I like that in both Vegas and Magix, you can drag and overlap a track and it automatically turns into a transition crossfade. I've been struggling with adobe's control scheme, I've jumped to Davinci Resolve, went back to Sony Vegas only to learn its been discontinued and now Magix owns Vegas and sure, I can possibly stick with Vegas but Magix is the most simplistic and easy to use because of simple drag and drop and easy to understand control schemes. I'm considering this because it returned the image back to normal.I want to get into vintage looks with vhs graphics, effects and transitions.

Separating 4 clips of Red, Green, Blue, and Luma components onto 4 video tracks using RGB Curves and Luma Curve effects: The intuitive way.

I skipped because it was obvious that I was working on RGB components instead of YUV, although there's one tutorial using this method.

Separating 3 clips of Red, Green and Blue components onto 3 video tracks using RGB Curves effect: The intuitive way.

I skipped because it returned an image that looks pink tinted, although there was an RGB-to-YUV conversion formula involved.

Separating 3 clips of Red-Luma, Blue-Luma, and Luma components onto 3 video tracks using Channel Mixer effect: The math way.I'm not looking for plugins or jumping to other softwares.I'm currently using Adobe Premiere Pro 2017.

I want to separate the channels like this (I might be wrong):.Here's the current state (top) and a rough sketch of the desired result (bottom):.This is where the question comes in: What's the proper way to separate the YUV components of my clips for this particular effect?

In order to simplistically replicate this process, I've been trying to split my material up into 3 separate YUV channels and work from there intuitively, since I believe it's the luma and chroma signals that make up this analog video effect, before the video gets automatically decoded back into RGB (correct me if I'm wrong). At the present day, the tape was restored in a digital format by an RCA-to-USB converter that connects the VCR to a computer. Now, from that second bit onward, here's how I assumed it went in practical terms: In the '80s or '90s, the movie (my artwork) was restored in a VHS format (with PAL standard) by a telecine machine using the release print. I'm making an artwork and here's how it goes in a nutshell: A fictional movie scene that was (1) shot on film in the '60s, (2) restored in VHS format in the '80s or '90s, and (3) restored again in a digital format in the present day.

Degraded vhs effect premiere pro