Baked in color on timeline clips.

New Here ,
Feb 17, 2022 Feb 17, 2022

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We are editing a big project. One morning we come in and the files from our fx9, s-log 3 look like they have a baked in LUT, even though we have turned off lumetri. This was fine before. The source files are good and desaturated, but when we put it in the timeline, it puts on a slight LUT. 

I will attach photos of the source file look, the saturated (unwanted) look and what happens when we put the usual LUT on it.

75A88344-F7F7-4E59-A4AD-E37D05F54088.jpeg

DB9569CF-E4AB-4879-A726-E616A50F912C.jpeg

BFCB8F5E-7168-4F18-9478-8DB6D6A04E19.jpeg

817B5F73-887E-4FEB-BB67-C0AE77A27C74.jpeg

5D716DDF-5C2F-4356-B07A-9EB95773AF38.jpeg

  

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Editing , Effects and Titles , Error or problem , Import

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Adobe Community Professional ,
Feb 17, 2022 Feb 17, 2022

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New Here ,
Feb 17, 2022 Feb 17, 2022

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Thank you! This helped. Why is this happening and do I have to force interprate all files from now on? 

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Adobe Community Professional ,
Feb 17, 2022 Feb 17, 2022

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They completely rebuilt the underlying color system of Pr2022. Previous versions were built as Rec.709, and a couple versions back they added "the ability to work with HLG/PQ dynamic and color range values as over-range Rec.709..." ... a cadged together way to get some HDR capabilities in.

 

The 2022 version is color space agnostic, can work with anything the user wants. So it's a completly new system with different default behaviors and new user controls. Unfortuately the new controls are spread out around the app, and the changed default behaviors are puzzling to people.

 

First, understand ... all HDR is log-encoded, which most people of course don't know. But some media expected to be in SDR/Rec.709 is also shot log-encoded. Premiere is confusing the two from the media from certain Sony and Panny cameras at this time. It's an acknowledged bug, as is the total broking proxy creation process for HLG clips. We're all waiting for the fix.

 

So ... anything shot in HLG color space, and brought into a Rec.709 timeline must be transformed to Rec.709. And any time that Premiere mistakes a log-encoded Rec.709 clip as HLG, you need to ... again ... transform to Rec.709.

 

This is done currently in the Project panel bins, right-click/Modify/Interpret Footage, down to the color management options at the bottom. Use the Override to Rec.709 option.

 

There are times that Pr says a clip is Rec.709 but displays it as if it is HLG. And won't allow an override. That ... is a total pain.

 

I'm including links to two FAQs. The first covers the changes, how to work in the new system, and what's currently broken.

 

The second covers how to monitor in HDR if that is your wish, as monitoring HDR also dramatically changed this version.

 

Neil

 

FAQ:PremierePro 2022 Color Management for Log/RAW Media



How to Set Monitors for HDR work in Premiere Pro 2022?

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New Here ,
Feb 18, 2022 Feb 18, 2022

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Thank you for your detailed answer!

I hope this will be fixed as soon as possible! 
Herman. 

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Adobe Community Professional ,
Feb 18, 2022 Feb 18, 2022

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So do many of us. The changes were needed, yes ... but as implemented, not very clear to SO many users, and with a number of totally broken parts also. Yea, we need the fix along with the rest of the new system tools. The partial implementation wasn't a great idea, methinks ...

 

Neil

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