Set the Sequence to ACEScct. Auto detect log and auto tonemapping on, but on the Sequence turn off input tonemapping.    Any wider gamut media will be brought to the sequence "intact" and changes in Lumetri will be before the transforms to display space. ... View more

How are the fxfactory effects brought into Premiere? Do they have an Extension panel (pretty typical) or plug-in thing? ... View more

The result of the effect you were masking wasn't applied to the clip? That would be painfully annoying.   One can copy a clip to a second sequence with effects including masking ... of simply duplicate the sequence, do the R&R on the dupe. ... View more

There are many who would dearly appreciate a non-Windows PC OS that could handle the 'normal' PC apps. Sigh.  ... View more

Agreed. ... View more

I'd recommend simply drag/drop of images into the text reply area ... that way they simply appear in the post and we don't have to click on six different things to see the image.   Makes it a lot easier and faster to look at things and come up with suggestions.   My first suggestion is to click in the Search bar and hit Delete several times, making sure not even any blank spaces are there already. That has tripped up a ton of users. Weird as it is, to me at least. ... View more

The Tangent Hub mapping utility works with the full API of Premiere, but, masking motion is not 'out' in the API as far as I've ever seen.   I've a full Elements panel and a Ripple unit ... Elements on my desktop, Ripple normally used with the laptop. I map Hades out of them in Premiere ... audio mixing is great on an Elements, with those 12 rotating knobs ... and moving/sizing/positioning of any selected screen element and all.   The new Warp Engine process allows for creating control of things with sliders that will be in a stable position on screen, but getting that to work requires the slider control always to be at an exact position on-screen.   The Tangent kit is far more useful in Premiere than in Resolve ... but then, Resolve is simply a loss leader to get users to buy BlackMagic kit ... panels & such. And though I've got several BM cameras, I don't have space on my desk nor budget for the 3-4 different panels I'd need to replace the functions in Premiere I do with one panel. ... View more

As a daily Resolve user ... I work for/with/teach pro colorists ... I'm on the forums 'over there' also.    While Resolve has some Linux support, it is limited to one version only, hasn't been updated in quite some time, and for many has simply gotten too problematic to use with R20.x You might get it working, but it will probably take a fair amount of futzing with Linux settings to do so.   Linux support doesn't seem to be nearly as 'popular' as once it was, sadly. ... View more

What is your default audio input set to in the Preferences? If it isn't try setting it to "None". ... View more

Render & Replace is designed to completely create a new clip of media for each clip on that sequence, and if you click include effects, it bakes that effect into the clip.   That's the full design intent. So masking is assumed to have been used to do something that is now baked in, so therefore no mask will be carried over.   This is not the same as render previews. ... View more

You're chasing your tail I think. And this is not how any professional colorist works.   One sets up a system as close to the specs as possible ... not so that others see the same image on their screen, as that never can happen. Period.   You set up as close to the specs as possible, so that on all other screens, your media is similar in view to other professional media on that screen.   I am quite serious about that ... you simply can not grade "for what other people will see" ... as every screen out there is freaking different, typically a lot different from another screen ... and the viewing environment has a huge effect on seeing the image also.   For example, the same vid watched at noon on a sunny day on a park bench will appear different than viewed in a dark bedroom at night. ON THE SAME SCREEN.   The professional practice is to set up properly to the standards, very tightly to the standards, and then let it go. As out in the wild you have no control whatever.    If you do that, your media will always look "professional" on any other screen, as it will be similar to other professionally produced media on that screen. ... View more

Rarely have I had such a snarky response. As if you're the only one that actually "works" or something?   I don't understand that attitude. So have a nice day.   And take all blasted day to do what I get done in a minute or two. ... View more

The way this works is you set the viewer gamma ... then you the color correction with the veiwing gamma set ... changing gamma after the fact cannot work.   If you start in Premiere with probably 2.2 ... as you are probably not in a really darkened room ... then adjust the color/tonal stuff so it looks as you want ... then show what it's like within Premiere and elsewhere.   Because you grade under the right settings ...  ... View more

My desktop is a very thoroughly calibrated and profiled setup, "profiled" means that after the calibration runs, I run another test of everything with ColourSpace, using Resolve as the patch generator, to check the performance of the monitor. Creating the graphs that give the result and of course that very important deltaE number.   With the monitor set to full-on Rec.709, including the sRGB primaries, 100 nits white point, D65, and gamma 2.4, what I seen in Premiere's Program monitor and outside in VLC and Potplayer and Firefox is essentially identical.   And is very close on other devices, varying as expected because no two screens are ever exactly alike.   With Premiere set to gamma 1.96, you are grading the image darker than you would with gamma 2.2 or 2.4. But the change is mostly in the shadow areas, not nearly as much from the midtones, and no different in highlights.   If I set Premiere to 1.96, and re-do the color for that view, the image outside in VLC, Potplayer, and Firefox is a bit darker. But again, the greater change is the shadow area.   You could put a clip on a dropbox type service, and I can check it out on my system. It would be good also to have a few seconds of the bars & tone at the beginning of the clip. ... View more

