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I am not an experienced colorist but I believe I can provide you with some answers. At least from an indie filmmaker's point of view. Wait until you have the final cut (or lock-off cut) before you grade. Grading usually happens at the same time as the sound design as both require a locked-off cut. It is best to wait until this stage so that you don't have ...

There's a loose binning of monitors into 3 categories: Consumer equipment [$500 - $1500] Dell U-Series LCDs, Panasonic Viera Plasmas Entry-Level Monitors [$2500+] FSI, HP DreamColor High End Monitors [$$ - $$$$] eCinema, TV Logic Some of the features of non-consumer monitors that you'll want to learn about are: HD/SDI inputs Additional outputs ...

The CineStyle picture style provides you with a flat, desaturated image: providing the best dynamic range of any of the picture styles for Canon DSLRs. Technicolor provide you with a file that you can apparently import into your editing software to help you grade your footage. However, I never figured out how to use it and frankly, I don't think one needs ...

The biggest factor in planning for aggressive grading is your wardrobe and set design. Eric Escobar gave an excellent speech about this in 2009 at the SF Supermeet, which the MacVideo guys made available online: "Plug-ins Won't Save You". I know this isn't the technical solution you were looking for, but the nature of contrast and saturation is that ...

Finding non-linear editors on a computer can be really hard. The linear approach in the old days was actually a forced limitation due to the restrictions you had with tapes. You needed to add clips successively. Sure, you could make an insert but at the risk of messing up the time-base and other things. That being said - the non-linear/linear is not the ...

Generally speaking yes. This makes it easier for your camera to define the correct colors. Normally you gain experience best by committing errors or by analyzing the errors of others. So, if you see an image that is too cold, the color temperature / white balance should be higher. If it's too warm, the color temperature should be lower. If you have two ...

Consistent camera settings are a good beginning for continuous looking footage. Here below I will try to explain how to achieve consistent brightness and colour of footage. Consistent brightness Assuming that the lighting of the scene stays the same, you can pick a shutter speed, aperture and ISO that gives you a desired exposure. If in the next recording ...

It depends entirely on what you are looking for. If you want an image that appears consistently lit, then you will want to have uniform light temperature. If however, you want to have some type of effect lighting, you will want to alter the lighting temperature. Say for example you have a candle in the scene (or want to allude to a fire off-screen), or ...

As it was shot by its creators is kind of a nebulous concept, particularly when compression is involved. Color reproduction varies greatly from one device to another and without a calibrated display and a complete chain of color control going back to the source, you aren't going to get exact. Even then, chances are good that somewhere along the line the ...

It is because you are calibrating the monitor correctly however the other two, The Sony LCD and the Computer are probably not correctly color calibrated in the same way, I know that my laptop seems to desaturate colors around the 30% mark and when compared to a calibrated monitor it looks quite a bit different...I would assume this would account for why they ...

Unfortunately, even if you could get an exact amount of the difference, it is highly unlikely that adjusting by that amount will fix your problem. Since a lossy compression is being used, the codec is deciding to alter the color to something that is more easily stored in a small space. You will likely get a different color artifact if you try to correct ...

If all is correct you enable the multi camera mode on a sequence containing the different angles in different tracks as shown in the image below (this is CS5.5, but CS6 is similar). The image shows a sequence containing 4 different clips which represent 4 different angles. In this example these are just a collection of random footage, but it works the same ...

Without knowing the exact result of this, if I where you I would give the GBDeflicker a shot (plugin for AE Win/Mac and stand-alone application): http://www.granitebaysoftware.com/products/productgbd.aspx This is a software meant to solve time-lapse flickering by averaging the luminance of the scene over time. For the video you showed as an example this ...

This might be better suited as a comment to your original post, but alas I do not yet have those privilegies. Anyway, my answer to you would be a cliché one: Keep tinkering. It's really a matter of finding out what effects Premiere can offer, deciding which will be able to assist you the most and then going back and forth between them until you find a ...

Consider the Matrox MXO2 products. The Mini model allows you to gain blue gun control of a normal consumer HDTV, solving the big issue with calibration of these large displays. The MXO2 Mini is under $500, other models include features like hardware H.264 encoding and more advanced interfaces.