I believe the tool you'll want in Premiere Pro is the Lumetri Color effec. You'll use the HLS Secondary panel. You may want to use the three color wheels under correction instead of the single over all.
The interface is a bit different from that in Final Cut, but the function is the same, you're targeting a range of color/tone and effecting just those pixels.
Best of luck.
I've never shot on the really high end cinema lenses but imagine that the price is not only for the quality of the glass (though that's a big part) but also for the build quality and the convenience of things like parfocal lenses, fixed apertures, longer focus travel, and other features rarely if ever present on the less expensive photo lenses I'm using.
"Video Not Found" unfortunately, I was not able to view the video for some reason.
What an amazing light and an equally amazingly well done instructional video. I will never build one of these but the video gives me the information and the confidence that I COULD do it.
Also learned a few soldering tricks just from watching.
I'm using a cheep shotgun with the H1 as a pre-amp and running that into my T3i.
Shotgun > H1 line-in > H1 line-out/headphone > T3i mic input.
Using the H1 as the pre-amp and setting the onboard pre-amp low produces better quality and puts level controls at your fingertips on the H1. It's not professional but better than the on-board preamp.
Another option for better quality would be this same setup AND record to the H1 at the same time as a high quality uncompressed wave. Doing both not only provides an audio backup, it also makes syncing in post easier.