[Chris Wright]

Color Space Transform OFX plugin

[Chris Wright]

premiere is 32bpc as long as you use 32bpc effects.
it has minimal HDR options and a clunky interface.
it requires multiple timeline layers to do complex grading.

you can use multiply mode to do advanced shadow restore.
it has hue v hue curves now and a version of tracking objects.

its main drawback is lack of ACES which is absolutely brutal
but if you can live with that, or know how to make custom technical luts its doable.

[Chris Wright]

Your monitor is either rec. 709 or adobe RGB. if you have it calibrated for one, use that as ODT. The deliverable will determine your final output color. photoshop can do almost any color, but I’d stay away from any non-RGB gamuts like CMYK which can cause problems so I’d convert them all to the project working space as resolve doesn’t support .icc profiles.

I’m assuming you’re grading the final in resolve. You’d XML from premiere to it, but you’d need to watch out for limitations in XML transfers(speed ramps, transitions, etc). If you were delivering rec. 709, you could use full online renders with scene detection to avoid speed change, transition, and varied framerate video issues. Premiere’s project manager can render out framerate conversions. You’d want to do a test of your workflow before 100% committing to it.

Even if you were delivering a DCP, you would never see or use P3 since your monitor doesn’t support it. The DCDM conversion will skip P3 and go right from rec. 709 to XYZ gamma 2.6 anyway. During playback of the DCP, the DCP device will determine its own native color gamut(which is usually P3 or rec. 2020) and convert using relative colormetrics accordingly.

[Chris Wright]

i know there’s no official setting for diffuse white(non-HDR), but many people recommend 10% less than absolute reference white to be reserved for specular. I personally don’t go above 90 IRE for regular whites. If you want to give the actor a different dynamic range than the overall look, you will need to mask their skin tones as a secondary correction.

[Chris Wright]

If you’re going professional, I’d use Pro-tools. If you want to do small indie stuff, look into multi-track recording in audition with buses, stems etc.
https://helpx.adobe.com/audition/how-to/multichannel-audio-workflows.html

[Chris Wright]

If you have deep pockets, you can visit https://www.fotokem.com. They have big clients(think Lucas, Quentin etc.). I’ve used them before. They are worth it if you can afford them.

[Chris Wright]

dumping from adobe forum engineer’s post.
DCM+EDR mode shows content up to peak display such as iMac Pro.
(This is for iMac Pro, not Apple XDR monitor.)
It’s useful for EDR, but not for full-range HDR, which is > 500 nits.
It won’t replace an HDR reference monitor, but it’s a step up from having only an SDR monitor for HDR content.

[Chris Wright]

hue v sat? fascinating… it must have had too much chroma in certain hues.
there’s more than one way to skin a cat in this one, good job.
btw. did my white balance video help?

[Chris Wright]

and 3d white balance like here.
https://youtu.be/R3WFaWx-pS4

track 1 – global hue adjustment
track 2- duplicate video track, track key luma with hue adjustment to fix just highlights
track 3- duplicate video track as guide layer for track 2 hue
track 4 – global 3-D white balance

you can use hue v hue or track the face separately for more tweaking
any grain left over, use neatvideo.

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[Chris Wright]

you could also try technicolor cinestyle profile download or magic lantern for more options.