ProRes RAW proxy workflow

A workaround that I have found is to leave the Rec. 709 color space of the RAW footage and assume the forced Rec. 709 color space of the proxy that is exported. But I change the timeline color space to Rec. 2100 PQ. In that way, I can visualize both clips with a 'Log'-like comfortable look and apply a LUT during the editing process.

I totally understand about having a required LUT to apply. Which is why I mentioned it in the previous post. I work for/with/teach pro colorists, and most of them are not too pleased with most productions that have a "required" Log->lin transform LUT, especially if they haven't been the one building and testing that LUT. And I understand that many colorists, even with a prescribed LUT, reverse-engineer the thing, then ... (quietly, in a node ... ) dump it. As they'd much rather have total control, and total knowledge of!!!! all things chroma/luma involved with those pixels.

But if that's the terms of the job, that's what you do, right? They who pays the bills sets the rules. There are ways to work with this within Premiere even with all the new CM stuff.

First, the Source tab of the Sequence is where you access any RAW format's settings. ArriRAW, BRAW, ProResRAW, whatever. So that is some place to go to check things.

All we have with ProRes RAW is an "exposure" setting. Sadly. But working with that may be what you need to get your highlights back "cleanly".

Next, you can set the Color Management to "preserve RGB" ...which is the option to not do any color management via defaults in Premiere.

Also, if auto detect log and/or auto tonemapping are turned off, those may help also. In your case I'd try leaving auto detect log on, but turn off the tonemapping. After trying simply to "preserve RGB" and see if that does what you need.

I need to use a specific lut per the production's request. So I would like the files to import as log, instead of having to manually transform them to log from the BT709 color space that they automatically import in. Also, I know you've only used atomos minimally, but the BT709 *isn't even a proper Rec709 conversion*, it makes the footage look severely blown out and oversaturated. It is just interesting that this is not an option whereas with any other raw footage from ARRI or RED for example, you can have it import as log. I assume this really just boils down to an Atomos issue, not a Premiere pro issue.  But as I stated earlier, Atomos refuses to recognize this as a problem.

I'm a user like you. I've got no knowledge of whatever the devs are planning on doing that they haven't announced. And while they've said they would like to improve the ProRes RAW playback and use, that's a very general comment. So we can't even guess when they might roll out anything.

For that, just watch what's coming out in the public beta builds, I guess.

I'm not exactly sure what the second question needs for an answer ... so some basic questions are required.

Are you working in a Rec.709 sequence? And export?

If so ... why would you want the log image? Other than say if you're required to use a specific  transform LUT as part of job specifications, of course. As if so, you gotta LUT that image.

I ask, because their algorithmic processes blow out any say LUT based transform from log->lin for "pixel safety" ... as no matter the original exposure and scene, you cannot get either clipped or crushed data, nor over-saturation, which of course you can easily with a LUT based transform. 

And a lot of users don't understand the differences between LUT and algorithmic transform processes, the possibilities, limitations, and potential issues stuff. Algos are simply less problematic.

Or are you wanting to work in HDR, perhaps HLG?

Hey Neil, thanks for chiming in here and for sharing your experience with atomos footage. I have a couple questions if you don't mind. Do you think adobe has any plans to fix the atomos proxy/rec709 issue? Also, do you know if there is a way to, upon importing atomos prores raw footage, have it be in its log color space automatically? Whenever I import into premiere, im required to go into the source settings to change it from bt709 to slog (sony footage). 

ProRes RAW gets a bit of discussion at times from the Adobe forums, BlackMagic forums, and other pro video post discussion places.

While some people like it and/or have the Atomos rigs to create it, most seem to avoid it when possible. Interesting discussions abounding, it seems.

But in my experience, not that many people as an overall percentage of video post need to use it much. So it doesn't get a lot of "love" in Premiere ... and none what-so-freaking-ever-don't-even-ask in the BM forums.

Which is frustrating when you have it and need to work with it for certain! I've only had a couple jobs I needed to use it on, one two years ago, one a bit over a year ago.  I was able to work however without proxies, so ... it wasn't too bad.

You're right about the proxy issue though at least from the last testing I did personally.

Has anyone find a solution for this problem?

This has been an issue for years and will continue to be an issue for years to come. The amount of conversatioks ive had with both adobe and atomos support on this issue, while still nothing coming of it is astoundinf. They have no intention of fixing this horrendous problem that plagues an atomos x premiere workflow.

We are all searching the answer... Anyone? 

Any asnwer for the Question above?