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L
L_A-2
Participant
January 15, 2022
Question

Why did Adobe choose to implement HDR as a default/enabled feature?

  • January 15, 2022
  • 1 reply
  • 634 views

I cannot seem to wrap my head around why Adobe chose to implement this as a default/enabled feature. I've been using Premiere for years and it has worked flawlessly, until now. I'm at a point were Im ready to try Final Cut and other competitor software. This entire thread proves the ridiculousness of this rollout. 

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    1 reply

    R Neil Haugen
    R Neil Haugen
    Legend
    January 15, 2022

    I have my own frustrations with the rollout process, to be honest. Not all of their expectations as to how certain new default behaviors would work with certain media, especially log-encoded or HLG, have worked as they planned. Had those expectations been met "real-world", there'd be far fewer problems.

     

    It needed more testing of those processes.

     

    And the locations of the new CM controls spread out through the app make it difficult for users to quickly and accuratly check on things. Plus ... that bit wasn't well explained anywhere.

     

    That said, I'm glad they are working at getting us more color management controls, which Premiere has lacked and needed. Nearly hidden around the app, but there.

     

    And clearly, they've rolled out a completely new underlying color ... engine? ... which works "natively" with HDR media. The previous version was totally Rec.709 by underlying math, with as stated "The ability to use  over-range values to add an HDR capability." It wasn't a good capability, and required spendy additional hardware to be able to monitor the HDR signal.

     

    Now, you can monitor with an HDR monitor as long as your OS is set to use that monitor as HDR. So this was a major undertaking, and that part of it is working correctly.

     

    But the problems with no usable proxies from HLG clips ... such things ... yea, that's not good.

     

    Neil

    Everyone's mileage always varies ...
    B
    Baffy19
    Legend
    January 15, 2022

    Neil, there is not only a good need to sort the Premiere color control panel in one place for the convenience of adjusting the color of frames. There it is necessary to shake up the entire working color panel. Those tools need to be updated and new ones added to fine-tune the color. For example, I lack a tool for pulling overexposed frames .RAW. I'm missing a gradient tool for painting landscape frames. I miss the modern developers' approach to the color page. It is also necessary to make noise reduction settings, grain application to frames, masks, tracking, etc. there. A large-scale update of the color page is needed, and not the addition of one or two buttons to adjust the color and rejoice throughout the year that there were functions without which we would not have lived. Understand, I know what I'm talking about and many are waiting for it. It's time to get on with it. I wrote about this two years ago. There is a lack of convenience and professionalism in the work of color. I am ready to wait for other new features that will be coming soon. Please, work out and cut a road on this issue.

    R Neil Haugen
    R Neil Haugen
    Legend
    January 15, 2022

    I make the suggestions I like, or think other users could really use. I'm quite happy to upvote Uservoice suggestions too. But as a user, I don't have any control over what they choose to do.

     

    In fact, those types of decisions aren't up to the engineering teams either. They have a heirarchy up from program managers through M&E ... marketing & experience ... staffers. Those M&E folks use metrics to determine what the product teams should do.

     

    Some RAW types do have panels, such as the Red RAW clips. For BRAW, you can use the free BlackMagic plugin (and get what you pay for ... ) or the low-cost Autokroma BRAW plugin, and get great capabilities. But some camera's RAW media formats aren't supported directly, and that's a pain of course.

     

    There are masks for the Lumetri effect, so you can apply a Lumetri with a mask and feather it to create a gradient for say a sky or whatever.

     

    You can use the track matte effect. Dupe the clip on V1 to V2 and V3, put a Lumetri on the clip on V3, use the HSL Secondary to key an area, maybe a mask of that Lumetri effect to limit it further. And leave the Secondary mask on, set to color/black.

     

    Then drop the TM effect on V2, set the 'target' as V3, the accepted value as Luma.

     

    Now below the TM effect on V2, you can use any color control you want including Lumetri, and it will affect only what comes through the mask on V3, and put that onto the clip on V1.

     

    I've used a lot of TM work.

     

    They don't have a good 'internal' noise reduction, true, but then, most of the Resolve colorists I know don't use Resolve's denoising tool either ... they all use Neat even in Resolve.

     

    They do have a somewhat 'grain' tool for use, the better ones are now in the "Obsolete" effects bin, which is worrisome. MagicBullet has of course a much better grain tool.

     

    Neil

    Everyone's mileage always varies ...
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