[Chris Wright]

excellent point, which I kind of glossed over. sometimes the built in spill suppressors are just really bad color effects. you can often do secondary color correction much better yourself than a ‘2 way tint effect’

[Chris Wright]

I approach keying in stages, not all at once. this should work for most software.
1. I get a good key, in an intermediate step with no spill suppression. I only look at the alpha channel. nothing else matters. often use garbage mattes and multiple keys are required for hair etc.
2. I conform the key into a new composite, not any color transfer, only alpha channel.
3. I color correct any spill suppression after the alpha matte composite
4. I add final secondary color correction and light wrap

[Chris Wright]

if you transcode to prores 422 hq as an offline proxy full quality first, does the issue still exist? it could be the h.264 codec is messed up as well. what does it say in mediainfo for the codec type? I’ve seen some problems where a lavfilter hijacks the codec decode. Also, is this a XAVC codec?, because those have a known banding bug.

[Chris Wright]

audition has a preserve pitch which imho sounds better than premiere’s right click maintain pitch or effect pitch shifter. I think AE has something similar. but he’s right, either you change speed or do optical pixel frame change which can cause artifacts as well unless you have a terrenax or something.

[Chris Wright]

you are kind of inferring that the gh5 has better low light than the a7r, correct?

[Chris Wright]

I don’t know if I understand you completely. its just simple editing. audition has markers and can auto detect blank audio spots, but it wouldn’t know who’s talking. Do they ever talk at the same time? If they do, all I can think of is try rx-6 advanced’s dialogue isolate effect. In that case, removing the noise will be the last of your problems.

[Chris Wright]

1. set your graphics driver to 0-255 in its control panel. premiere uses 0-255.
2. strip the metadata for quicktime player with JES extensify
It will strip the quicktime gamma atom tag. Go to color settings and tick allow changes. Remove both the Ganma and Color. Goto Manual and then press update to apply the changes.
https://download.cnet.com/JES-Extensifier/3000-13631_4-76083103.html

3 youtube click re-touch panel, don’t save it after the retouch then cancel, it will transform it from 16-235 to 0-255. it will fix the colors in a few hours.

4. vimeo uses 16-235 native encode so you’d have to modify your grade to be brighter in premiere with levels effect to be input and output brighter 0-255 to 16-235.

[Chris Wright]

your luts will randomly change, color correcting will be flat wrong, effects will be reset, media cache will be incorrect, files will unlink, and that’s just for starters. adobe does not make stuff backward compatible.

[Chris Wright]

here’s a bunch of project manager limitations from other posts from other people. You may find it interesting:

Ok, we’ve got a few things here:

I’ve found C300 footage to be super annoying to work with. For one thing, that camera does “clip spanning” which means while filming, once the file reaches ~4GB in size, it starts a new file. So for a 30 minute clip, you might have 6-7 MXF files, even though this is only “one take” or “one clip.”

When you are project managing, say you pick 20 minutes of that 30 minute clip. Depending on where your in and our markers are, Premiere may pull ALL the clips because all the separate MXFs contain data from within your chosen timecode.

This may also depend on how you brought your footage in. If you did it via the Media Browser, Premiere may consider it one clip and no matter where within the spanned clips your footage lies, it might bring over everything. If you brought your MXF files in individually and placed them together yourself on the sequence, Premiere might actually separate them correctly when you Media Manage.

Finally, take a look at my thread here: Project Manager – Consolidate and Transcode problems
I detail some issues specific to the Project Manager that will break some functionality without giving you and sort of error or message, though this pertains mainly to using Consolidate and Transcode, not the “Copy files to new destination” function. I admit I have not used that as much as Consolidate.

————————-
A while back I had several issues with clips not trimming properly during the Consolidate and Transcode process. I reached out to Adobe support and was given this fairly comprehensive list of when and why clips will fail. For some reason, this list is not posted publicly anywhere. I’ve copied it in it’s entirely below. I’ve bolded several line items I feel are fairly important. There are now essential features in Premiere that I skip using (such as the Master Clip Effect layer) since it breaks the archive process.

These issues affect all versions of Premiere, including the current CC2017 version – 11.1.2 (22)

Hopefully this will help some people with project management.

If any one of the 4 major video parameters (frame size, frame rate, fielding, PAR) do not match or are not supported by Preset/codec, then entire clip will copy. If the clip has multiple stereo channels of audio. These can only transcode to QuickTime, all other formats(e.g.: DNxHD) will fail and copy, since the other exporters do not support multi-stereo (QuickTime is the only exporter that currently supports that and only with uncompressed audio) Time remapping is not supported. Will copy entire clip without warning.
There area number of formats/presets that are not supported for transcode (e.g. mostly still formats)
Merged Clips are not supported. Copy of folder structures (e.g.: P2, AVCHD, etc.) is not supported. Depending on format, some files may be left out or other issues. Master Clip Effects are not supported, and will be copied without no warning. This includes all the formats that now have source settings as Master Clip Effects (e.g.: R3D, ARRI, etc.) Audio only files If used in a merged clip. Unused merged clips will also copy. Render and Replace files, even if unused Clips with dual mono (2 mono) will copy, although they may also transcode (this is a known bug), but the project will always link to the copied clip and not the transcoded clip (using up even more space)
Clips with single mono audio will also fail to transcode. Modify > Audio Channel　changes may also result in failure to transcode.

[Chris Wright]

just right click replace video.avi with your footage. The controls are in the comps ‘control layer’ and ‘final output comp’ if I remember correctly.