want to grade video for film look, but also saturate a particular coloured object.

Bug isnt in PPro CC 2018 so i want to export my project to that version. It's a very simple project with two source files (shots) and about 8 cuts from each in simple edits. I've never used an EDL before, heard about for decades… is that the best way to get my edit info out of PPro 2019 into PPro 2018? Will try!

this bug is happening on Master clip and individual timeline clips too. And confirmed it happens on renders. Each spec of noise is 8x8 = 64 pixels (seems like VRAM related coding issue or something doesn't it?), usually all the pixels in a block will be effected but not always see the one on right of image.

[Please do not double post different issue, mod]

Ok this would  have worked, I isolated the colour range easily thanks to your instructions, Neil. Pumped up the saturation for it. But there's a bug in PPro 13.x Lumetri Color. I came across a thread about it only a couple of hours ago and then like some virus it grabbed me. You can see in this vide, happens in renders too according to what I read (haven't tested yet). In the video I turn off HSL Secondaries tab 7 seconds before the end of the video and the "noise" stops.

https://my.pcloud.com/publink/show?code=XZUfkO7ZIqDbQWO44H76yne2OXNTIuc9CouX

How did this get through QA Adobe? You're one of the biggest creative software companies in the world (if not the biggest) and yet apps seem to be getting more buggy and less patched than since the shaky software of single app shared memory space of the 90s. 

By film look I just meant I'm going to grading for more warmth in the skin tone, and probably some more contrast, didn't have anything firm in mind, just that it was going to change. DSLRs even when not outputting in a Log colourspace/codec tend towards flat footage from what I've seen. Obviously a LUT warming skin tones is not going to be lifting the teal colour much (other than general saturation increase), so that was kind of what I was getting at, the conflicting goals as you pointed out in your first response, Neil.

Oh ... as to the "film" look. Everybody's idea of a "film look" is different. And which film look?

The 70's low-saturation with rolled off deep shadows (NO blacks) and soft "whites"?

The highly saturated stuff with not a lot of shadow detail?

The tendency of some of the Fuji stocks to have brilliant greens and subdued reds?

The Kodak tendency to emphasize either the soft warm colors, or produce brighter reds/blues?

BIG massive hard-edged grain ... or soft subtle grain?

The stocks that had a moderate to fair "sharpness" of local contrast inherent in them, or the ones that bluntly were pretty soft for detail/local-contrast?

"Tonally flat and a bit over-exposed" sounds like a ton of early/mid-70's flicks. A few of which I've heard people say "too bad they haven't restored that one yet, it's clearly lost saturation and just has no blacks anymore." Having seen the original in the theatre ... it never HAD blacks or saturation.

A colorist friend is always doing tutorials on Mixinglight about doing 'filmic' grades with say music videos. What he thinks of as 'filmic' is emulating a narrow set 16mm stocks, with a lot of moderately hard pretty-good sized grain, where you need to actually soften (take sharpness DOWN) before applying the grain effect or it looks ... wrong. TOO sharp. Shadows are soft to a point, then drop to near-black. Highlights are a bit softer but still roll-off notably.

And ... saturation is mainly in the areas around 30-75 on the IRE/nits scale, really rolls off in both shadows and highlights.

So ... what's your idea of a "film look"?

Neil

You have two different things there ... correct for them differently.

Correct for general tonal work/color and skin tones first, then use the HSL Secondaries tab or the Curves tab to isolate the color of the background poster and modify it for the change you need.

In the HSL tab, first isolate the color for hue, saturation and luma or any combination of one, two or three of those for tightest match. It's best to use a 'mask', so after clicking, set the mask to maybe grey/color to select only those pixels you want to change. Turn off the mask. Then use the tonal/color controls that are the bottom half of that tab to make the change needed.

Or ... in the new Curves panel, select the poster in the Hue v Hue tab with the eyedropper tool. Then adjust the center point up/down to get the color change you want.

Neil