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I’ve encountered an issue in Premiere Pro 2025 when working with Canon R5C footage in C-Log3/Cinema Gamut. When the Auto Detect Log Color Space feature is enabled, the footage appears overexposed and overly saturated in the Source Monitor, even though it looks correct in the timeline (Program Monitor).
Any thoughts on this issue?
Hi @, CD_Studios,
Thanks for the post and the info you provided. I’m Kevin from support, a moderator here. May we have more information? See the post, “How Do I Write A Bug Report? (https://adobe.ly/42eB5iS) to list the details that would be helpful for us to know in order to solve your problem. For example, Adobe experts and our staff would also want info about your computer system. I hope the community or the team will respond shortly. Sorry for the frustration.
Thanks,
Kevin
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Hi @, CD_Studios,
Thanks for the post and the info you provided. I’m Kevin from support, a moderator here. May we have more information? See the post, “How Do I Write A Bug Report? (https://adobe.ly/42eB5iS) to list the details that would be helpful for us to know in order to solve your problem. For example, Adobe experts and our staff would also want info about your computer system. I hope the community or the team will respond shortly. Sorry for the frustration.
Thanks,
Kevin
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Thank you for your reply. I will do my best to convey the issue here and include screen shots.
Subject: Issue with Auto Detect Log Color Space Causing Source Monitor Overexposure in Premiere Pro 2025
Description:
I’ve encountered an issue in Premiere Pro 2025 when working with Canon R5C footage in C-Log3/Cinema Gamut. When the Auto Detect Log Color Space feature is enabled, the footage appears overexposed and overly saturated in the Source Monitor, even though it looks correct in the timeline (Program Monitor).
Here’s a breakdown of the setup and the issue:
1.My Settings:
•Display Color Management: Enabled
•Auto Detect Log Color Space: Enabled
•Use Media Color Space: Checked
•Auto Tone Map Media: Checked
Clip Properties
System profile
2.Expected Behavior:
The Source Monitor and Program Monitor should display the footage consistently, whether the transformation is auto-applied or manual LUTs are used.
3.Observed Behavior:
•The Source Monitor displays the footage as overexposed and highly saturated.
•The Program Monitor displays the footage correctly with the expected Rec.709 transformation.
Overexposed Source Monitor
Display Color Management unchecked
4.Testing and Workaround:
Disabling Auto Detect Log Color Space and manually applying a LUT (Canon C-Log3 to Rec.709) resolves the issue, making both the Source Monitor and Program Monitor display consistently. However, this defeats the purpose of the Auto Detect feature, which is meant to simplify this process.
Auto Detect Log unchecked
Adding LUT
LUT applied
Steps to Reproduce the Issue:
1.Import Canon R5C footage recorded in C-Log3/Cinema Gamut.
2.Enable Display Color Management and Auto Detect Log Color Space in the project settings.
3.View the footage in the Source Monitor and compare it to the Program Monitor after adding the clip to a Rec.709 timeline.
4.Observe the discrepancy (overexposure in the Source Monitor, correct display in the Program Monitor).
Impact:
This issue undermines the utility of the Auto Detect Log Color Space feature, forcing manual intervention for correct color handling. It adds extra steps and confusion, particularly for workflows relying on accurate source monitoring. Further, it doesn't allow for applying an effect to the source clip to save time and effort from having to copy/paste the same effect on multiple cuts from the same clip in the timeline.
I hope I've made some sense here... I'm happy to offer clerification if it helps.
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As noted otherwise, that is because there are separate sequence settings for tonemapping depending on the color space of the sequence.
How is the Source .... which is usable in sequences with different color spaces ... supposed to know which sequence CM to apply?
You can easily dupe the clip, probably into another bin, and have one set on input to Rec.709, one not. That would give you both 'views'.
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I posted a copy/paste of my reply to the bug forum too. If any moderator thinks doing so is unnecessary please let me know and/or delete.
I apprecaite everyones help!
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The "Source" monitor is ... source ... pre-effects. The Timeline panel shows after effects and such are applied.
Clips shown in the Source monitor are not set to be, nor expected to be, the same as the timeline. Even if you have both auto-detect log and auto-tonemapping set to on, and the sequence to Rec.709, the Source does not 'see' the tonemapping to Rec.709 because that is part of the sequence data.
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On one level this does make sense: The source IS source file data. But part of a typical workflow is applying effects to the source clip to save time and effort from having to copy/paste the same effect on multiple cuts from the same clip in the timeline. You can't accurately do that if the source monitor is not displaying properly. Am I wrong?
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I use Source effect application a lot.
What you've run into is in the new CM setup you can use the same clip reference in the bin for different timeline CM. You can use it say as Rec.709 in one sequence, PQ in another, planning on sending that to compositing or whatever.
And each sequence will correctly handle tonemapping.
So it is an issue with some Source effect workflows.
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Hmm... I'm not sure if I'm following.
I'm not sure if you had the chance to see the screenshots I provided when replying to Kevin.