[Chris Wright]

ok, I hope you like constructive critisism. here’s my thoughts.

1. in the beginning, the exposure was breathing, should be manual exposure.
2, colors were tinted one color like old sepia but green? a matrix wedding?
tilted?
3. handheld shots were really shaky. if not using stabilized lenses, at least give it a pass through premiere’s warp stabilizer or a shoulder rig or something.
4.wait, did I just see a kalidscope effect at 3:40?
5. my personal feeling is that weddings should be graded brightly, not cave dugeon exposure. that’s why people go to great lengths to raise the shadows and remove noise.
6. did I just see a whip-pan at 4:05?
7. a few shots were nice but tint didn’t match the rest of the footage at around 4:50.
8. at 5:05 there was a rack focus into a wall of rocks, seems unmotivated. ah, ok, I see what you tried to do there, but you forgot to rack focus out from the next cut to match the transition, and they both weren’t stabilized. rack focuses won’t work without it.
9. at 5:40 another completely unmatching white balance shot. again, 6:29
10. 7:39 too far away, looks like camera is remembering from a best man’s perspective, not a groom’s. recommend telephoto lens here.

Overall, you know how to use your camera, you just need a few nudges in the asthetic direction. Keep making them and getting critiques and you’ll soon iron out the rough parts.

[Chris Wright]

is the matte set to multiplied or straight alpha or none? those cause massive problems.
are you using adjustment layers?
are you using masks?
sequence – maximum quality checked?
delete work area and render files
delete media cache
Premiere Pro 11.0.2 update just came out and fixes a lot of stuff.

[Chris Wright]

under sequence, try disabling composite in linear

[Chris Wright]

hmmm. are you mac? 10.12.3 MacOs fixed some premiere issues

here’s some more ideas:
Choppy playback in Premiere Pro
https://forums.creativecow.net/thread/3/974536#975716

[Chris Wright]

do they work if you change preview to 1/4 resolution?

[Chris Wright]

the program takes the two images and makes a lut automatically 🙂

[Chris Wright]

I have an alternative for you if you don’t have an external broadcast monitor to grade your stuff how you see fit.

1. If your scopes change after export(for whatever reason), just take this PNG that this generator makes, then export it
and select the new export PNG. It will then make a difference LUT for you. https://sellfy.com/p/aQ1y/

2. If your scopes don’t change but your favorite video player show the same pixels in a different way, you can do do this:
a) place the generator PNG in the top left of your video in premiere
b) grade so that the rest of the video matches matches your favorite video player.(it will also grade the test color PNG)
c) crop and export just the test color chart and use that for the export LUT
d) You can now use this LUT in lumetri and grade seeing what your media player would see. Now everything matches.

[Chris Wright]

I finished some tests on this problem. I did not compare exporting premiere vs AME as that has already been proven conclusively a bug. I focused on only premiere exports to original vs VLC. This is what I found.

1. exporting out of premiere and comparing difference to original is no pixel change RGB info values
2. screenshoting from VLC into AE difference matte is no pixel change RGB info values
3. screenshoting from premiere into AE difference matte is no pixel change RGB info values
4. making a color transform lut with https://sellfy.com/p/aQ1y/ has no pixel change

What I can deduce is that possibly the VLC media player and premiere both interpret the pixel values and display via opengl in slightly different ways in certain video cards. The biggest problem being that without a broadcast monitor, there is no way to color correct accurately or make conversion luts. I am now working on a colorpicker transform lut at opengl level.

update:
colorpicker VLC matches premiere preview in my configuration. I am now testing another color picker… both color pickers match.

Final result: I cannot replicate VLC color problem on this system. furthur testing on other systems required to narrow down gfx card/vlc color problem.

[Chris Wright]

In production, this is what I do. I record with Sennheiser MKH 416(or other expensive senn mic as appropiate) at distance close as I can for good sound. XLR all the way to expensive foztex field recorder(as cheaper recorders wreck the sound of good mics)

In post, after basic harball equalizing, I use adobe audition, furthur smoothing out the sound by use effect – studio reverb at 100-200hz at bare minimum settings and lower the 16k. raise 192kz and 1120 hz for voice. finally use multiband compression so that the audience doesn’t get a heart attack when there’s a sudden increase in volume.

I get cinema quality sound this way.

[Chris Wright]

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.
https://forums.adobe.com/message/9198197#9198197

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.
https://forums.adobe.com/message/9267294#9267294

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.