[Chris Wright]

does it work with the old cs6? you can install many different versions of premiere at the same time.

[Chris Wright]

thanks for posting the solution. i figured as much, but wanted to give the benefit of doubt. hopefully my post helps you in the future, at least what to look out for.

[Chris Wright]

Thanks for posting the solution. so it turned out to be a simple codec transcode… Prores is less cpu intensive. Still, a little weird that clicking away fried the cpu. ” load Premiere, the program works perfectly.” I still consider that a computer bug! whatever.. if it works, it works!

[Chris Wright]

premiere does indeed support 32bpc with maximum bit depth checked, although…

I don’t know if I’m wrong about this, but premiere doesn’t seem to handle 32bpc like AE does where you can perfectly reverse crushed white/blacks with an opposite effect slider.

Also, if you’re looking to grade professionally, premiere can’t change the RED raw settings as a batch all at once. or control cinema DNG color.(its burned in). Not to mention it doesn’t support wide gamut monitors in the first place. Most everything is force fed into rec.709.

[Chris Wright]

you’re probably running into the problem of incident vs spot vs reflective light. for instance, in snow, your histogram would read right in the middle, but the person would still be too dark. the grey card needs to fill just the actor’s face or you’re averaging super bright with superdark. =i.e. wrong averaged incident light. The snow is reflecting more than 18% grey.

This is how you make sure you don’t have underexposed or overexposed by spot metering specific areas (without) averaging your light.
This is a huge problem with oversized grey cards. It has to match the size of the frame you are currently at.

Another problem with a grey card is that you can get shadows and reflections directly onto the cardboard turning it into a spot meter.
For example: try angling the grey card toward the light source and you’ll see 3 f-stop changes every 10 degrees or so.

instead, the expodisk acts like an incident meter in conjunction with your camera by facing the camera as if it was a person.
that’s why the expodisk is almost foolproof for portraits or why professionals use light meters. they measure light from the source in different zone sizes: spot, medium portrait, landscape, all averaging different light amounts with a dome diffuser.

hope this little intro to the world of professional light metering was useful.

incident vs reflective light meters
https://www.youtube.com/watch?v=0fM9Nyb09b4

using an expo disk,
https://www.youtube.com/watch?v=J5GqVTYuT-Y

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[Chris Wright]

no, aw, i guess you missed my point.
in your specs, there’s only one ssd. and sure, the 1080 is faster than a 1070 but in most renders, they are the same speed but the 1080 is much more expensive. i.e. waste of money. premiere is much more cpu bound anyway. i.e. it needs 6 cores or more 6800k.

2 TB hd’s are fine for backup and storage, not for render output or media/project files etc. They would negate the point of having a fast cpu.

I’m say’in you could find a good vendor and get what I listed above for around $1,000 and never have to return stuff again. you could even buy the parts and build it yourself. It’s pretty easy now, like building legos.

[Chris Wright]

well, its not 10 years old this time…but its still 4 cores and a generation older than 7700k, and Premiere likes 6 or more cores for 4k.

https://www.pugetsystems.com/labs/articles/Premiere-Pro-2017-Intel-Core-i7-7700K-i5-7600K-Performance-884/
https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-3-CPU-Comparison-849/#Conclusion

also, you would need at the minimum, a 850 evo for os/apps/render output/media cache/
and another 850pro or 960 evo for media/project files

minimum 1060gtx or 1050ti. 32gb ram.

I mean, you could get what you need and have good results without having to cut corners for the same price. you just need a vendor that won’t rip you off.

[Chris Wright]

fix all my premiere gamma problems:

1.in ame prefs, deselect import sequences natively
2.”Copy the LUTs from PP app “package” Contents/Lumetri/LUT/Technical Folder, and paste everything to AME
Contents/Lumetri/LUT/Technical Folder.”
3. delete media cache
4. change project setting from cuda to software render.
5. try an adjustment layer or nesting sequence before adding effects as those both have quirks.
6. change nvidia control panel from 16-235 to 0-255

7. another possible solution, what I use is a 3D LUT which can move the pixels around 2 comparison shots and create a
difference transform.I use this free one.
https://sellfy.com/p/aQ1y/

8.fixmyyoutube-64 cube iridas lut for burning in darker 16-235 from 0-255 for youtube upload. it darkens image, then
youtube re-lightens again. it doesn’t work with adjustment layers directly.you have to use it in the dropdown for the
export in adobe media encoder. or you can NEST it first.also it needs to be copied in both premiere-lumetri-technical
and adobe media encoder-lumetri-technical

9. try a different codec for rendering with and without alpha channel
10. nest first to isolate broken area.
11. madvr video player supports color management. mpc-hc view render settings-color management. vlc is 0-255. quicktime
is gamma 1.8.

[Chris Wright]

does it look ok if you import back into premiere? it could just be the video players.

[Chris Wright]

next time BEFORE you grade,
uncheck the Use Mac Display Color Profile for viewers option in the settings:
https://timeinpixels.com/2016/04/contrast-issues-in-resolve-on-macs/