[Magnus Wolff soerlie]

Thanks for all your answers!

Sidenote: I do understand color enough to get the results I want in Photoshop on raw stills from Canon 700D, but understand that it’s a different beast.

One example of what I’d like to achieve is this one, shot on Lovund i Norway:
https://www.youtube.com/watch?v=rDzbKHRWENw

It’s shot on a Phantom 3, and I was at the same location with the same weather conditions and my Phantom 4 this summer, and my grass still turned out yellowy, and I’ve still to make it as green as in that video without ruining the shot. I’ve learned later that the Phantom 4 codec really can’t handle the D-log well. I’ve recently gotten my hands on a P4 Pro, so I’m excited to see if 100mpbs h.265 can handle it better, or if I’ll have to adjust for lower dynamic range for each shot/location. As we can see, both in the Lovund video and the Supervention video I link to below, it is possible without extremely high end gear.

Sidenote : I do come from 15 years of professional audio, and I know that at least there there’s the difference between pretty good and REALLY good. I’m trying to approach color from a pretty good-angle right now. I consider the clip from Lovund in the pretty good-range, if one have the skillset to achieve those colors with a P3 Pro, wouldn’t that translate well upwards to better cameras?

I just finished a promo where I basically did a rough edit in Premiere, copy+pasted the entire timeline into AE and worked on the FX there (lotsa animated text). Could a PP timeline potentially become a huge AE timeline where every clip more or less is it’s own comp to do what’s necessary

Another example is the use of GoPro in the norwegian ski movie Supervention 2 : https://www.youtube.com/watch?v=KreZgySpHGc
I was at a seminar with the guys, and they told me the only thing they did was film in neutral color and use ND filters to get the shutter down and motion blur up as much as possible considering the amount of light. The rest was done first matching the cameras (RED Dragon shooting raw, Inspire 1 shooting raw, a 5D3 shooting “as log as possible” on the ground and the GoPros. They said that the most important part was matching the light in them, and that they could go to town coloring afterwards. They did have a dedicated colorist with years of practice though.

But is there a slight consensus that the Adobe Products, even with Magic Bullet, can’t do the job?

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