[Chris Wright]

i musta been drunk because that was wrong link!

color punch- enhance primary secondary colors

https://f1.creativecow.net/9925/9925

Just right click replace landscape.jpg with your own footage. If your footage resolution doesn’t match the composition, you can use the free
https://aescripts.com/rd-compsetter/
and also make sure the adjustment layers right click set to comp size.

the controls layer has slider to adjust the tolerance and final output has a gamma layer to add back in lost gamma during the processing.

obviously if this was an actual plugin, most of this would be fully automatic 🙂

[Chris Wright]

I had to re-read the OP to see that the issue is being brought up because of the rising black level. first off, VLC doesn’t have color management and although prores, dnxhd/hr, cineform are all high quality, they are not lossless, they are very high bitrate 10/12 bit codecs.

There are some lossless codecs like png or animation but those are only 8 bit. Unless you’re uploading to youtube(which is 8bit), color grading requires 10 bit or higher at 444 chroma sampling. ffv1 or image sequences in color trillions is 16bit, but the sizes are excessively huge.

You need to weigh your final output destination, quality/generation loss against disk requirements/storage space. If you can import quicktime motion jpeg back in and the blacks look ok, then great! just ignore VLC’s playback(possible with Nvidia control panel 0-255 16-235.) and instead, install MPC listed below. besides quicktime player should never be used, (security problems/gamma tag issues)

video players:
https://mpc-hc.org/

can work with madVR https://madvr.com/

Calibration products supporting madVR: (sorted alphabetically)

· Argyll CMS
· CalMAN
· dispcalGUI
· HCFR
· LightSpace CMS

[Chris Wright]

stop. don’t write any more data to it.
use EaseUS Data Recovery Wizard Professional. i use it professionally to recover files.

[Chris Wright]

if you need some clues, here’s a template I made a while back in after effects
enable the layer-tint red matte highlight and shadows
https://f1.creativecow.net/9780/ae-technicolor-cc-2015

[Chris Wright]

was it rendered with cpu or gpu?
any raytracing enabled?

[Chris Wright]

try rendering them as quicktime png before importing into AE. perhaps the h.264 is the culprit? variable framerate is not supported in adobe products.

[Chris Wright]

that might indeed be the problem, where there’s artifacting, but crushing the blacks with a contrasty lut isn’t going to help. neatvideo assigned to just shadows might fix it some. Make sure you only use 32bpc effects.

[Chris Wright]

– The Super Fast Premiere Export Guide –

1. run creative cloud software update
2.launch media encoder before opening premiere(there’s a single core bug if its opened after)
3. turn off bios hyperthreading or about 2GB ram / core so computer doesn’t choke on processors
4. cleane the cache setting, delete temp files
5.don’t use denoiser or neatvideo until after a final composite export. import back in.
6.update neatvideo and run its optimize tool.
7. if you use any single threaded effects, they will slow down the whole export, its like pushing oil through a

small straw.
8. check if cpu’s are parked. The utility is called ParkControl
or select High Performance profile in Control Panel-Power management
9. try using a codec that doesn’t need AdobeQuicktime32 service like a non-prores or non.h264 or non-long GOP

(xavc-s)
10. change to cpu export if gpu causes strange slowdowns. or make sure both premiere and ame are set to gpu
11. change available memory by changing the rendering optimization preference to Performance from Memory or

visa versa if you have large image formats.
12.in bios, disable Intel Speedstep
13.disable C1E – in the bios, power settings,change to performance.
14. shrink large images to sequence size before importing into premiere
15. don’t use lumetri
16. enable smart rendering
https://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/
17. don’t use adjustment layers
18. don’t use 64 cube luts
19. don’t use dynamic link with AE projects. render them out first, expecially warp stabilized shots
20.

[Chris Wright]

if there’s any red in the pixel, its given a weighted matte. more red equals less translucency on the matte.
inverted matte of that is everything that isn’t skin tone red, is tinted blue/green.

[Chris Wright]

i could try to answer all these but here is a really, really nice video explaining how easy it is to do everything.
video has:

send via dynamic link, match loudness, surround mix, 5.1 mixing, track panner, export stems, volume metadata, final mix-send interleaved mixdown 5.1 back to premiere, edit original etc. the works!

https://helpx.adobe.com/premiere-pro/how-to/send-sequence-audition-mixing.html