[Jordan Quackenbush]

Probably not the right forum for this – there’s an actual “What Computer Should I Buy” forum that will be a better spot.

Are these used machines? If so, find out the GHz of the Y50.

Even then, while I’d normally lean towards the Y50 for the better graphics card, a quick Google search tells me that apparently there aren’t any mobile i5’s with quad-cores. So, the i7 is a better choice not only from more cores that video rendering/exporting can use, but also the i7’s can hyperthread, more or less acting as 8-cores (quad x2), thus increasing your rendering capabilities.

General note, make sure the laptop you do get CAN be upgraded to 16GB RAM.

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

A combination of these two links might provide the answer you need. First is a $10 plugin to export

https://www.johnrellis.com/lightroom/exportlut.htm
https://blogs.adobe.com/kevinmonahan/2013/07/30/working-with-the-lumetri-effect/

Quick steps:

Use plugin to export from Lightroom to a .cube file.
Use Lumetri Effect and load .cube file.

This might also be helpful.
https://forums.adobe.com/message/7012936

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

Glad to help.

If/when I use AL’s in Premiere, it’s generally for a quick project where I don’t have the budgeted hours to do proper color correct, so I’ll make it track-long and put some sharpening & a luma curve, generally. Or if you want to apply a LUT to the whole project (or large portions).

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

Happy to help, and always appreciate a cheesy pun 😉 Good luck.

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

I’ve got a newer version of AE, so I can’t post the work for your use and will just explain it here. I’m pulling a bit from the wonderful Dan Ebberts. The post I referenced for the below instructions is here.

Create a Null, name it CONTROL PANEL (or whatever you like, but that’ll work right off with the later expression)
Add a Checkbox Control effect to it (Effect -> Expression Controls)
Add this expression to the Opacity of one of the layers, e.g., the “Variations” layer:
cb = thisComp.layer("CONTROL PANEL").effect("Checkbox Control")("Checkbox");
if (cb.value) 100 else 0;

Put all your various adjustment layers in the main comp (or leave them where they are) and just change the code to reference the main control. This is your formulaic expression that should be put in the Opacity of each of those layers:
cb = comp("MAIN COMP NAME HERE").layer("WHATEVER YOU NAME YOUR NULL WITH THE EFFECTS").effect("EACH LAYER GETS ITS OWN CHECKBOX")("Checkbox");
if (cb.value) 100 else 0;

Hopefully that makes some sense!

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

If I catch what you mean, then you’ll want to use an Adjustment layer with the mask on it. Put the adjustment layer above the bubble, and have the bubble Alpha Inv. Matte the Adjustment layer (or just Alpha Matte, depending on how you made your mask).

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

I might be wrong on this, but I’ve found the best way to get “pure white” is to actually shoot on green and add it in – unless you’ve got the lighting power to blow out the BG to pure white. But then, usually a 90-95% white looks good but isn’t pure white.

What’s the end deliverable? If it’s web, you can’t get “more white” than #FFFFFFF/ 255,255,255 (Hex code & RGB values, respectively). Broadcast is an animal I’m not familiar with, but I would think it’d be similar.

“Overblown” isn’t necessarily a bad thing – usually it is, yeah. You don’t want overblown footage where all your highlights have lost information, etc. But for a “pure white BG” effect, you want overblown in your whites (especially if you’re cropping/matting footage), otherwise, you’ll get little problems where some monitors will display whites differently. I learned this the hard way years ago when I had a project that was shot on white, garbage matted away the set, put white behind it, and brought the levels up to where I couldn’t distinguish. Turns out there was a slight variance, and that it showed up on the client monitor. That’s a big “oops.”

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

Couple of ideas, since I don’t know the end goal/product:

You can export your AE graphics, and implement them in Premiere with your footage.

You can bring all your clips into AE, and precomp them. Put the mask on the precomp, and move the clips around in the precomp, and they’ll be in place on the main composition with the mask being stationary.

If one of these isn’t what you’re looking to do, could you explain the end result you’re wanting to achieve? (and maybe throw up a screen shot or two of your timeline/composition?)

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

Yeah, pure white is a PITA. Depending on your monitor, it might have appeared white on both the BG and the white matte, but an actual difference existed. The use of the Broadcast Colors helped to bring it all overblown, and “seamless.”

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.

[Jordan Quackenbush]

Have you tried Rendering Audio before exporting? Does it happen across multiple projects, or just this one?

Jordan Q
If I’m posting a question, it means I’ve Googled it for far too long and couldn’t find a solution/answer.