I have a project that I had to return to and the color is all off on all .MXF files. This is the same computer I had worked on for the original edit so there is no confusion on the LUTS not transferring over properly. For some reason the color is all off on my .MXF file on my timeline. Whenever I reset the Lumeri Color it still looks like there is color added to it and doesn't look anything like my RAW footage. It is as if there is some color effect already being applied to all my .MXF files in my sequences no matter what I do. Has anyone else had this issue? I tried just starting from scratch and having the color match my second shot of the interview but I just can't get them to match. Any information is great. Thanks!
What camera, and what color space are the files? Are they log-encoded perchance? P2022 has a completely rebuilt color system and some things are different, a couple things broken. But we'd need to know more of your situation to understand what's going on in your machine.
I'm having the same issue. We used Sony FS9 - when importing into Premiere, the video appears to be color corrected, but I'd like to turn it off and manually color correct.
iMac 5K 27 inch 2019, 3.6 Ghz 8-Core Intel Core i9
64 GB 2667 MHz DDR4
Radeon Pro Vega 48 8 GB
Mac OS Big Sur
Not at all sure that your issue and the original one are the same ... as there are several competely different things that I know of that could be involved in both yours and the other post.
So, what is the exact nature of your media, please ... especially color space, and was it shot in a log format?
And if shot in log, you should probably test out the newest public beta, which has options for some Sony and Panny log formats that are not available in the current 'shipping' version. Such as for S-log3.cine.
Found in the bin, Modify/Interpret Footage, down to the Override to section.
Thank you, yes, it was shot in log.
Is there a way to import the clip into the timeline with no additional "interpretation of footage" applied?
At this point ... doubtful in any usable sense. I take it you prefer to roll your own log normalizations? I do too.
For a bit of information. What they're applying here isn't a LUT, actually ... its a color space transform built by tonemapping, is how they've explained things. Rather a higher grade of math than a LUT applies. There won't be any clipped or crushed values unless the file exposure is well off from what it should have been.
And it's typically better to go after the tonal & color work on a tonemapped file than an older style LUT application.
So ... test it out, see what you can get out of it.
Edit: Actually, what they're trying to get to here is a proper color managed transform/tonemapping process from camera space to display space. Very similar in effect to Resolve when working in Resolve Color Managed and 'feeding' it camera spaces it knows. It auto-adjusts from the camera space to your chosen display space, typically Rec.709/gamma 2.4.