Color loss when editing footage shot in LOG

Ha, ha, @R Neil Haugen probably can, but I'm spoiled by it now. 

I did a sequence test with someone the other day and I used 24.6.1 but i was already missing 25.x features!

It's been a great time period for PP and AE with all the better features. (Properties panels rock!)

Hey @MyerPj,
Can't you get it looking like that in v.24.x? Wondering.

Cheers,
Kevin

Duplicate the project for best safety.

Then launch the public beta, and either create a new project, then use MediaBrowser panel to select and import the assets of the 24.x project file (my normal practice) ... or simply 'open the project in 25.x, which may work fine.

Yes, it's in Creative Cloud. Remember, it is a beta version, but projects edited in it are 25.x projects and those should work with the next release, (v25.x)  as Neil said, probably at MAX in 3 weeks. They won't work in 24.6.1 the current shipping version. In the beta, it will ask to upgrade your project to v25.

This looks great! I'm able to update to v25 now? 

Here's a 150% monitor scaling image from PP 25.1 b23, with no color adjustments.

Here's a link to the beta forum thread with the announcement of the new color options in PP

https://community.adobe.com/t5/premiere-pro-beta-discussions/now-in-beta-dramatically-updated-color-management-in-premiere-pro/td-p/14802640

Thank you for the help. Here is the most notable clip I'm having issued with: https://drive.google.com/file/d/1pAoClqYzXGzfe2CeeK9iXvp-ZUUD6fba/view?usp=sharing

I've tried the autotone mapping/auto detect log options, and without even using a LUT it's still giving me issues. 

Yes, just to note, you can try out the 25.x Beta version right now. It's available from Creative Cloud Desktop, it might be towards the bottom of the APPS list. The new color features are quit cool, kudos to Adobe for that! 🙂

And here's a link to the Premiere Beta forum.

Ok, context ... I work for/with/teach pro colorists, been around 'em over a decade. Including the colorist team who made the in-house training videos for DolbyLabs on how to use Dolbyvision HDR in Resolve. 

I'd suggest a couple changes ... first, to move from LUT based to algorithmic based transforms. For log to lin and for color space changes, as they are rather more capable and nuanced math than LUTs.

All the colorists I know have made that move except where they have a DP or overall director insisting on using a particular LUT. Even then, if they didn't make that LUT, they reverse-engineer it to figure out precisely what it's doing ... and often roll their own replacement. Or just build the replacement into a node or two.

InPremiere, having auto tonemapping on with auto detect log off, is sort of crippling the system. Using auto log/auto tonemapping gets Premiere to do the transforms via algorithms. Which, like using any log-to-lin LUTs, will always be slightly a different starting point than any one LUT. As there is always a large aesthetic set of decisions in any transform.

I realize that in the 24.x builds, some log formats aren't 'seen' yet by Premiere ... which will change dramatically in another three weeks when we move to the 25.x builds probably released the first day of MAX. So for the formats that aren't seen, you do need to either 1) manually do log-to-lin, which takes me a few seconds these days ... or use the LUT built for that project.

Which media was that showing the issue? And can you share a short clip so I could test on my machine? Some formats are problematic at times in Premiere, no question. Not many these days, but some are.

And oh my, are they having issues with some camera's MXF files ... but that's all different from this.