How to Optimize Tangent Control Surfaces for Premiere Pro CC

July 28, 2016

Learn how to optimize Tangent Control Surfaces for Premiere Pro with the Tangent Mapper—and massively speed up using Lumetri color effect.


Using the Tangent Mapper

In this final overview of the Premiere Pro CC 2015.3 update, you’ll learn how to optimize Tangent control surfaces, specifically for Premiere Pro CC. We’ll be using the Tangent Mapper software, which you need to download from Tangent’s Support page.

What can you do to significantly increase your color correction speed?

That’s the question you need to ask, leading to the answer: Buy a Colorist Control Surface.

The point of buying a control surface is to move your hands off your mouse and onto a piece of physical gear that allows you to make multiple corrections, simultaneously. When you’re able to make an adjustment to your midtone contrast, while also manipulating your highlight tint… you can try (and discard) multiple different solutions very rapidly. You’ll find better solutions, faster.

In this Insight, you’ll learn how to massively increase your productivity with the Lumetri Color Effect

In Part 2, we looked at the new integration of Premiere Pro CC 2015.3 with the Tangent Mapper. As you’ll see, the default mappings are a good starting point… but we can do better:

  • You’ll learn how the Tangent Mapper works
  • We’ll look at a few shortcomings of the Default map that kind’a discourage me from using the control surface
  • You’ll learn how to create a new map set and completely break through those drawbacks
  • Then I’ll share with you several ideas on additional optimizations that will completely change your relationship with the Lumetri effect
  • Finally, you’ll see the one feature, with the Tangent control surfaces, that blows the doors off working in DaVinci Resolve!

I hope you’ll enjoy this!

If you’ve got mapping ideas of your own, be sure to leave a comment!



3 thoughts on “How to Optimize Tangent Control Surfaces for Premiere Pro CC”

  1. Liked your mapping changes, some of which I’ve already done, great minds and all, right? Been trying to figure out how to combine secondaries into usable LUTs/Looks that can be applied without needing get to go through 5 instances of Lumetri. Like shadow & highlight desat to neutralize them a bit as I’m used to doing in SpeedGrade or Resolve. Thinking that then I can make a shadow neutralize cube, a highlight neutralize, then apply shadow neut in Input LUT slot, highlight in Creative Look slot, save as a LUT, and use say LUT Buddy to apply that after Lumetri in the effects panel. Rinkydink but doable. And other such secondary tasks I do often can also be turned into Looks/LUT’s and stored for later use.

    One of the biggest issues for me with Lumetri is the lack of layers or nodes to stack effects which seems to require the above type workaround as … if you apply multiple Lumetri effects, neither Ripple nor Elements panels still are applied to earlier instances. Trying to puzzle out keeping up to speed.

    Any ways you can come up with around these issues I’d love to see.

    1. Neil – make that feature request RE: Switching instances on the Lumetri Panel. I’ve been saying since day one it’s a pain in the butt to switch between instances and playing effects control panel/Lumetri panel back and forth. I’d love to see a pulldown at the top of the Lumetri panel to swtich instances – and of course have that mapped as a toggle to your panel of choice.

      One thing I will say that I do when in Premiere is name/label each instance of the Lumetri effect. Makes me slightly less confused. 🙂

      1. Oh yeah, I’ve requested the ability to switch sections via keyboard shorts and/or controls, the ability to “stack” layers of Lumetri, and oh maybe 10 other Lumetri items. Never been shy with these bug/request forms. Ha. Since it first appeared I’ve angsted all over anyone who’d listen that as clearly it was meant to replace SpeedGrade there needed to be LAYERS. Nodes. Something like that.

        The new secondary panel is pretty good. But how often do you do only one secondary per clip of a project? Not very often I’m guessing. They’re so fast a way in Sg to hit specific issues. Or stack primaries or nodes to handle things? I’ve seen your projects here and at NAB … plenty nodes on a goodly share of clips.

        And as long as 1) we can’t quickly stack “layers” of Lumetri effects and 2) the controls are limited to data from 1 to 99 (we can’t pull things in past those or push things out past them except within tight limits) we are rather limited in what we can do.

        Which is frustrating especially because what they’ve done in general is pretty dang cool. So close … but I want … more …. lol

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