[John Pale]

Haven’t had any luck doing what you suggest in Premiere (but Avid Symphony and Resolve can do this well)

Premiere has this, which I have not had much success with, but here you go.

Mix color channels in a clip

In the Effects panel, click the triangle to expand the Video Effects bin, and then click the triangle to expand the Adjust bin.
Drag the Channel Mixer effect to the clip in a Timeline panel.
Note:

If the clip is already selected in a Timeline panel, you can drag the Channel Mixer effect to the Video Effects section of the Effect Controls panel.

Decrease or increase a channel’s contribution to the output channel by doing any of the following to a source color channel:
Scrub an underlined value to the left or right.
Click an underlined value, type a value between –200% and +200% in the value box, and press Enter (Windows) or Return (Mac OS).
Click the triangle to expand the Channel Mixer controls, and drag the slider to the left or right.
(Optional) Drag the slider, scrub the underlined text, or type a value for the channel’s constant value (Red-Const, Green-Const, or Blue-Const). This value adds a base amount of a channel to the output channel.
(Optional) Select the Monochrome option to create an image containing only gray values. This option achieves this result by applying the same settings to all the output channels.

[John Pale]

Clip Markers are stored in the xmp metadata. Either in the media file itself or in an xmp sidecar file. They are not in the project file. That’s why it works when you copy all the media. Doesn’t seem to be a way around it. If you google you will see people complaining about this going back nearly a decade.

[John Pale]

I haven’t seen it, so maybe it’s much worse than I am imagining, but you may be reacting more negatively because it’s not something you planned on. You’ve seen TV reflections as a light source (some even created artificially!) in movies and television shows before. Ultimately, it’s the subject that matters, and that’s all anyone will care about. Make it look as good as you can without trying too hard to hide the TV. If you go to great lengths to try to eliminate the TV reflection you may end up making her look artificial and drawing more attention to the fact something was doctored. Maybe try desaturating the dominant colors in the TV reflection a little using secondaries, but don’t go crazy and create new problems.

[John Pale]

It’s not just reference movies. Adobe uses its own engine for QuickTime files and third party codecs are no longer supported, including Avid DNX.

If you need to use Avid files, export from Avid as Avid DNX OP1a MXF. That’s fully supported and also “same as source”.

[John Pale]

What footage are you using that is 60fps and uses 44.1 kHz audio? Both are unusual.

[John Pale]

Hadn’t considered 30p, as I’ve never delivered that in over 30 years in broadcast.
Good info, and a recent trend I wasn’t aware of.
Thanks.

[John Pale]

I’d always given h.264 until recently, when my mixer asked for ProRes LT. ProRes proxy should be fine too. The key is being an I-Frame codec, as it’s less processsor intensive. File size is less important.

[John Pale]

Going from 23.976 to 29.97 does not duplicate entire frames. That’s not how 3:2 pull down works. It’s not jarring at all. A high percentage of what you see on television in the USA is done that way. If you were not aware of it, that should tell something.

Converting 29.97 to 23.976 can produce visual artifacts, but it’s not just tossing out frames either. Frame blending and interpolation attempts to make it look as natural as possible, but with fast motion it may look a bit stuttery. Sound sync is hard to say with certainty but it may be fine.

[John Pale]

You might want to open Adobe Prelude and see if there is anything it can do that appeals to you.

[John Pale]

23.976 and 29.97 are compatible. Nothing exotic needs to be done for audio sync. If the footage was true 24 FPS, you would have a pull-up/pull-down situation. 23.976 was invented to avoid that problem.

If this is for broadcast in the US, I’d edit in a 29.97 sequence. Premiere will add the pull down perfectly for the 23.976 footage. It’s very common and done all the time. Depending on the footage, 29.97 footage may have slightly odd look on fast motion or camera movement when converted to 23.976. In the US, people are more used to the look of 3:2 pull down (which does not exactly duplicate frames, but rather blends fields in a specific pattern).