Shared Working Color-Space Normalization
Map Canon C-Log2/C-Log3, Sony S-Log3, DJI D-Log M, and Apple Log or Rec.2020 HLG into one unified working space before making any creative look decisions.
Editing, Color & Post
Program #089 · Editing & Color
✓ Free Online Intro Included
Multi-Camera Color Matching: Unifying Sony, Canon & iPhone Footage
Unify mixed Canon, Sony, DJI drone, and iPhone clips on one timeline through shared color-space normalization, side-by-side scope matching, green/magenta skin balance, and matched optical texture.
Real commercial and documentary timelines rarely come from identical sensors: your main interview runs on Canon Log, a gimbal B-cam shoots Sony S-Log3, aerials arrive in DJI D-Log M, and a close cutaway comes off an iPhone in Apple Log or HLG. Guessing by eye with colour wheels leaves jarring magenta-to-green skin shifts and crunchy digital phone edges on every cut. In this course, we normalize mixed color spaces into one shared working pipeline, match exposure and tint methodically on scopes, and unify sharpness and grain.
✓ Free Online Introductory Session
Start with a free online intro consultation for this course: we review the syllabus together, clarify how many sessions you need based on your goals and pace, and decide whether continuing Online ($69 CAD/hr) or In-Person ($99 CAD/hr) suits you best.
First Session
Free Online Intro
Session Rates
$69/hr Online · $99/hr In-Person
Course Structure
Tailored to Your Level & Pace
Instructor & Language
Iman Adlkhah · EN & Persian
Prefer just the written framework instead of live sessions? A standalone $39 CAD PDF guide option can also be requested for this course: select the PDF option below.
Prefer done-for-you commercial filming, kinetic typography, and color grading for your brand? View our Video Production Studio, Client Portfolio, and recent edits on @tehranto.plus on Instagram.
Course Learning Pillars
Core Capabilities Developed in This Course
Every learner starts from a different background. These are the core capabilities this course develops, paced to your goals across the sessions we plan together.
Methodical Scope & Split-Screen Matching
Use side-by-side Wipe / Comparison View in strict mechanical order: first black floor and midtone luminance, second neutral grey balance, third skin hue.
Neutralizing Green/Magenta Casts & HLG Peaks
Align Sony's cooler yellow-green bias with Canon's warm magenta-red skin tendency on the Vectorscope, and tame over-bright smartphone HDR upper stops cleanly.
Unified Optical Sharpness, Contrast & Grain
Soften harsh smartphone and drone micro-contrast halos, then apply one shared post-group contrast curve and subtle film grain so cuts feel shot on one camera.
Course Syllabus
Core Concepts & Topics Covered
Below are the main concepts and topics covered in this course. In your Free Online Intro Session, we align the exact depth and number of sessions to your experience and goals.
Topic 01
On-Set Prevention & Scientific Multi-Sensor Normalization
Reducing sensor mismatches before pressing record and configuring clean color management in DaVinci Resolve or Premiere Pro so every Log/HDR clip starts on equal footing.
- Why identical 5600K settings still shift slightly between camera brands and how a quick grey/chart reference helps
- Normalizing C-Log2/3, S-Log3/S-Gamut3.Cine, D-Log M, and Apple Log via CST or color-space overrides
- Preventing blown-out Premiere Pro Auto Tone Mapping mistakes on Rec.2020 HLG iPhone clips
Topic 02
Side-by-Side Wipe Drill: Luminance & Neutral Balance
Pinning your hero A-cam shot as the visual anchor and matching B-cam and cutaway luminance and RGB neutrality without trusting room-tinted eyesight.
- Splitting the viewer horizontally/vertically against a grabbed A-cam still in Resolve or Premiere Comparison View
- Aligning shadow floor, midtone exposure on faces, and upper-stop roll-off on the Luminance Waveform
- Leveling neutral walls, shirts, and specular whites across Red, Green, and Blue channels on the RGB Parade
Topic 03
Neutralizing Cross-Brand Tint & Hue Shifts on Vectorscope
Correcting secondary color-matrix differences where two cameras share balanced whites yet render human skin, blue skies, or foliage at noticeably different angles.
