20 sec in AE got the following.. the filter settings should carry through to PPro. Is that sort of what you meant? There's a BIG green cast over the highlights, so once you kill that you're in the ballpark.
Input black: 52
Input white: 197
Highlight red: 19
Highlight green: -38
Preserve luminosity: ticked
Try the three-way color corrector. There are objects in that frame which can be sampled as 'white' and 'gray', such as the boats and the road surface. Given it's an overall tint, you should be OK setting the shadows correction to a similar vector as the others.
Roy Hessey wrote:
I was hopeing there was a fix within Premier.
Colour correction, which doesn't require complex compositing work, can be easily done in PrPro.
Working in high bit depth yields better result, so tick 'Maximum Bit Depth' flag in your sequence settings (as well as in the Export Settings when you're done) and utilise 32-bit effects - you can filter them by toggling '32-bit Color' badge in the Effects tab.
Set your workspace to Color Correction so as to monitor scopes and waveforms while manipulating effects' settings. Understanding waveforms and scopes helps you realise what you need to do so as to achieve desired look.
Waveform of a well exposed footage with deep contrast occupies a wider range, whereas one of a footage with a weak contrast - a narrower range. So as to expand the contrast for the latter case you need to lower the 'bottom' (black point) of your waveform closer to '0' and lift its 'top' (white point) closer to '100'. You set the black point with either 'Pedestal' or 'Input Black' and white point with either 'Gain' or 'Input White'. You compensate for overall brightness of your footage after you tweaked the Pedestal and Gain with Gamma.
Waveform also clearly shows you which channels' settings to tweak and how in order to achieve proper colour balance. The more R, G and B waveforms aligned, the better the colour balance.
Here is an example for all the above with RGB Color Corrector: