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Question

Changed colors in Premiere 2022 for sony videos

Forum|Forum|4 years ago
October 27, 2021
8 replies
11223 views

Since I installed Premiere 2022 I edit my videos made with a sony a7III, while Im editing they look fine, but when I export them Premiere change the colors, saturation and contrast - as you can see in the atached screenshots, what is happening? what can i do? why such difference between what i see at the timelime and the exported result?

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R Neil Haugen

Legend

I'm puzzled about that LUT ... you need to shoot in HLG/2020, but use it on a clip after a transform to Rec.709 ... ?

Tell us about that LUT ... where did it come from, and what is the purpose?

Neil

Everyone's mileage always varies ...

D

Davo Pearce

Participating Frequently

Sure, so I use a Leeming LUT to convert the HLG3 footage into Rec709 I believe.

https://www.leeminglutpro.com

They give you specific instructions on what settings to have your camera on for it to work and I've followed that.

There are other people using these LUTs who have found success in interpreting the footage to rec709 and the sequence working space to rec709 then applying the LUT but for some reason mine doesn't work.

Now that I think about it, it is really confusing to me how the LUT is meant to work if the clip itself is converted to rec709 but then isn't that the LUTs job? I don't know. All I know is that applying the LUT on the footage on the previous version of premiere worked fine.

R Neil Haugen

Legend

They've changed the CM settings and default behaviors ... many things now default to the opposite of what they were before.

For example ... a log encoded media clip, say a Sony Slog-3 clip. You're used to log encoded clips in a Rec.709 looking flat/grayish, all midtones right? But that Slog-3 clip comes onto a Rec.709 sequence with full blacks and such high contrast the midtones are blown out white.

What the ... ?

It's because that clip is log encoded, and Pr is treating it the same as a log encoded clip placed on an HLG timeline. HLG ... hybrid LOG gamma, right? Log encoded clips on HDR timelines don't look "log-ish" at all, they're fully reproduced as they were in-camera.

So ... your LUT, designed to transform the clip to Rec.709, might not be useful any more. You can try working it without doing the manual override of the clip to Rec.709, apply the LUT as before, but that may well not work correctly.

And if you override the clip to Rec.709, you've already applied a transform to the clip. That LUT is a second transform, not a good thing to do.

I'd be happy to test this if you sent a short clip my way.

Neil

Everyone's mileage always varies ...

D

Davo Pearce

Participating Frequently

This problem of premiere changing the contrast and saturating is incredibly frustrating. Tried everything people have said, it still messes with the footage.

R Neil Haugen

Legend

What is the clip, made by what device?

What is Premiere showing for the clip's color space in the properties of the clip?

What is your sequence CM set to?

And what are you exporting to?

Give us those answers and we can get you sorted right quickly.

Neil

Everyone's mileage always varies ...

D

Davo Pearce

Participating Frequently

Thank you for asking:

I shot with a Sony A7III in HLG3 gamma and BT.2020 Color Mode (as required for the LUT)

Colour Space of the clip: 2100 HLG

Sequence working colour space: REC709 and I modified and interpreted the clip to REC709

Export colour space is REC709 (and I'm exporting in the format H.264 and Match Source - High Bitrate)

For this footage I'm putting on an adjustment layer and applying a LUT to that but the issues with how the footage looks exists even when I don't shoot with a picture profile (and the LUT worked perfectly in the older version). The colour of the footage from the file differs to in project which differs to the output and exported video. It's just all really confusing me.

B

Baffy19

Legend

A similar problem with my Sony A7 S III camera.

INTERPRET Color Management PrPro v.22.0 | Pay atte... - Adobe Support Community - 12512772

amiradib

Participant

Same here.. new update is throwing off export colors.

Interpret footage to Rec 709 did not work, makes colors look weird too.

The SDR conform option during export was closer... but tonalities are off.

I use a Sony a7r3, can't color correct exports properly at all anymore.

Please help Premiere.. why did this update adjust the way colors are exported!?!?!

R Neil Haugen

Legend

As noted all over the forums, they updated CM options in the 2022 version. You do have some color management options for some media in the Project panel, modify/interpret footage. And there are CM option for the Sequence settings dialog also.

But as part of their updated CM practices, they also selected some of the frequently used DSLR/mirror-less cam log styles, and adopted the manufacturer's 'default' setting for normalizing/transform of those files. Without giving the user the option to override that default.

As their chief color scientist has said, all the data is there, just rearranged to be 'properly' normalized according to the manufacturer of each camera. Nothing is clipped or crushed, so the user should have full capability to grade the file to their taste without data loss. As far as they're concerned, they simply saved users a major step.

I would rather always have a user override. As for any log media, I normally roll my own transforms/normalization.

But ... for now, that's what's happening to your media. You can use the Lumetri panel to mod it as you wish.

You could also make a Lumetri mod and either save it as a preset or as a LUT. Then that could be bulk-applied to your media even in a bin before it gets to a timeline.

Saving as a Preset means you would have a full instance of Lumetri with the settings as saved, named/described as you choose, in the Effects/Presets bin. You can select a bin of clips, and drag/drop that onto the clips, and the Lumetri instance would be applied to every clip's "Source" settings, so for any use of that clip any where in the project it will have that preset applied.

You can do specific use-needs mods to Lumetri on the clips in the timeline as normal.

Saving your mod as a LUT means that you can apply that through the Lumetri panel in either the Basic or Creative tab dropdown slots.

Neil

Everyone's mileage always varies ...

D

davez73630965

Participant

That's a workaround I suppose but it sure would be nice if Adobe tested this stuff with a major brand like Sony before releasing this update that has cost me 2 days so far.

I wonder if this has something to do with the codec updates that Apple has released in their latest update for Monterey... granted I updated to Beta hoping for an update! 🙂

One of my friends who does editing for Netflix has the issue too and his workaround was a LUT for export. According to Adobe its a codec issue with 2020 Mac Pro / Tower computers. Doesn't seem to affect Windows users to my knowledge.

Y

Yassine5FE0

Participant

I have exactly the same problem since the update to Pr 2022. Please solve this!

amiradib

Participant

Same here.. new update is throwing off export colors.

Interpret footage to Rec 709 did not work, makes colors look weird too.

The SDR conform option during export was closer... but tonalities are off.

Please help Premiere.. why did this update adjust the way colors are exported!?!?!

I use a Sony a7r3, can't color correct exports properly at all anymore.