[Chris Wright]

I’d look under the sections, Repair a dialogue track and
Improve the clarity of your dialogue track in Premiere’s Essential Sound Panel

Anything more than that would require Adobe Audition or Izotope RX 7(really nice)

https://helpx.adobe.com/premiere-pro/using/premiere-essential-sound-panel.html

[Chris Wright]

even 4k prores 444 can be played back on a regular evo SSD 3x streams at a time. You’re going to run into cpu cycles way before you ever hit 1200 MB/sec read/write bottlenecks. I just don’t see how Nvme for HD 1080i is worth the money. Nvme are better for building audio peaking data and importing cache than media playback. and ironically prores 444 is a cpu worst case scenario. Any raw format actually takes less cpu cycles due to cpu/gpu code optimization. Unless you’re playing back 4k Redcode RAW at 250 MB/sec per shot in multicam, I don’t see the point.

[Chris Wright]

Premiere is hard coded to rec. 709 gamma 2.4 unless you buy the HDR external cards. Here’s how to setup pre-calibration.
https://www.lightspace.lightillusion.com/display_calibration.html

[Chris Wright]

your sequence and file-interpret footage should match. is audio playing back normal in premiere? or VLC?

[Chris Wright]

i believe premiere is bottom-up and placement of adjustment layer above or below a lumetri effect would determine its order. being on top, it would go last but change everything. you can also nest compositions which is similar to AE’s pre-compose.

[Chris Wright]

from your settings, it looks like it isn’t going to do anything. in AE, sRGB and HDTV use the same primaries so the color profile converter isn’t going to make any ‘burned in’ changes. Now, AE may look correct while you have it open because color management is enabled, which means your monitor’s .icc profile is being profiled/translated into your project’s monitor view.

Now, media encoder has its own color management as well. I guess it’s if you wanted to make another last minute change without changing your project file itself.

but here’s the thing, color management doesn’t do anything in other apps, even if its embedded if the other programs don’t understand color management. some can, but very few.

since you haven’t ‘burned in’ any color changes, any dumb program is going to open your image the way they see fit, which is usually sRGB translated through your OS’s .icc profile which may be wide gamut if MAC in P3 2.2 or something.

some people have said that changing the OS’ icc profile to rec. 709 helps things look what they want, but browsers, video players, etc. will still do what they want. VLC likes rec. 709 2.2 and quicktime player likes gamma 1.96. and different image viewers are all over the place what they like.

[Chris Wright]

try narrowing down the problem.
does it affect cineform files the same way?
are you using the right renderer, opencl or opengl?
are gpu drivers updated?
is maximum quality turned on in timeline?
is sequence “Selection Follows Playhead” disabled?
is an external monitor attached?
are audio waveforms visible?
is there an overlapping ui window? reset workspace.

[Chris Wright]

Lysol disinfecting wipes are designed to kill coronavirus variants and are designed to be used on electronics and they’re not drippy. 3 for 3.

[Chris Wright]

1. Select the voice clips you want to have set to the the same level. Tag them as Dialog in the Essential Sound panel.
2. Turn on Loudness>Auto-match. This will scan through each file and adjust it to a LUFS level of -23dB. Each clip will be adjusted by a different amount, but the total perceived volume between all the clips should be the roughly the same.
3. “get my voice volume anywhere close to 0dB or even 3dB” What needs to happen next is to add an equal amount of make up gain to raise all the clips by the same amount. So, with all the clips still selected, turn up the “Clip Volume>Level…” section of the Essential Sound panel. Play the audio and watch the meter. Adjust the Level slider until you reach the desired output.

[Chris Wright]

once you conform out of RAW, you’re going into some sort of color management. In Ae’s more options, you can change the default color science interpretation of RAW. how are they debayering it on their end? IPP2? REDWideGamutRGB and Log3G10?

also, how they view rec. 709 may change depending on the codec used. some use video or full levels in resolve by default.

if color management is off, then preserve RGB won’t do anything anyway. if project color management is on, it will use your monitor’s internal default icc profile to conform assets.