The first issue will solve itself as I phase out Premiere 12 once this project is complete. #Contour shuttle pro 2 settings lightroom cc how toI also couldn’t figure out how to map it to the functions I wanted to use the most. If you are just color correcting, this limitation isn’t an issue, but if you are alternating between making color adjustments and other fixes as you work through a sequence, this is a potential problem.Ī solution? Limit each adjustment so that it’s seen as a single action until another value is adjusted or until a second or two go by - similar in principle to linear keyframe thinning, when you use sliders to make audio level adjustments.ģ) Lastly, there was the issue of knowing what each button and dial would do, since there are a lot of them (40 buttons and 14 dials), and they are only marked for their functionality in Lightroom. Pressing a dial resets its value to the default, which alleviates the need to undo that adjustment, but what about the other edit I just made before that? Long gone by that point. Unfortunately, we were stuck in version 12 on the film for larger reasons.Ģ) That said, even in Premiere 13, every time you rotate the dials, it sends a series of individual commands to Premiere that fills up your actions history with one or two adjustments. There are a few reasons fo that from my own experience and perspective:ġ) Using Premiere Pro 12 involved a delay - which made the controls, especially the dials, much less interactive - but that has been solved in Premiere 13. To our surprise, both of the panels sat idle for most of the duration of that project, even though we were using Premiere for 12 to 16 hours a day. The assistant editor on the film ordered a Loupedeck+ when he heard I had one. I was looking forward to using the panel on a daily basis while editing the film (which I can’t name yet, sorry) because I would have three months of consistent time in Premiere to become familiar with it.
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