[Chris Wright]

see if the expressions in the comps are accidentally turned off. the comp ‘exposure repair’ reads an average color. if your footage is mostly dark or isolated, you can even customize that comp with a mask and average exactly what you need(although by default, it averages the whole image to calculate a dominate color to subtract, like a DSLR’s white balance but it does it per frame by frame.
The master comp master sliders can offset the adjustments in the whole project.

The hidden effect ‘Rebel Cc’ uses levels to re-calculate the white point. It does not need shadow or hidden text layer to fix white balance. That is only for flicker and shadows.

[Chris Wright]

Panasonic Lumix S1 new 10-bit 4:2:2 4K options with the release of an optional paid upgrade in July 2019.

[Chris Wright]

if you have color artifacts or banding in 4k, downsampling will not fix that, but it does have overall more color information. Various systems that down-sample can produce a color merging effect that can subtlety reduce color casts using special forms of bicubic 2:2 that soften the corners in adjacent edges; but edges of banding outside the bicubic interpolation on a larger scale are simply ignored.

You would need some sort of perceptual resizer which afaik, does not exist. if you do get banding, you can use resolve’s deband though or chroma noise with neatvideo. There’s a lot of funky posts about 4k gives 444 color or something like that, but in reality, the bicubic resizing algorithm is the reason edges are color/luma softened, not some magical reconstructing of luma/chroma giving magical colors.

[Chris Wright]

You can do 10-bit 4K N-Log with Nikon Z mirrorless and Atomos Ninja V. (not internal)
In a few months, the firmware update will enable 12 bit Prores RAW. Not a bad investment at all.

Not quite sure of other options out there unless you go something full body camera in the $4k range. Maybe someone else can chime in.

If you’re worried about FOV, just get a really nice wide lens to counter the crop. You don’t need adaptors, just good glass.

4k video will have more color info to downsample than 1080p. Not to mean artifacts won’t go away, but chroma key will work better as there is more color to work with.

[Chris Wright]

I don’t see how. That would require scripting. AE can do it with scripting framestotime or separate program avisynth. the only thing premiere can do is remove 3:2 pulldown from 29.97 to 23.976. when you place a larger framerate into premiere’s sequence, it will use normal framedrop every few frames(if its an equal ratio). if not, the fractional drop would be a form of reverse pulldown that you have no control over and may even be random across the sequence. if you had duplicate frames(which im guessing is your issue), you would need AE or avisnyth anyway.

[Chris Wright]

if its repeatable, make a quick screen video of it, have a side view of your folders in real time.
adobe forum had a guy yesterday same problem.

[Chris Wright]

thx guys. I was hoping you could create 3-d sound in realtime like how they used to make audio for cartoons with 5 guys standing around each other making sound effects. perhaps our brains overcome the omni mic limitations that real world outside recording could never accomplish. I need to get a hold of guys that are testing this but mostly they are college professors.

[Chris Wright]

I was trying out some binaural plugins that gives the sense of 3d sound with only headphones. But since you can record a dummy head with mics separated by a rubber cavity that can re-create the physical separation of sound as it hits different parts of the ear at different times and freq, I thought maybe you could get some good foley or dialogue this way. Obviously it wouldn’t work in a noisy environment, but maybe you could filter it through a special phase cancelling setup.

I guess the human brain is better at isolating sounds than 2 omni mics(if our ears are truly omni) compared to a shotgun so maybe it wouldn’t work as well as I’d think. I was just curious as I’m noticing more and more music is being processed in this way to sound more immersive. It just seems useful as the mic would hear sound the way we do while shooting video. Compared to a stereo mic or shotgun, I wonder which is more practical.

[Chris Wright]

upper field first from AE? are you absolutely sure you don’t mean progressive no fields? if you really need them, then in premiere, setup the same field interpretation and render out same field order once again.

https://helpx.adobe.com/premiere-pro/using/interlacing-field-order.html

[Chris Wright]

bizarrely speaking, anything above 12 bits is a waste of space as jpeg2000 DCP’s encode to 12 bits only. so you aren’t getting better quality going higher than that in the media container.