[John Pale]

Make sure you have a track targeted. If you want it to ignore track targeting, there is a a setting for that in preferences.

[John Pale]

Delete your Media Cache and let it rebuild. Maybe something is wonky there but your video files are actually fine.

[John Pale]

I believe all exports are done using the original media, if you have followed the normal proxy workflow. If you use your own workflow (without Adobe naming conventions, using material encoded in other software) you might have issues with it not knowing which files are proxies. Make sure your export settings do not have “Use Previews” checked, since your render files for the sequence are in proxy resolution. You want all Effects and color grading to be re-rendered on export at full resolution. This, of course, will make the export take significantly longer.

[John Pale]

Just a shot in the dark, but have you looked at the color management settings in After Effects?

[John Pale]

Your confusion stems from the fact that pretty much all NLEs except Avid are actually using linked files when you choose to import media. In Avid, it means something else.

Avid is an older application. Initially, it only worked with native Avid media. This means, when you import something, you are converting it to Avid media. It does not use the original file at all, but creates a new Avid media file to work with instead. Modern versions of Avid allow you to work with linked media (sometimes referred to by the moniker AMA, for Avid Media Access). Many people (including myself) choose to link to all media and then transcode to a native Avid format for performance and media management reasons. Some simply link to the media and start editing. With some media types and projects, that might work just fine. For a large project, most people find its better to work with Avid media.

[John Pale]

https://www.premiumbeat.com/blog/automation-modes-premiere-pro/

somehow you inadvertantly engaged a different mixing mode in the track mixer.
Make sure its in Read. The other modes behave differently. Read the above to learn what the other modes are for and how to use them.

[John Pale]

Yeah…there’s lots of room for improvement with Lumetri, but at least I’m finding ways to work around the shortcomings. Best of luck.

[John Pale]

Looks like you are trying to modify a clip in the sequence.

This only works on clips in a bin.

[John Pale]

Give this a try…

Use two copies of the same clip. One for each correction. Copy the mask you are putting on the secondary Color Correction to the opacity parameter on the upper clip. Now only the area you are correcting will be superimposed over the other copy of the clip. You also have access to blend modes.

[John Pale]

Or install NTFS for Mac, which works very well, if you need cross platform drives