[Chris Wright]

ahh, I know what you’re talking about. this was very popular about 6 years ago. The idea is, is that if you use twice the shutter of the frames, then if you interpolate down, the relative blur will still be there. it was popular with red giant frames 29.97i to 23.976p software. Premiere comes with optical time remapping built in now. This won’t look as good as perhaps alchemist AD for frame change, but its free if you own premiere.

https://blogs.adobe.com/creativecloud/optical-flow-time-remapping-tips-tricks-for-best-results/

Also, most frame changing software actually works better if you shoot with high shutter speed and add optical blur in post as edges aren’t as defined for the interpolation algorithms. you can add post blur with reelmotion blur or even timewarp shutter blur only at 100% speed in AE.

[Chris Wright]

any good adobe youtube video should explain this in under 60 seconds if you google secondary color correction premiere pro cc.
Lumetri Color’s HSL Secondary controls.
https://www.youtube.com/watch?v=7MhJYKATQEU

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Chris Wright]

try compressor to prores should export with no re-syncing. some people are reporting handbrake isn’t perfect.

[Chris Wright]

can you post premiere monitor take a snapshot button and render settings?
does it appear after:
1. renderer software
2. delete media cache
3.uncheck accelerate h.264
4. deselect import sequences natively
5. uncheck use previews

also, if your original media is offline, premiere will default to using the proxy files.

[Chris Wright]

are you using AME or premiere? adobe media encoder is better quality. increase your bitrate too.

[Chris Wright]

i see you got more modeling of light on the person. still couldn’t hurt to reflect a little more light on the face. a little goes a long way.
overall no blacks crushed, good. if I was being super picky, the one common mistake some graders make with saturation is adding pure chroma and no luma, which means that grass either needs more gamma or less saturation. it makes a slight pastel, chalky look. I hope I’m making sense. It’s a delicate balance. Also, it doesn’t help that premiere’s color engine sux. It pulls stuff towards yellow. I neutralize all my clips in premiere and actually use AE for master grading. I use templates that automate the balance of gamma and saturation for me using some funky math expressions. Using this technique, I can bring backs solid reds from old film where it has faded to 95% black and white. Did I toot my own horn too much? lol.

[Chris Wright]

being close to sundown and under a forest, yea, it’s gonna be flat light.
skin usually needs reflective foamboard to light for camera’s sensor, expecially in these situations. the trees won’t get the light unless you have a 10k 20ft in the air. you can look up how to make flat overcast lighting look better. it’s outside the scope of a forum. (we’re talking pro cinematography stuff)

Whenever you have really flat light, don’t be afraid to set saturation from -1 to 0, 8 bit needs all the help it can get!
you can grade with premiere’s motion masks and use secondaries to fix some stuff. You can increase saturation, contrast, etc.

You have the technical nailed, now get ready to learn aesthetic lighting and grading.

[Chris Wright]

I cropped your image down to a small skin patch. it showed exactly 18% grey 128 RGB at 50 ire. 40-60 ire, 45ire for some setups. so, if anything, your grey card was perfect!

now to address the rest of the image. you didn’t have a screen to diffuse the sky, so it was extra bright. also the dynamic range of g7/gh4 is about 11-12 stops, but you didn’t lose too much detail in the sky. I could bring back a lot of detail. I first applied RGB curves and brought ire below 99 so lumetri wouldn’t glitch.

your hue was pretty good on the skin tone line, maybe slighter towards red about 4%, still, pretty darn close though, enough not to not have to worry about quantization image loss when post white balancing. your blacks were around 10 ire, still with those cameras not having super amazing low light, it is usually better to ETTR(expose to the right) anyway.

now, if you were trying to get a more balanced look, you could drop exposure down a third or half so that you had a little more dynamic range. maybe a circular polarizer filter(those give sky’s a bluer color and cut down a little f-stop of white light) also, blacks would be blacker and whites wouldn’t blow out so much. Still though, without a light meter, its safer to play it safe with a 18% card and get skins tones as highest priority. A little bounced light onto the actor would give the camera a little color to the skin.

All in all, I think it looks just fine. You’re way, way ahead of the curve. Trust me, I have to fix the ‘other stuff’ 😉

[Chris Wright]

if you have a dynamic range issue, then you could have poor images at 80 ire. for example, blacks crushed would leave highlights stuck at 80 ire. then if your monitor’s gamma was incorrect, it would look even worse.

so can you post a png? we’ll see if we can at least confirm bad exposure or bad monitor. and oh yea, don’t screenshot from a mediaplayer. that’s another variable, use premiere’s monitor.
also, how does the 2 sec. clip look? it should look good in premiere if your monitor is calibrated correctly. you can also play it back in your camera. should look good there too.(yea, I know, waveform monitor blah,blah) guys 🙂

[Chris Wright]

if you didn’t want to go the 2 sound route, you could try a preamp that plugs directly into the DSLR. not perfect, but better than nothing.

https://www.amazon.com/BeachTek-DXA-2T-Universal-Adapter-Camcorders/dp/B0039QWR5I/ref=sr_1_1?ie=UTF8&qid=1455046971&sr=8-1&keywords=beachtek