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Matching Two Different Cameras

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Harrison Gruber
Matching Two Different Cameras
on Feb 24, 2017 at 3:41:19 am

Without leaving Adobe Creative there a fast way to match color space in two different cameras? I'm dealing with an A and B CAM on several different interviews and Im short on time ...

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Chris Wright
Re: Matching Two Different Cameras
on Feb 24, 2017 at 6:47:29 am

matching color space? Premiere only supports rec. 709 color space(except a small HDR h264 exception)
You would need davinci or after effects for changing colorspace profiles or you could make a conversion LUT from Slog3 to Rec.709 which there are a few presets for in premiere. Once that's all figured out...

the fastest way would be to use master clips with lumetri, then match scopes with white point, black point, gamma, saturation, contrast, white balance.

you can get instant white balance with an exported lumetri preset called LowSatMask(instructions here search for "1 LowSat Mask" in your web browser search to jump to post.

i'm including an older post I made which talks about how scopes can create dead on accurate colors from widely different cameras. You can adapt it for lumetri if you like, although fast color corrector still works well.
the basic idea is first match all clips to each other called a "one light" where everything is conformed out of RAW and looks similar.
Then a coloring stage to get the artistic look which can be almost anything. color, contrast, saturation, like magic bullet mojo or Technicolor. Basically the feel you want to convey. Here is a simple 3 step process to initially match all the editing clips to a standard candle in premiere, although it should be pretty similar in any NLE with scopes. Remember to calibrate your monitor so that you get a consistent look.
-A Quick How-To-Guide for matching all clips to a standard waveform in 3 easy steps in Premiere.
Before you begin, open up vectorscope HLS, vectorscope YUV, and Waveform type luma

-add effect fast color corrector to clip
1. View waveform luma:
using effect fast color corrector:
set black point ire 7.5
set white point ire 90
if black and white points are already maxed out, set output level so they are set.

for grey point(the middle slider), view HLS vectorscope, make as small a dot as possible, increase just until you see other parts increase. a large part of shadow will also automatically match 30% on the waveform luma. You'll find this also creates a consistent slightly Log look so its easier to grade and match later on.

2. White balance(click white balance eye dropper) or... if you can't find a white spot, temporarily set saturation so that it all fits inside HLS vectorscope. Watch the HLS vectorscope so that the large Hue wheel sets the weighted brightest part in the center.

There's a secret trick to get all skin tones to match and thus a faster color match between shots, the "skin tone line".

Temporaily set Saturation 200% to easily see bright saturation line.
Set -Fast color corrector-Hue Angle - line up brighest line in HLS(not YUV) vectorscope between where line red and yellow would be in the YUV vectorscope(around 11:00 o-clock). This is the overall Hue angle for skin tone.

3. Set saturation in fast color correctior to 90% of YUV vectorscope edge from center(100% is touching sides) so all clips have same saturation.
you've now perfectly matched black point, white point, contrast, gamma, saturation, hue in like 10 seconds per clip. And the best part is, they're all easily gradable.
a tip:
don't forget to keep an eye on your histogram for any sharp spikes, this means your footage is probably 8 bit and you could introduce quantization errors into your grade.

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Harrison Gruber
Re: Matching Two Different Cameras
on Feb 24, 2017 at 8:21:33 pm

Wow. Thanks so much. I'll try... :))

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