Color management is now available for log-based media. This allows for simpler, LUT-free workflows when working with log footage from popular camera makers like Sony, Panasonic, and Canon. Set the log color space correctly in Modify > Interpret Footage, then place the media on a Rec709 or HDR timeline and Premiere Pro will automatically apply the correct color conversions. Any camera that shoots log can now be used in HDR production easily.
This method transforms log footage to the color space of the sequence in a non-destructive, real-time workflow, rather than the common use of Log>Rec709 LUTs that can clip highlights, shadows and color information.
How It Works:
- Right-click on a video clip in the Project Window and select Modify > Interpret Footage.
- In the Interpret Footage Window, scroll down to “Color Management” at the bottom of the panel. Click “Color Space Override” then use the pull-down menu to assign the format of the selected clip. This should match the color space that you shot in the camera – V-Log, S-Log, Canon Log.
- Place the media on a Rec709 sequence if working in standard dynamic range. You can also choose to put it on a PQ or HLG timeline to work in HDR. Premiere Pro reads the media color space and does the appropriate conversion from source media color space to the Premiere Pro sequence color space. When you change the working color space in Sequence Settings, Premiere executes the color space transformation, no need to add a different Log > Color Space conversion LUT.
This new color managed workflow is also useful for moving projects out of Premiere and maintaining the wide gamut and luminance of HDR video.
To export in HLG or PQ, choose format H264 or HEVC, select the Main10 or High10 MPEG profile under Encoding Settings, then choose Rec.2100 HLG or Rec.2100 PQ as export color space.
Make sure that the check boxes on the right of Profile and Level are NOT checked, and select Main10 if you are exporting in and HDR format. Then set the Export Color Space to one of the three HDR color spaces.
Beta testers should note that there is a significant difference between clips that are color managed from log to Rec 709, vs clips that use a LUT to convert.
LUTs can include tone mapping, knee and highlight roll off values that yield which yield a good looking image with little fuss but often clip highlights and shadows and that detail in unrecoverable. The LUT processing is destructive. With color managed workflows, none of the color information is lost. But significant tone mapping is required to fit the enormous dynamic range of log (~14 stops) into the very narrow range of Rec709 (~6 stops).
We are still working on a tone mapping approach. You are likely to see results that look a bit blown out in Rec709 sequences. Log to HDR sequences look fantastic, however.
The Waveform above is from a Color Managed clip, none of the highlight or shadowed values have been clipped or lost, you can see them extending way above 100 IRE and dipping below 0.
The Waveform above is from a LUT converted clip, all highlight values have been remapped or clipped to values below 100 IRE, and shadow values are either remapped or crushed to values greater than 0 IRE.
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Color Space Transforms and LUTs are not at all the same.
That's exactly what I mean. The color space for the manifestation of the material. This is the right decision. We can use Luts for grading/styling. The main work is in redefining and preparing the material for painting.
I did some research and found the difference in manipulations when working with color. Note the significant difference in the screenshot with different ways of color influence on the clip.
Color correction/Grade on the clip itself (left) and the difference on the adjustment layers (right).
So explain the reason for this discrepancy in working with color? In this case, many people are used to working with adjustment layers that are not suitable for working with color at all. There are opinions
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