Have you checked the Autokroma website for help? They actually provide detailed help for most of the issues arising while using the BlackMagic freebie plugin, as well as for their own.   They have the best support for the BlackMagic BRAW plugin available. ... View more

I don't understand the snark anymore than your workflow ideas.    So as someone who's done this professionally for over a decade, I'm struggling to understand your answer. Because I try not to work stupid and waste time while working, when there's a cleaner faster (and less boring) way to do something.   A multicam typcially has what, two to five or six cameras? Something like that.   Quite often, the cameras are on the whole thing, though sometimes some cameras go on and off. But still, there are only X number of cameras, and the operators aren't normally stupid enough to change camera settings everytime they start/stop if they do start/stop through the shoot.   You go down the sequence 'cutting' from one camera to the other, but typically, no matter how many cuts, you still only have those two to six or whatever clips. Or cameras.   With (normally) one setting for each camera.     Pasting a Lumetri to a clip on the bin changes every instance of any bit of that clip, right? In Premiere terms, that's a Source Effect.   So I grade one set of frames of each of the two to six camera setups in use, quickly. Then Paste that Lumetri to all uses of each camera, which takes a few seconds. Premiere then applies that to every segement used in the multicam.   And I'M DONE.   I don't go down a multicam grading each clip segment because that would be an incredible waste of my time.   And I also work in Resolve, with/for/teach pro colorists ... and Resolve also has clip and group processes to do essentially the same workflow.   I never ever grade every segment of a multicam as again, in either app, as ... jeepers, what a massive time suck that would be.   Should we have an option to work effects while in the Source monitor? Could be useful, certainly. As I understand things it's just not how it's been envisioned so far. I think that would be a nice new user option.   ... View more

Premiere always defaults to the Program monitor and 'normal' timeline focus for grading and many effects. To the point I've never tried grading in the Source monitor. That's not what that is for, really.   Although I also never grade multicams per se ... I always create a grading sequence of the files used in the multicam, cut them to just a few frames each of the best frames for comparing apples to apples, do my grading.    Then copy the Lumetri effect for each clip and paste that to the clip in the bin. After that, delete the grading sequence. All grading is done then. ... View more

Windows doesn't use anything by default, really. It expects the monitor to do so. Unlike with Macs, where their ColorSync CM utility has reallly messed up the world, quite literally.   So it's the monitor where you need to get set correctly somehow. ... View more

Glad to hear you're getting stable results now! That's the aim, always ... ... View more

Paul, that new workflow sounds very interesting and so useful ... yes, please, a new video is needed!     Neil ... View more

I've got over 40 years of pro image capture ... including wedding stills back in the film days, in all sorts of lousy conditions. Using flash if we could but at times, especially ceremonies, we couldn't. Trying to use 400 ISO color neg film to shoot a candle-light evening wedding ... which we had to do on occasion ... that was a blasted job to do. Especially as the ISO ratings were not the actual film exposure needed ... to get a properly exposed neg for many years the ISO 400 stuff needed to be shot no higher than ISO 250. Making usable prints was dangnably difficult.   In exposing for camera capture, whether film or digital, doen't matter really ... if you can't get adequate exposure then the 'fixes' you do later are simply rescue operations and will have their own issues.   For example, lifting 'dark' values in post will expose sensor noise levels and also exacerbate the visual impact of the original in-camera compression, both banding and macro-blocking. Banding is possible in any compression scheme, macro-blocking far more so in the type of compression used in long-GOP like H.264/HEVC-H.265.   Something like Neat Video can dramatically help but can't totally eradicate such issues. So often it becomes a job of lifting while trying to hide some of the mess you're creating in the lift. I've found spreading the lift process out among several tools, each doing only a small lift, so you are using different mathematical processes in the final 'lift' result, gets less notable problems than lifting the whole way with one tool.   Color management options however are the same no matter the exposure of the image file ... it's the nature of the camera settings for color space and primaries, and the settings for such used in the NLE or grading app, matching them to each other correctly and piping that to the display and exported file for best display use.   Premiere handles exporting to file data ... well, sort of directly. But not always as users expect. So export settings should be tested and modded until you get the specific result you need.   "Match source" really only matches the sequence framesize/rate to the export framesize/rate ... that's about it. For all else you need to go down through the list and check the settings yourself.   Including making sure that 16Bpc is selected in the options list. Then when done, make your own preset and never ever rely on 'match source' for anything. ... View more

