Working with Camera RAW in Premiere Pro Part 2

February 22, 2016

Working with LUTs and Camera Raw in Premiere Pro can be tricky. In this video, learn one workflow that makes it a bit easier.


Series
Premiere Pro Desert Island Challenge

Working with Camera RAW (and LUTs) in Premiere Pro: Part 2

In Part 1 of this series on working with Look-Up Tables in Premiere Pro CC, we explored the two different places provided in the Lumetri Effect for adding LUTs. These LUTs can help you expand the contrast of your Log- or Flat- recorded images or add creative Looks to your images.

In Part 2, we’re looking at how I prefer┬áto handle Camera RAW in Premiere Pro

This Insight is particularly relevant on footage that requires extreme exposure adjustments before running that footage through a LUT. While we can often make these extreme adjustments within the Lumetri panel, I find I get better results relying on Premiere’s Source Settings dialog box to set the Exposure properly.

Get the full details in the video Insight below.

Note: At the end of this video you’ll see what I consider to be starting points for these images. They are not shot matched, just close enough that I can start the shot match process. Also note, when I start tweaking the CameraRAW footage how much effect the exposure adjustment has on saturation levels. Keep this in mind. It provides a hint to how Lumetri processes its images that can help make our jobs easier (or, if we don’t understand what’s going on, it can make our jobs harder).

Warning: My preferred workflow with Camera RAW is still somewhat fluid when working in Premiere Pro. I reserve the right to change my opinion if I find a more reliable method of working ­čÖé

-pat

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