[Chris Wright]

apply adjustment layer then -effect utility – Color Profile Converter effect

set input as hdtv
set output as universal film

https://helpx.adobe.com/after-effects/using/utility-effects.html

[Chris Wright]

clear media cache

[Chris Wright]

its not so much the disc type as the expensive encoder. dvd’s with low end encoders look like VHS. blu-ray can be ugly too.
make’em nice. hey, even harry potter is on dvd. that being said, the old adage, follow the money, what sells more? and profit margin too. I think I saw star wars force awakens for like $30!

[Chris Wright]

first set default transition duration in edit-preferences-general-audio transition default duration
then:

1. right click transition-set as default
2. highlight all audio timeline clips
3. goto sequence -apply audio transition to selection ctrl+shift+d

other thoughts…

are you cutting when the the waveform is small? it’s called snap-to-zero crossings.
this is standard editing procedure. As is room tone for transitions. You can view and cut in premiere’s waveform or use audition’s snap-to.

snap-to-zero help
https://helpx.adobe.com/audition/using/selecting-audio.html

you can also render and replace as a single wave for audition’s automatic click remover. easiest when picture is locked of course.
https://helpx.adobe.com/audition/using/noise-reduction-restoration-effects.html#automatic_click_remover_effect

[Chris Wright]

Choose Effect > Utility > Color Profile Converter to apply the Color Profile Converter to the adjustment layer.
set input :
-rec.709

set output:
rec. 709 (16-235)

[Chris Wright]

try AE’s utility profile converter input 0-255 rec. 709 and output rec. 709 16-235. That should fix it. They changed how video and rgb get interpreted in the later cc vs avid imports.

[Chris Wright]

It may be interlaced but same full frame motion. also, super resolution has a plugin that compares adjacent frames to get a larger sampling of data of much higher quality resizing.

[Chris Wright]

if the end product doesn’t read color profiles, and if they are different than the native screen profile of your monitor, you will have to use AE’s utility profile converter to burn in the correct color profile to the video codec.

Also, some video codecs only accept video legal levels and you will get washed out or darkened images by not using 16-235 color management over full range 0-255. especially quicktime codecs and working to/from avid.

[Chris Wright]

your 1080 is most likely h.264.

like I said, try setting your proxy to prores/dnxhd which are smart codecs, then instead of rendering directly to
mpeg, render to a digital intermediate, important key here – (rendering with your proxies, not originals!) like cineform/prores 444/dnxhr or even TIFF sequence(that way you don’t have to start render over from scratch if it crashes) then re-render your intermediate into a final delivery mpeg2.

[Chris Wright]

are you using any large images? or effects? render around them and re-render all your new new TIFF’s into your final video. also, use prelude to re-encode your h.264 into prores or dnxhd before importing. i’m guessing you don’t have 2015.4?