Clip changes color after replacing with AE Composition/Dynamic Link

Hi ​@Exquisite_worldview7e56 ,

If I remember correctly, if your Premiere is set up to color manage your footage, a replace with After Effects composition creates an AE file with color management enabled. This could be where it gets messy. Try the following, disable color management in Premiere. Open an empty AE project with no color management enabled. (Adobe managed with no selected working space). Then copy paste the clip from Premiere into AE in an empty composition. Then save that AE file and drag the composition into Premiere. In theory the image should now not look altered. If that works, you can import the other .aep into that proj so you can copy paste your retiming work you already did.

Let me know how that goes.

Getting both Pr and Ae on the exact same page for color management up through the current 26.x series can be difficult, as they do use underlying structures that  are enough different that some specific things do match, but others cannot be matched.

(The 27x. builds in the current public beta have a vastly better, more complete set of matching color processes, if still not quite perfect.)

Further, the Sony setup you’re using has a very specific color space … not the same as ‘standard’ S-log 2/3, a bit smaller in ‘volume’ though larger than DCI-P3. So let’s say it’s a boutique item … fascinating and very useful, but still, a rather odd and individual ‘duck’ … like a couple things in both Canon and Panasonic also. Which can drive colorists around the bend (although they try to keep the rasty comments to other colorists and not clients).

As far as I can recall, I don’t think Ae has a native way to really handle the specific gamut/volume of the S-Gamut.cine. ​@Shebbe would have the hard data on that and please correct me if I’m wrong! But … having worked some S-Gamut.cine some months back, I got it working fine for a number of workflows within Premiere, but the Pr/Ae/Pr pipeline wasn’t usable.

I think for your workflow, using the CM ‘off’ in Pr using ‘preserve RGB’ option is where you should be for the edit. I have successfully turned all CM off in Ae and got a log back before, but I can’t remember if that was the Panny I was testing or Sony …  so again, Shebbe’s comments if he posts would be very useful.

Then after you’ve got your sequence edited/ramped and ready to move to color, duplicate the sequence and apply the CM you need to the duped seuence. This gives you full back to the start capabilities also.

​@R Neil Haugen