[John Mayer]

If you still looking for a way, my method is not as direct, but a fine alternative. You lock the panel edit you are working on and move the painting window as another window side by side. You’ll still be seeing your painting layer as an individual object, but with the first working panel you will still see what you are doing as you are painting.

Not the finest solution, but it worked for me.

[John Mayer]

Essential is a terrible train wreck in the making. You can however use the legacy titler, or use alternatively After effects on dynamic link. I prefer the second option.

[John Mayer]

that’s sounds an excellent idea. Thanks! I’ll go try that.

[John Mayer]

This is what auto exposure do to you. Next time try to shoot with auto off ☺

But I hear you, sometimes you don’t have the necessary equipment or you see something and need to shoot fast on the go.

luckily for you I have tried DE:Flicker for this exact situation you are experiencing, and almost all of the time, it does work. Although, it can bring color artifacts from balancing it, depending the quality of the footage. There’s also a technique similar in After Effect but can’t remember the Adobe own plugin (often used for timelapse montage).

If it doesn’t work, the only tip I can tell you, is to use keyframed Lumetri and equalize with the Lumetries scopes. It can be done quick when you know how.

Cheers

[John Mayer]

I think this trick worked for me. Didn’t had to rename to 11.0 tho.

[John Mayer]

Had the same issue. Is it in a Nested layer?, the only fix was to bake the effects and the nested clip into a rendered clip and perform the morph cut into the new footage.

[John Mayer]

I recently learned to convert my DSLR footage into Cineform FS2 codecs 12bits for post preparation. It also help to reduce banding and allow you to work more with Lumetri filters without revealing too much artifacts.

[John Mayer]

thanks, however I’m on PC, seems like 5DtoRGB is only for mac.

Meanwhile I found out that Adobe kinda come with Cineform itself. By using the Gopro Cineform codec Quality 5 is equivalent to Film Scan 2. I put my files in my timeline and with the project manager they will output 10 or 12 bits files.

The bandings issue won’t likely to be fully resolved, but it could be greatly reduced with filters which is one benefits of this technique by using neat video and noise filters. I already did few tests and I had some convincing results.

Only I have to do this on every clips because Lumetri filters seems to not like at all 8 bits footage or there will be huge artifacts. I don’t know if there’s a way in Premiere to make a batch with filter applied, that would speed up the process.

[John Mayer]

Ah yes. I think you are right, I’ve read this somewhere that the external boxes after the line are indeed the NTSC safes. And if I look closer to the FCPX vectorscope, the boxes distance matches the one in in Premiere Pro on the exterior.

Thanks for the insight! this will definitely help me on my judgements on my future editings.

[John Mayer]

I happen to have watched some Larry Jordan educative videos recently 🙂 But one thing from what he has told in one of his webinar, is if the chroma level is exceeding the vectorscope limit (from the boxes), then it is then oversaturated. Maybe I understood him wrong, or maybe it implying to be a rule that can be broken, or simply taking him out of context.

See it there
https://www.youtube.com/watch?v=jX45Yi1spY4

at 11:10 approx.

I see my red in the screenshot I provided to go over the line he kinda mentioned, and from there I had suppositions it could have been oversaturated
.
He is using FCPX thought, maybe the limits are different in Premiere.

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