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Adjustment Layers and Camera Matching

Tim Jones

Well-Known Member
Jan 5, 2018
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Frisco Texas
Using the cameras on UAVs and trying to match them to ground based DSLRs or video cameras can be a challenge. So glad they finally made adjustment layers in Premier Pro
Now I just color grade individual shots making sure exposure, contrast and white balance are good. then throw one on more adjustment layers on the entire project to give it a final look.
This was a piece a did a long time ago, when I was trying to work out my gopro footage with a GH3.

It is so much easier now
And I just bought a ZCam e-1 that I am slowly working into my other gear

That looks very nice Tim, I see what you were saying about the crushed black look but for that piece its not too overly done - gives it kind of a futuristic look. One question, I've been using Gopro's for a long time, and while I've used GP Studio and removed the fisheye, it also softens the image at the edge as well as reducing size. CS4 never worked well with GP's compression; so here is the question - is this done in the current Premiere pro natively? If so it is a strong argument for me to upgrade as I still do a lot of ground work with Gopros.
Most of the improvement in gopro footage here comes from replacing the stock fisheye lens, I am using a 3.97mm reticular lens from PeauProductions.
On the grading side, I use the free ground control 709 lut as a technical input lut.
Then I grade to taste,.
I will say two things make the newer CC versions worth it
The improvements in Lumetri and adjustment layers
the latest built in, motion graphics tools are nice too, but you can accomplish that by switching out to AE.
By the way to help with soft edges, Shoot in 4k or 2.7k and then crop the center of the image down to 1080p
this also makes it possible to correct framing imperfections, and even create camera movement that does not exist
So far as long as I do the flat profile that the camera offers, Protune for Gopro, Zlog for Z cam, and then CineD on the panasonic it works
Usually I just correct on each camera clip, then an adjustment layer over all of it to make the look similar
What I learned the hard way, was correct the clip before you mix the clip
What I learned the hard way, was correct the clip before you mix the clip

Ain’t that the truth!

I use FCP, same but different. On longer clips (like interviews) I make a compound clip containing the original plus an adjustment layer and then cut that compoundon the timeline. I can go in at any stage and tweak the files within the compound clip and that changes all segments used throughout the film based off that clip.

I don’t know the language or workflow for premiere but the principle should stand.

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Threw away a lot of time learning that one the hard way.
Basic exposure, white balance and contrast can really screw up a looks grade

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