that bit of kit has had precisely this kind of precision since Day 1 of their Tangent integration. And speaking of SpeedGrade CC…

SpeedGrade CC, is it End of Life?

Frankly, it’s time for Adobe to admit to itself – and its users – that SpeedGrade CC is no longer being developed. Yes, you can download it from their website – but the Premiere Pro CC 2015.3 Update has pulled integration between Premiere and SpeedGrade. It’s unfortunate since I loved SpeedGrade’s 12-way color corrector paradigm. I honestly feel there are Looks I can achieve in that app that I’ve never been able to replicate elsewhere. But it has quite a few shortcomings that kept me from adopting it as my full-time platform—and Adobe stopped doing any kind of significant improvements a few years ago. So I stopped using it (and teaching it).

It would be nice if Adobe officially announced its plans for SpeedGrade. But then, the Premiere Pro CC 2015.3 update pretty much did that for us, didn’t it? With this update, SpeedGrade will no longer open Premiere Pro CC project files beyond the 2015.2 update.

Coming Next in this series: Customizing the Tangent Element and Premiere Pro using the Hub software

I’ve found the default settings for the Tangent Element to be too fine-tuned. It seems to take way too much work to saturate up a log-recorded image. I found that a simple black-balance using the shadows trackball takes too many pushes of the trackball to get even small results. In the next Insight in this series you’ll learn how simple it is to modify these default behaviors. Plus, we’ll look at how to further customize the Element’s display and button actions.

Enjoy this video!

-pi


Comments

10 thoughts on “Hands On the Tangent Element and Premiere Pro CC”

  1. Working with both a Ripple and an Elements panel at the moment. Yea, SO much more functionality than Lumetri before or without the panels. And I’m well aware of the impending demise of Sg as you mention. Which leaves me with this puzzler among many others: if I need to just quickly expand the blue channel say to neutralize a clip … mostly pull the bottom down to maybe 3 and slightly tug the top up, not uncommon a task. Really fast and easy in Sg. So perhaps use the Lumetri Curves panel/tools, right?

    That seems to be somewhat problematic and to get the same result I’m used to I need to mix curves and a couple other things. Lumetri curves don’t always do what I expect.

    So … basic shot matching … well, if you’ve got suggestions let us have them. I’m trying all sorts of things.

    1. RNH – Thanks for sharing your thoughts. For individual channel manipulation… yes, Curves are the way to go with Lumetri. Even in Resolve, I often grab curves simply to expand (or even out) imbalances between color channels. Fast, simple… with the downside that you need to go to the mouse.

      1. Been working the last few days with a lot of the masking within Lumetri … and of course, to do multiple masks meaning multiple “instances” of Lumetri, which means … losing surface control on all but whichever is the last instance of Lumetri. Frustrating as you really can do a lot more with it than it seems like at first, but … speed of operation (going to the mouse so much) and shot-matching are such bugaboos. And I’ve found the best way to get my over-brights from say my GH3 (which ALWAYS has overbrights according to PrPro) to grade without clipping in that odd way … is to drop an RGB Curves effect in before Lumetri, sort of neutralize there, then my whole Lumetri panel is available. Use HDR to accomplish the same thing … about half the tools go buh-bye, including LUT slots.

        Still looking at the R program, of course … but then … sending out & bringing back are such a pain for the smaller projects. The light at the end of the tunnel … doesn’t seem to be coming my way very fast!

        1. Of course, if you talk to the R team, they’ll tell you to edit those smaller projects in there. I’ve found that using Tint / Temp controls are great for balancing… do Temp to set Red and Blue, then Tint to set the Green channel against Red / Blue. Fast, accurate.

          And I agree, when it comes to overshoots, the only way to really pull them down is with the curves. And once you’re in Curves, it’s trivial to deal with color imbalances.

          RE: Multiple Instances – Feel free to hound them so we can simply tab between Lumetri instances in the Lumetri panel. I agree, it’s one major sticking point right now.

          Still – I think the Element is a fantastic addition to PrPro if you want to really polish up your work without eating extra time.

          1. Both the Element and Ripple panels are a ‘fantastic addition’ to PrPro. What you .. and so many other colorists … have said about the intuitive feel one develops working multiple wheels & knobs simultaneously is SO true. You can get “to” things that are vastly more difficult to achieve one control at a time.

            And I’ve only spent a little time in ‘editing’ mode with the Elements panel, but see that could be a massive help once re-mapped for Editing panel/workspace personal preferences to do editing …

  2. Have been trying for some time now to get this to work despite the fact that I have only the Tk, Kb, and Bt panels. Tried uninstalling / restarting / reinstalling hub software, but premiere 2015.3 only seems to honor the Bt panel. I am able to select “tangent” in premiere’s control surface settings. Still getting “USB state: not configured” message on the Tk and Kb panels, despite trying custom mapping in Hub software. Any ideas?

    1. My guess? You’re using an underpowered USB hub. Make sure your hub is rated for 2.0 amps of power. Many of the less expensive hubs are 1.1 amps and they don’t offer enough power to fully drive the panels. The good thing is, the 2 amp hubs can be had for around $30.

      The other possibility… you need to download and install the most recent version of the Tangent Hub drivers.

      If neither works, email Tangent directly. They’ll help you get it working.

      1. Thanks Patrick! I am using the motherboard’s native USB 3.0 ports, and reinstalled the latest Tangent Hub drivers. Guess I will go ahead and contact Tangent directly.

        1. Tangent’s docs specifically say computer powered USB ports won’t do the job. They specifically recommend a 2.0 amp powered hub to manage the power draw of those panels, FYI. If it’s something else, let us know – so in the future I can help others who might have the same problem.

          1. Now that just seems odd to me—the panels work great as configured, in resolve. Seems like a software problem if they just aren’t working in speedgrade. But I’ll give my powered USB hub a shot!

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