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Bug: Transcoding MXF files removes LOG profile

New Here ,
Oct 31, 2021 Oct 31, 2021

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This is what I noticed for version 22.0. When transcoding MXFs (created from Sony FX6) to ProRes (proxy and non-proxy) it removes the LOG profile—and for some reason converts the colors automatically to Rec.709. I'm not sure if Premiere reads the MXF file with the viewing LUT I used for my HDMI monitor output when shooting, but it shouldn't have baked it in.

 

When I imported the MXF file to my Source Monitor, it recognizes the LOG profile, but when creating a sequence out of it, the LOG is removed.

 

I reverted to Premiere's older version (v.15.4.1) because of this, and this will be the version that works with my MXF log videos.

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Error or problem, Formats, Import

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New Here ,
Nov 08, 2021 Nov 08, 2021

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Same here with my Sony FX6 Files -->

When I imported the MXF file to my Source Monitor, it recognizes the LOG profile, but when creating a sequence out of it, the LOG is removed.

Now i try the old versiom hope that fixed it.

 

Yes it fixed the issue... 

 

But a great FU to Adobe!!! The project in V22.0 i cant reopen in the older version again FU damn suckers..... All the work for nothing..... I send you the invoice 

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Adobe Community Professional ,
Nov 08, 2021 Nov 08, 2021

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I suggest that you search here for how to allow your project to opened in an earlier version of Premiere.  There are a few ways to do this...  Since I haven't had to do this, I don't have these solutions in my head...   And it's never a good idea to migrate your project to a new update until you make sure everything is working properly.  It's impossible for Adobe to test every possible variation in hardware and other factors...  unfortunate but this is the way every computer based editing software operates...  back in the day, avid controlled all hardware and operating system and still updates would occasionally break things for some people...

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Adobe Community Professional ,
Nov 08, 2021 Nov 08, 2021

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What you ran into here is new Color Management (CM) options in the 2022 version. They are actually long overdue, giving the users some CM choices. But ... they are being applied piecemeal and bits and pieces in different locations in the app, so it's confusing and somewhat frustrating. And the options are still very limited.

 

As you've noted, they changed the default behavior also. For some log media that Pr recognizes as such, they auto-apply CM to 'normalize' the clip to the timeline color working space. Trying to do, say, what you as a user have been able to get in Resolve for some time.

 

And they give a few options if you don't want the default choice. But while it will be of use to the majority of users, it may not allow you to do what you actually want. It doesn't seem to allow one to request that the media stay in log.

 

So your only control is to choose how it is tranformed/normalized, and to what. You may need to add a LUT of your own creation/choosing to get the 'feel' of the file you want. Not an ideal solution for your specific situation at all.

 

Go to your clip properties in the Source panel ... right-click clip(s) in the bin, Modify/Interpret Footage.

 

At the bottom are the new CM options. Except  ... (there's always exceptions) ... if your media is say RED or BRAW with a meta-data driven panel available in the Source tab for that media. Because if that is the case, then the CM options in the bin are not available. Why? ... dunno ... I guess you're supposed to use the Source panel then.

 

But it's one behavior for certain types of media, another for other 'similar' media. Yes, confusing.

 

Also there are CM options in the Seqeunce Settings dialog for working space of the sequence. That's tripping up people also if Pr chooses something they're not expecting. Again, you can go into that dialog and select the option you need.

 

Neil

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