Color Setup should be project based not sequence based

My projects in Resolve are always based on using sequence-specific CM. And even for my small shop, I do need to be able at times to have both HDR and SDR outputs from the project. Many of the colorists I’m around also need to put out an SDR version for almost every HDR output for a client.

I would be very unhappy if I had to create an entirely new project simply to create an SDR version. What a freaking waste of my time that would be.

And while I fully understand and appreciate Shebbe’s comments and experience, so far for my non-broadcast needs, I have been able to get graphics and the littl vfx I work with to the correct color space for the sequence and output. Were I working in broadcast and having to pass the dreaded QC machines, I understand that could be a very much nastier mess. And needs to be fixed, Shebbe is correct there.

This is one of the flaws I highlighted when it was introduced in the beta.

But given that the entire “wide gamut” workflow is broken in several areas, mostly the fact that there are no inverses of the ‘tone mappers’. Working in ACEScct is totally useless, it’s implementation may as well be thrown in the bin unless you somehow care to do a project where absolutely zero text and graphics are involved.

Project wide management should be deemed as the standard. The target display space can still be consisting of more than one in certain projects but in most projects this does not happen. It also doesn't mean that the working space or the process of converting source media to working space should be a separate mechanism per sequence. The current mechanism is flawed because you are not able to manage the data on a global level which is 100x more important in a color management workflow than managing data per timeline. Adobe’s Premiere color management is currently to my knowledge the only one that presents this workflow roadblock.

Many users routinely do both HDR and SDR ... and that is easily done without issue that I've noted.  Any say log media can be used in both an SDR and an HDR sequence in the same project without any issues, as far as my testing has been.

What is the specific problem you are running into?

Hi Andrew C. Brinsmead,

There is a project-wise color setting in Premiere Pro to adjust a few options (HDR Graphics White, 3D LUT Interpolation & Viewer Gamma). However, there is no way to bulk change the Color Setup (Color Spaces & Tone Mapping) for multiple sequences in a project. Currently, the Color Setup can only be changed on a sequence basis. Thank you for sharing this feature request so other users can vote for it if they are interested.

Regards,
Sumeet

the trouble is that all of the sequence color setup settings for all of your sequences (including multicam clips & nested sequences) have to be manually reconfigured when you decide to use change which color setup you use (rec 709 or wide gamut).

Yes occasionally you may have both HDR & SDR deliverables, but to accommodate an occasional situation, does the entire workflow need to be predicated on what might be required occasionally? 


Perhaps there is already a project wide way to reset the color setup of all sequences between Rec 709 & Wide Gamut that I've missed; if there is, could you point it out to me?

The color management options start with the project wide settings, and work down to sequence specific settings. So I'm struggling to understand the trouble ... ?

In these days it is not at all unusual to have clips that one wants to work in both HDR and SDR deliverables. So the current setup, which easily fits either all HDR, all SDR, or mixed use, seems rather utilitarian to me.