Hello Adobe Friends,
Trying to find a way to transcode ProRes 4444 clips but maintain the LOG color space of the source clips. In Media Encoder, when selecting ProRes 4444 as my codec, I'm presented only with Rec. 709 or Rec 2100 as my Export in Color Space options.
My goal: preserve the raw log color space of some RED Raw Helium clips when transcoding to ProRes 4444 "proxies" for a VFX roundtrip workflow. Even if I tell the Red clips to display at LOG color space (and it looks nice and flat in the reference), the PR4444 will always convert it to 709, which granted looks better, but doesn't seem to preserve the color information i'm looking for.
Anything I can do to achieve this?
I have also tried loading the RED clips into Premiere, changing the master clip settings to LOG, then "Creating Proxies" from there into PR4444 codec, but again, it always converts it to Rec 709.
Any tips would be much appreciated! Thanks guys.
Did you ever find a solution?
yeah I don't see a PRORES RAW option in the Premiere export.
G'day. I'm wondering if you ever found a solution to this problem. It's plaguing me, as well. When transcoding to PR422LT for proxies, both Premiere and Encoder automatically attach a LUT (Rec709 and BT709) to ProRes RAW shot in LOG, and Sony RAW, shot in LOG. I can't find a way to prevent this, and it makes for ugly proxies.
Like you, I've tried going through Premiere, removing the LUT, then making the proxies... same problem.
If you have any tips about preventing this automatic LUT, it would be most appreciated!
If someone finds a way to do that in ME, I would really appreciate some directions. I couldn't do it, I had to do it in Apple Compressor, it will work in there.