Cambio de color trabajando con Proxys.

[J.serrano]

Hola.

Escribo por aquí por si a alguien más le ocurre, porque solución por parte de ADOBE parece ser que es esperar a otra actualización, porque después de horas intentando solucionar el problema ( 5 horas conectado a mi pc ) no dan con la tecla.

Es problema es que al crear un proyecto con proxys, cuando trabajas con ellos activados ( por ello los creo) el color de los clips cambia totalmente ( saturación y exposición ) con los que hace imposible editar el color de manera correcta.

No me parece que la solución sea esperar a que saquen una actualización (días, semanas, meses) para poder trabajar de manera correcta, como llevó haciendo varios años y con el mismo flujo de trabajo.

Esto es un programa profesional para profesionales, necesito poder seguir trabajando como siempre.

Un saludo.

[Michael Grenadier]

you need to tell us your source properties and where the footage came from.    New formats have changed the way they handle color so you'll need to do some research to understand how these new formats have made changes to your workflow necessary.  There's a post that's pinned to the beginning of this forum that probably explains what's going on...

https://community.adobe.com/t5/premiere-pro-discussions/faq-how-to-fix-saturated-over-exposed-hlg-cl....  

[J.serrano]

Gracias, he mirado la publicacion, pero mi fallo se produce activando los proxys.

 Sin proxys activo tengo el color correcto.

[J.serrano]

No es posible instalar una version anterior del programa y que funcione correcamente? 

[Michael Grenadier]

it's probably the format that's changed not the program, but you can install earlier versions in the creative cloud app by clicking on the elipsis (the three ...) opposite the program name.  Adobe has restricted this to the latest versions and the previous version...    The problem is probably caused because the camera original format has a differenet color space than your proxy format...  This stuff is not simple...  and it's not my field of expertise.  but as I asked in my previous post, please tell us your source properties and where the foorage came from.  You can determine the format by selecting a clip in either the project/bin window or in the timeline, and control clicking (or right clicking on it with a 2 button mouse) and choosing properties.    If any of this isn't clear, post back.

[J.serrano]

He probado a instalar versiones anteriores y el error sigue estando.

La grabacion esta realizada con una sony a7III y te dejo los datos del clip:

Tipo: Película MPEG
Tamaño de archivo: 744,07 MB
Tamaño de la imagen: 1920 x 1080
Velocidad de fotograma: 59,94
Formato de audio de origen: 48000 Hz - 16 bits - Estéreo
Formato de audio del proyecto: 48000 Hz - Punto flotante de 32 bits - Estéreo

Alfa: Ninguno
Espacio de color: Rec. 2100 HLG
Anular espacio de color: Desactivado
LUT de entrada: Ninguna
Tipo de códec de vídeo: MP4/MOV H.264 4:2:0

[Michael Grenadier]

and what are your settings for the proxy files?  In most cases, the default color space is rec 709...  Not sure what the best workflow will be, but probably match the color space of the proxy format to the color space of the camera original.  hopefully someone else with more knowledge then I have will pipe up...

[J.serrano]

I don't know that information, I hope someone can help
Since I need to be able to edit the color of my next jobs, and if I don't find a solution I'll have to use another program.

[R Neil Haugen]

Ahh ... the files are HLG, an HDR format. Premiere has a completely rebuilt color system for the 2022 series and some things aren't working as the engineers expected. Including proxies from HLG clips ... acknowledged as simply broken at this point. I've had a couple different format/codec combos that people have sent me to test, and couldn't make it work.

Well, it can't work if you're working with a Rec.709 timeline, as although you can use a color space override to Rec.709 option on the original media (for most but not all cameras, sadly) Premiere will do the proxies in HLG ... even if you make a new encoding/ingest preset specifically SET to "conform to Rec.709" ... it will not follow the conform direction. I couldn't make a usable Rec.709 proxy not no way not no how.

So I passed that on to some engineers, they replicated, and replied they'll get a fix in the next patch they send out ... but we're all still waiting for that patch.

Neil

[Michael Grenadier]

so maybe the OP should work in DaVinci Resolve which seems to have a pretty sophisticated color space environment?  Or is there an alternative workflow in Premiere by transcoding the camera original to a different format...?

[R Neil Haugen]

The only way to get "proxies" of them in Premiere at this time (late February-2022) is to transcode, you're correct. WITH the Effects tab of the Export dialog set to 'Conform to Rec.709' or SDR ... whatever that option says. So you need to export every clip ... individually, to get the name correct! ... to a low-res ProRes or DNx format, with the Conform option set.

Then use the "attach proxies" option in Premiere to see if it will accept those clips.

I just realized I hadn't tried using MediaEncoder to do a transcode of a folder of clips, which would be faster than one at a time outta Premiere. I'd have to test before being certain that even works.

Neil

[J.serrano]

Hola.

Me he perdido un poco, ya que mi ingles es de traductor.

La unica manera es crear los proxys desde el mediaencoder y luego adjuntar?

Si es asi? como exactamente creo un proxys en mediaencoder?

Un saludo.

[Michael Grenadier]

hopefully Neil has a better handle on this than I do,    I have some specific presets setup for creating the proxies depending on the format of the camera original and it's never been simple for me to create new presets.  Takes some trial and error til I know it's working properly.  Just do a test with a relatively small file and make sure it attaches successfully in premiere (by either enabling proxies and selecting a clip in the timeline and make sure it's pointing to the proxy file or by setting up your metadata disply in your bin to show that the clip has a proxy).  This is crucial.  I thought I had everything working properly a few times and then discovered the proxies were not attached properly.  This was a few years ago, so it's possible they improved the interface but I wouldn't count on it     

Don't hesitate to post back with any questions...

And gotta say, I think we're doing pretty well making ourselves understood all things considered.  

[R Neil Haugen]

I'll have to try the process, I'm not sure we can get it to work, and it's a pretty tricky bit.

Neil