[Chris Wright]

did you start fresh or continue from a previous version? that can cause problems. try importing the sequence into a new project instead. see if your gpu is enabled in premiere. also, test disabling the sound driver in premiere. exporting a XML might fix a corrupt project. did you delete your cache/prefs?

[Chris Wright]

premiere’s project manager has a way to render out the clips from subclips and make new clips from the trimmed sources. I don’t know if that’s exactly what you want, but its step 1 of safely sending clips to other NLE’s without worrying about spanned clips.

[Chris Wright]

there’s a VLC for mac as well. try that. also, mph-hc supports advanced color management as a player and there’s also a madvr lut plugin(if you want to get fancy). macs will have truetone turned on by default with P3, so it would be an interesting test to get them to use VLC openGL and see what happens.

[Chris Wright]

lotta variables, but the latest I’ve read is that quicktime and chrome use gamma 1.96 and VLC uses gamma 2.2.
sometimes you can set VLC to use openGL then it changes the drivers it uses. quicktime has atom tags you can edit to force color profiles.

Each browser sees a different color although you can force some of them to use color management.
your video card has video legal or full range settings if its a nvidia card in its control settings.

You proofed all this yourself when you imported it back into AE. AE will pass through what your monitor sees. If you enable it’s display management, it will use your monitor’s color profile.

Furthermore, most macs use P3 not sRGB for their color profile. They also use Trutone which you have to disable so they don’t autowhite balance. The internet uses sRGB so there may be an issue there as well if the playback software doesn’t account for that.

Youtube will usually use the cheap colors codec h.264. you can click edit, then ‘retouch’ to get it to re-encode to the better VP9 codec colors.

Vimeo will sometimes use video range not full range, especially if you use certain Prores flavors.

Finally, there is no good answer because there is no standard as each OS, site, browser, player, has their own flavor of what is right. All you can do is recommend a viewing ‘plan’ that you’ve tested that works.

[Chris Wright]

do you mean the local grade feature?
there’s local and remote.

[Chris Wright]

you need specialized color software to reduce the chroma without mixing the colors. luckily grossgrade is free

grossgrade project and premiere compatible underwater lut
https://f1.creativecow.net/13899/grossgrade-project-and-lut?uploaded=file

[Chris Wright]

take any horizontal square pixel image and divide by 2.39.

An image with an aspect ratio of 2.390 and a width of 4096 has a height of 1714: 4096×1714 (4k)

An image with an aspect ratio of 2.390 and a width of 3840 has a height of 1607: 3840×1607 (UHD)

An image with an aspect ratio of 2.390 and a width of 1920 has a height of 803: 1920×803 (Bluray spec)

Subsequently, you can create a new project with this 2:39 dimensions above and paste your timeline into it. Select keep existing settings and it will basically put a window over your footage like a center crop. Don’t worry, the full image size is still there underneath, so you can pan, scan, and reframe. Only it’s a 2:39 window and project so no messing around with a matte and then remembering to crop on export. Hope I explained it well enough.

[Chris Wright]

audition doesn’t really have a dereverb that i am aware of. izotope rx has a really good one and its plugins import into audition. when i would use the noise print or learn sound model, i would invert it to only hear the noise. if I could hear talking, I knew it was pushed too hard. Also, multiple small passes give better results in audition than one hard pass. Play with the fft size as 512 is good for some and smaller freqs good for others.

i did try the old invert compression trick in audition. it’s not as a good, but its better than nothing.

‘Ye Olde De-reverb for audition
Make two copies of the track, placed exactly one above the other. Now invert one. The mixed result should be nothing if you’ve got it right so far.
Now start applying compression to only one of the tracks. You’ll need to carefully adjust all the compression parameter so be very patient, pay attention to the threshold, you seem to need to get that just above the level of the echo. Adjustments to attack and decay times will have an impact as will compression ratio.

my finding on the specific order of noise cleanup audition vs izotope
https://forums.creativecow.net/readpost/168/859297

order of effects does matter
https://forums.creativecow.net/readpost/168/859326

[Chris Wright]

Loudness Normalization is an average frequency weighted volume over time using different region standards.
basic levels reduction will simply lower all freqs equally (think basic volume control)

so, by lowering levels and raising loudness, you are lowering average volume. then averaging volume by low freqs being weighted lower and higher freqs weighted more all over a specific time interval.

multiband compression would be used for manually compressing selected frequencies instantly.

https://helpx.adobe.com/media-encoder/using/automatic-loudness-correction.html
https://helpx.adobe.com/premiere-pro/using/premiere-essential-sound-panel.html

[Chris Wright]

you have to use media browser in premiere to import red clips. you can’t drag them from locations as premiere parses the duplicate files and spanned clips correctly. also, resolve and premiere don’t do speed changes so you have to flatten out any effects, transitions in the XML prior to sending over(simple dissolves may survive). The easiest way to do this is to duplicate the sequence and move all video to track 1.

You have to render and replace any speed changes. Since premiere and resolve handle interpreting framerate differently, you will have to flatten mixed framerates out too. As mixed framerates and sub-clips won’t make it out from XML, you will have to consolidate them with project manager as seen here. https://vimeo.com/243859062

in Preferences: Media, you can check ‘Write XMP ID to files on import’. This will tag each piece of media with a unique ID, which Premiere can keep track of. Then it will always recognize duplicate clips. (you have to do this before you do anything)

proxies files are case sensitive(dumb, I know) audio channels have to match for proxies to link.

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