Now in Beta: Embedding Interpret Footage Input LUTs into a Project File

[eric escobar]

In Adobe Premiere Pro 24.1 beta, Interpret Footage Input LUTs are embedded directly into a project file to make collaboration and sharing easier.

Previously, Input LUTs assigned to footage in the Interpret Footage dialogue were not embedded into a Premiere Pro project file. When you shared this project with someone else, or moved to a different machine that didn’t have the LUT, Premiere declared it offline and wouldn’t render it.

This meant requiring the extra step of sharing any associated Input LUTs assigned in the project file. In Adobe Premiere Pro 24.1 beta, this is no longer necessary because Input LUTs assigned in the Interpret Footage dialogue are now embedded into the project and travel with it.

An Interpret Footage Input LUT can be assigned to a clip in two locations:

1) By Control-Clicking the video clip in the Project Browser and selecting Modify > Interpret Footage > Color Dialogue.

2) In the new Lumetri Color Settings Panel, under the Source Clip section.

Assign the Input LUT and save your project.

That’s all you have to do, Premiere Pro has embedded a copy of this LUT into the project so you can easily share it.

[disarms52143552]

Can this please be implemented for Red Footage please? 

[eric escobar]

Hi, can you explain more what you mean by this, what is your workflow?

Currently, RED footage can be transcoded and transformed from RED RAW to log or rec709 in the Effects Panel, not with the Interpret Footage Input LUT feature. 

[disarms52143552]

Correct. The problem that occurs is you have to do this on a clip by clip
basis. This is obviously not great when you have 100s of clips. There is no
efficient way to have a rec 709 lut that you can turn on and off quickly on
all .r3d footage in a project. The only way now is to disable source
effects and this also disables all the RAW parameters. I don’t see why this
can be done with Arri, Canon, Sony , etc but not Red.

[eric escobar]

I may not be following your question correctly, apologies in advance. But the Embed Interpret Footage Input LUT is done on a clip by clip basis. It is not automatically assigned to all clips of that format that imported to a project. It allows the Premiere Pro project to contain Input LUTs that have been assiged to clips in a project, rather than having to share LUTs as external files. There is no global on/ off switch for the LUTs used by the clips.

[disarms52143552]

Am I incorrect in thinking that you can highlight multiple clips and interpret them all at once? I believe you can batch interpret the input LUT. That is what I am missing when dealing with Red Footage. We need a way to color manage 100s of clips from log to a rec 709 viewing space. Both Final Cut and Resolve have a simple way to do this. No such way currently exists in the premiere workflow. 

[eric escobar]

You are correct! You can multiclip select and apply a single interpretation to that group of clips. That is a standard practice. My clarification was that this doesn't then mean every one of those types of clips outside the selection will receive that LUT. Whether its one at a time, or with a group, this is a manual operation.

[disarms52143552]

Right that would be amazing! But for .r3d footage you cannot use an input lut. It's just grayed out. This is the issue. 

[R Neil Haugen]

Eric,

This actually highlights a bit of a terminology thing ... you have Input LUTs for clips in the Project settings, which seems to be a "Source" setting, and also "Input LUT" in the Basic tab  ... but they don't seem to pull from the same list, do they?

Very confusing.

Neil