- Rotating yellow-green vs magenta-red skin vectors into alignment using Hue vs Hue, Hue vs Sat, and Color Warper
- Taming electric neon greens and oversaturated cyans common on drone D-Log M and action-camera footage
- Saving reusable 'B-Cam to A-Cam' baseline match nodes or Lumetri presets for recurring camera pairs
Topic 04
Matching Sensor Texture, Shared Contrast & Output Cohesion
Bridging the optical character gap between small smartphone/drone sensors and full-frame lenses, then sealing the edit under one master look.
- Reducing digital oversharpening and crunchy edge halos on phone and drone clips via negative Midtone Detail / Texture
- Applying your final contrast curve, color palette, and subtle unified film grain downstream on a Post-Group or Adjustment Layer
- Running a fast play-through scope audit to catch single-clip luminance or tint jumps before final export
Course Reference Overview
Cross-Brand Camera Tendencies & Unification Guide
Core practical benchmarks and standards covered as part of this course's curriculum.
| Camera Source | Typical Unmatched Trait | Normalization & Scope Fix | Matched Timeline Feel |
|---|---|---|---|
| Canon Mirrorless / Cinema | Warm magenta-red skin bias under indoor tungsten | C-Log CST input + controlled red saturation on Vectorscope | Clean anchor skin reference for the rest of the edit |
| Sony Alpha / FX Line | Cooler shadow tint or slight yellow-green skin shift | S-Gamut3.Cine / S-Log3 CST + subtle Hue vs Hue skin rotation | Cuts against Canon angles without noticeable hue jump |
| iPhone Pro (Log / HLG) | Harsh digital edge halos and clipped HLG bright tones | Apple Log / Rec.2020 HLG mapping + negative Midtone Detail | Organic softness that blends beside mirrorless lenses |
| DJI Aerials (D-Log M) | Electric foliage greens and brittle sky cyan transitions | Hue/Sat green-cyan taming + unified post-group look curve | Establishing aerials belong to the exact same film world |
Start With Your Free Intro Session
Book Program #089: Multi-Camera Color Matching: Unifying Sony, Canon & iPhone Footage
Choose a time for your Free Online Intro Session to map out your course path, or book an Online ($69/hr) or In-Person ($99/hr) session directly, or request the $39 CAD PDF guide option.
1. Choose Option & Preferred Time (ET)
Standalone PDF Guide Option ($39 CAD)
If you prefer to study the written framework and reference checklists of this course on your own instead of live coaching sessions, enter your details on the form to request the $39 CAD PDF edition. We will coordinate and send your payment link and PDF guide via email or WhatsApp.
Program FAQ
Common Questions
Can I learn this multi-camera matching workflow inside Premiere Pro Lumetri, or do I need DaVinci Resolve?
Both workflows work cleanly. DaVinci Resolve's Color Space Transform and Group nodes give you deep scene-referred control, while Premiere Pro's Comparison View, Lumetri Scopes, and Secondary HSL curves handle multi-cam matching right inside your edit timeline. In your Free Online Intro Session, we align the training with your preferred NLE and actual camera combination.
How does the Free Online Intro Session work, and how many sessions will I need?
Every course begins with a Free Online Introductory Session where we review the core syllabus together, evaluate your current background and goals, and map out how many sessions you actually need and whether continuing Online ($69 CAD/hr) or In-Person ($99 CAD/hr) suits you best. Session count is never a rigid one-size-fits-all number; it adapts to your own level and pace.
Do I have to commit to a multi-session package, or can I get just the PDF guide?
There is zero upfront package commitment: live sessions are booked flexibly session-by-session ($69 CAD/hr online or $99 CAD/hr in-person). If you prefer a self-paced written guide instead of live coaching, a standalone $39 CAD PDF option can also be requested for this topic.
Are courses taught in English, Persian (Farsi), or bilingual?
Your choice: every session with Iman Adlkhah can be conducted 100% in English, 100% in Persian (Farsi), or naturally bilingual with industry terminology.
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