[Chris Wright]

here’s my screenshot. each layer above is an adjustment layer they each have a lumetri curve with same curve shown.

[Chris Wright]

a really good trick you can do is use transfer modes.
make 3 adjustment layers in a sandwich and set their transfer modes to the following:
1. normal
2. multiply
3. normal

on all 3 layers, use curves and raise the midtones up. don’t touch the black. this will then use 32bpc effects to make a nice image. if there is any noise left, neatvideo can remove it. I did a quick test and it came out well. Make sure you have enable max bit depth if you don’t have gpu processing enabled too. This is way higher quality than shadow highlight plugins as you’re in 32bpc not 16bpc.

[Chris Wright]

can you post a still? does it affect cc 2019? or other programs? is it just this one shot? is it set to linear light? or log? or any luts applied in master clips?

[Chris Wright]

any further thoughts on this? have you done any render tests?

[Chris Wright]

i haven’t seen any adobe forum posts about this. although I’m guessing its talking about 16-235 which would make your image look naturally more contrasted as a result. Premiere, by default, is 0-255, so I don’t know why they would do this. There are some codecs that are actually 16-235, like Prores, but I don’t know if this is a viewer setting only, or burns the render contrast in. It would make more sense to have this feature in interpret footage per clip instead of per timeline… I would ask adobe directly about this.

ps. I’m hoping adobe enables HDR viewing in their source monitor and this is a first step.

[Chris Wright]

if you use premiere’s proxy mode to use prores LT, you can have a bunch of streams playback on one drive.

[Chris Wright]

everything i understand is that you have to have a similar version to match. like, both compiled within the same 6 months to be compatible or else they don’t ‘talk’ to each other.

[Chris Wright]

is high quality playback enabled?

[Chris Wright]

key it, reduce saturation and increase brightness then add some nice bloom/glow blur to cover up the harsh clipping. those blue spots are actually clipped above white so you’ll have to replace them with something. I find bloom the best.

[Chris Wright]

-For strong sky colors:

In hue vs sat, raise blue sat, then in hue vs lum, lower the lum of the blue. this will increase the chroma of blue without raising saturation. (change
the curve shape to restrict, expand the selection.)

you can also get a similar result from an adjustment layer set to transfer mode ‘color ‘with levels white output lowered 20%. Any clip underneath where you’re
attempting to raising saturation will get color compressed and get fatter in the vectorscope but not extend outwards. This is similar to how film/arri digital cameras respond and how they restored the good, the bad and the ugly.

-For removing haze:

You can use these steps in other programs. But here’s how its made in ae/photoshop/premiere
1. duplicate your main layer
2. create new curves effect above, drag the gamma

down around midpoint 15% so image gets darker
3. with the white mask of the previous effect
selected, go to image, apply image(leave defaults as multiply)
4.create new effect curves above it, raise its black
point up halfway so you’re not clipping black.
5. new curves effect above, set transfer mode to multiply(very important step). create a custom curve that starts at the left black histogram and sharply
tapers at the white point.
-How it works. The apply image reads off the original and create a chroma midtone effect and the multiply transfer of the top curve reads it back linearly. in
essence, un-wraps it again.You get all the benefits of haze removal and strong
colors with none of the tonal loss usually associated with complicated luma mattes or mushy multiplied colors.

-Fixing underwater footage:
you can try RGB mixer or for harder stuff, read this
thread:
https://forums.creativecow.net/readpost/3/1010624