Wow, I'm not getting this behavior at all. I wonder what is off that is causing it?   All my cache preview and render files are set to a folder on the second Nvme drive, which is only used for cache files. And never seems to get above about 85-90 gigs of the 250gig drive used. Huh. ... View more

Unless I know exactly how your monitor displays the Rec.709 image, I can't give an exact answer.    From what you're saying, I can about guarantee it is not giving the correct display tranform for Rec.709 but why I don't know. There are several things that can be in play here.   As to what you read and hear on the 'Tubes ... much of it is simply incorrect or slightly mostly sorta correct at least in places. But not really correct according to the actual specs for grading Rec.709 media.   The display transform is supposed to usie a power law curve essentially similar to gamma 2.4. As it only (or nearly only) affects the toe region (shadows) it isn't precisely the same as a simple gamma 2.4 curve.   That is not 'baked into' the media at export though! That is what the monitor is supposed to do to the media during display, not something the exporting application changes to the media. That's something that is unclear to many people ... they think the file is encoded by applying a gamma change to the image after corrections. Nope.   And as to which gamma to use while doing color and tonal work ... that totally depends on the viewing environment while you correct the image, not the intended end-use. Period.   Very specifically, the reason for a "semi-darkened room environment" is for the proper 'setting' of the colorists eyes for the task. The room should be quite dark but not blackened, with a medium gray wall behind the monitor as the 'field of view' for the colorist, and there is to be a 'bias light' behind the monitor giving a slightly lighter area around the monitor from the colorist's seat than the rest of the wall.   This is so the colorist's visual system can more accurately judge saturation. Based on how human vision systems work.   In that semi-darkened room with the gray wall and bias light, set to exact luminance readings in metered room checks, the display transform gamma should be essentially 2.4 while grading.   But if doing tonal corrections in a normally lit bright office room envirionment the specified display transform for the reference monitor is to be set at gamma 2.2.   Gamma 1.96 is used only to match the lighter display transform used on some Macs. If you grade with a gamma of 1.96, you will set things darker than if using 2.2 or 2.4.   So using a display transform with gamma 1.96 while grading, if the monitor is actually performing correctly, you should produce media that will be darker and over-saturated on a monitor with a proper display transform in use.   So if you do your tonal work at 1.96, and it looks the same outside of Premiere in say Potplayer or VLC, then ... I can about guarantee your monitor is not using a correct display transform.   The only fix is to get using a monitor with a correct display transform. Typically by calibration with a puck/software system. ... View more

Many of PrPro's keyboard shortcuts are panel-sensitive ... in plain talk, they work in one panel but not in another, or work in all but one panel.   Some of those already assigned things can be re-assigned, and some can't. They will simply keep to the same original setting no matter what you set. ... View more

I've never had this with either of my desktops or laptops ... so that's just a bizarre thing, and would be painfully annoying!   I'm using an old Wacom Intuos 3 pen tablet, a  four-padddle-button trackball unit in place of a mouse, and now also a little Microsoft mouse at times on my desktop, no issues. On my laptop, a small fold-up mouse, but again, no issues.   So I'm wondering if there's a setting on your system that could be altered to fix this? ... View more

Color management is a deep, deep rabbit hole that one can sink into and leave the physical universe in ... if you're not careful ... sheepers.   Most of the time when people have this type of issue it's because their monitor isn't using the correct display transform for Rec.709 video. Rec.709 isn't 'just' sRGB ... it's several things, and only one is the color space of sRGB, which only sets gamut. The range of colors.   sRGB doesn't have anything to do with gamma or shadow/highlight curves or anything. And if your monitor cannot properly set itself for that curve, that dynamic range and shape handling of the signal that is a requirement for proper Rec.709/SDR working, that ... is basically a nearly insurmountable problem.   The calibration apps with pucks such as Calibrate (used to be Xrite) and Spyder do give the ability to calibrate the monitor to and create an ICC profile for Rec.709 video. And unless you've done that step, using a computer monitor for grading ... no matter how fancy the certificate of accuracy that came with the monitor ... can be a frustrating and futile exercise. ... View more

Camera sensors need light ... but ... they all have contrast issues unless you're talking the Venice/Burano 'crowd'.  You have to control the lighting or camera somehow to get the contrast with usable parameters. Or ... accept difficulties, some of which NeatVideo can fix. At least mostly.   There is a difference though between camera capture, and post production modifications to that capture. In post, one is limited by that original capture data ... and by what the systems for displaying video can do, and the blasted massive difference between different display screens. ... View more

@Jarle Leirpoll   @Warren Heaton and  Paul Murphy are my go-to folks for things like this, but I can't get Paul's user thingy to pop up right now. ... View more