Multi-camera editing: best way to assign separate adjustment layers to each source?

I have footage from 2 cameras, taken at different times.  The timing looks something like this: 1121221121...  So, they're intermingled.  I put each camera's clips on a separate video/audio track.  (Video Track 1 = Camera 1, Video Track 2 = Camera 2)

The cameras have different looks, and need to be color corrected separately.  I'd like to create a separate adjustment layer for each camera.  So Adjustment Layer 1 would affect all (and only) clips from Camera 1 (which are all on Video Track 1) and Adjustment Layer 2 would affect all (and only) clips fom Camera 2 (on Video Track 2).

My understanding is that since adjustment layers affect all video tracks beneath them in a sequence, I can't (cleanly) have both camera's adjustment layers in the same sequence.  Instead, I need to nest each camera's clips in its own sequence, and put an adjustment layer in there.  That way, each adjustment layer only affects one camera's clips.

I went ahead and did that with my project, so I have 2 nested sequences, one for Camera 1 and one for Camera 2.  Each has its own adjustment layer, with appropriate color correction.  Great.

HOWEVER, I now want to start editing the main sequence.  I want to trim, delete, and fade various clips, taken by either camera.  The problem is, I cannot see where the clips start and stop in the main sequence.  Each nested sequence is just one long green "clip".

How can I get each nested sequence's individual clip start/stop points to show up in the main sequence (ideally, as a cut rather than a marker), so that I can edit them (trim, delete, fade) the same way as if I didn't have them nested?

I've read 2 suggestions:

a) use Scene Edit Detection

-- My videos tend to be hours long, and Scene Edit Detection seems to take *forever*, so I'd prefer a different approach.

b) un-nest, edit, and then re-nest

-- When we un-nest, we lose our single-camera adjustment layers, so we're back to looking at raw (non-color-corrected) clips, right?

-- What happens to our single-camera adjustment layer when we un-nest?  Does it get deleted?

-- Does this mean we should always edit the timing (trim, delete, fade, etc.) *before* we attempt to color correct?  In other words, do the temporal editing first, and then the adjustment layers at the end?

-- What happens if we render our video and decide we like the colors, but want to make some temporal changes?

Is there a better/easier way to handle multi-camera editing? 

It seems like it would be so much easier if we could control which track(s) an adjustment layer affects. 

In audio editing (Cakewalk, Cubase, Logic, etc.) it's easy to send one audio track to a bus, and then apply whatever effects you want to that bus.  No other audio tracks are affected by that bus, unless you send them to it.  And then you can have buses send to other buses, or to a master track, which can have effects affecting all tracks.  It's all so easy and flexible.

So why does it seem so clunky in Premiere Pro?  Is is because of the way we're laying visual elements, where [opaque] video elements always obscure (eliminate) whichever elements are layered "beneath" them, which is different from audio, where tracks tend to be combined (mixed) rather than having one audio track obscure another?

Anyway, thanks for your help.