[Chris Wright]

Ah yes, it seems that if you give it very saturated colors, it will wrap 32bpc all the way around back to white. I wouldn’t call this a bug per say, just a limitation. It doesn’t expect perfectly lit keys etc.(good job btw) It expects blown out whitish colors with low saturation.

Thanks for the update. I’ll see if I can make it smarter.

I guess you got “adobe’ed” 😉

update; I just did a check, there is a “middle point” of saturation which can swing either way. either super white or super green. interesting… just use the slider pass its “point of no return” and it works perfectly. you can drag beyond the slider’s point.

[Chris Wright]

hmm, yes you’re right about documentation. Sorry about that. Well let me see if I can make it clear. 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]

there’s a lot of them so be prepared to research the exact lut you need.

https://www.thebrutesquad.com/c300mkii-c-log2-luts-for-premiere-pro/

[Chris Wright]

wow… I totally forgot to mention that premiere and AE use different interpretation engines for RAW, so you can’t interpret some in premiere and some in AE. They use different clean aperture resolution for the pixels(shift up 5 pixels), gamma, etc. Your clean plates won’t line up if you mix them up. As a matter of fact, I wonder if I should resubmit this as a bug. hmmm…

[Chris Wright]

i just checked and can confirm that both premiere and speedgrade can use 64 iridas luts, thanks for the update. good to know!

[Chris Wright]

I’m sorry I didn’t see it in your original post, did you mean “one light” clip matching color correction or final artistic look?

Premiere pro is capable of one-lighting with the fast color corrector which is very inconspicuously named. Actually that’s the farthest from the truth! You can match color, contrast, saturation, hue, etc. of any clip perfectly in just a few seconds. premiere also has a version of lift, gamma,gain, with master, shadow, highlight separate points for the really tricky stuff or the large curves panel. It integrates with colorista too.

Once I have all clips matched up, I grade in AE with my custom AE templates as Speedgrade can’t do all the cool stuff I want like custom technicolor, tint maps, vision 3, etc.

Besides, AE is the only adobe product that can handle 64 cube luts so if you’re using speedgrade or premiere, you’re gonna get posterization. Plus they can’t grade with P3 monitors. Dynamic link is only rec. 709
as is mercury transmit. And speedgrade is also missing utility profile converter so you can’t prepare anything for theatres.
Best thing you can do is grade as rec 709, cross your fingers and select AME preset. Speedgrade is still unusable for professional work as any 4 hour documentary is simply too unstable. Have you seen any youtube clips that show someone zooming in a massive timeline in speedgrade. There’s a reason they you don’t!

Resolve is used for my serious work but the lack of integration with adobe makes time interpolation sequences fail.

Since dynamic link disables the venerated multiprocessing for our expensive computers so you have to render everything out for any real performance benefits, AND all color correction can be done inside premiere, the real question is…
why would you even USE speedgrade in the first place?

[Chris Wright]

try streamclip with quicktime png

[Chris Wright]

yes, you are absolutely right about losing quality. This is a test for a bug.

Obviously if it works, render out a lossless 10 bit non-cineform, then cineform. I wouldn’t even call this a workaround at this juncture because in reality, no one has time to render out twice.

That’s why a new project and clearing cache might reveal more possible solutions.

If my concerns are founded, please file a bug report to adobe so that no one else gets frustrated.
https://www.adobe.com/products/wishform.html

[Chris Wright]

the best answer I can give is tell you how premiere handles various framerates. Any normal drag and drop into a sequence, premiere defaults to speed conforming that clip to the sequence speed. If the framerates are too different, it will be noticeable. The exception to this is 23.976 which premiere will automatically convert to 3:2 pulldown to 29.97 fps.(slightly studdery because frames are duplicated)

Another exception is, if you use frame blend or pixel motion, they convert the clip’s framerate optically to the sequence’s fps without changing speed.

PAL land is 50i so I don’t know what your final output is.
23.976 is often speeded up to 25 for PAL, but since you also have 29.97, you will have to choose how many things you want to look like “film on tv” or optically convert them. According to your post,
I agree with 29.97 as your sequence and conforming everything else to that.(as long as that’s your final playback device’s specifications)

[Chris Wright]

ok, try rendering a few frames to DnxHD -> then to Cineform-> then finally to h.264.

DnxHD should delete interlacing rendered as progressive bugs.

This should isolate where the error occurs.

There’s a very small chance that cineform may be ignoring field settings.

Are you re-importing back into the same project sequence? Try a
whole new project file for reimporting as well. purge cache too just to be safe.