[Renny Mccauley]

I fixed it. Thanks!

Renny

[Renny Mccauley]

Here’s what you can do with multicam though. Run multi-cam like usual and then collapse the multi-clip once everything is tweaked.

Click somewhere in the blank space of the timeline and type cmd-f. Type in the name of one of your clips, like “Cam 2.” Select Find All. This will highlight all the clips in the timeline that have that name. Pull these clips up one track and you have the same outcome as you would have in old-school multi-cam editing.

Then just color correct your first clip from each track. Copy the clip and alt-v it to the rest of the clips on the track. And your done.
Renny

[Renny Mccauley]

Graeme and Arnie:

Thanks for the responses. It does seem like the proc amp is doing pretty much the same thing to the image as lowering the white output. Color correcting on the Nattress filter is not nearly as intuitive as using the three way CC, but I can see the advantage of doing so. These suggestions are giving me a lot to experiment with.

One thing I’m loving about the Nattress filter is that it can really bring dark footage back to life. I just bump the white curve up to about 30 and keep the black at around 0 to -5 and I get a really cool look from high-gain dark footage. Very gritty and film-like.

Renny

[Renny Mccauley]

One trick I do is zoom in as far as I think I need to be. Then I hit the space bar twice real quick. After it pauses playing, your playhead will be centered.
Renny

[Renny Mccauley]

Graeme:

Thanks for the quick response. I like that you suggested this way. It’s a very logical workflow.

Say I use your method of G-Film, then CC, then I apply the “Basic” preset with frame adjustment turned off. When I apply this, though, to a color-corrected clip, my whites get blown out past 100 IRE. Should I then lower White Output under Curves to compensate for this? In other words, is lowering the white output the same as the whites slider in CC?

Thanks,
Renny