Changing Color Space of Sony HLG Proxy Files to rec 709

[The_Wynns]

Been using PP for 10+ years and I can generally work my way around new features, but this one has me stumped.

I use a sony a7iii in HLG3.  I upload Sailing/Travel videos to YouTube.  I do not need to work in the HLG color gamut.  I take the steps to change my Sony footage from HLG to Rec 709.  It's a PITA extra step, but I understand why PP offers this.  

What I can't figure out is when I import my footage I have PP setup to automatically create Low Res proxies.  In my timeline when it turn off the proxies the videos look fine, but when I turn on the proxies they look blown out like the original HLG import.  How can I force my proxies to be REC 709?  Or is there a way to make PP force all footage to be REC 709 upon import...like the good ol days.

Also (I might need to start a separate thread):  How the heck am I supposed to import Sony HLG3 and Rec 709, (Osmo, MAVIC 3, GoPro, iPhone, Insta360, etc?  I use 3-7 different cameras in each video I make, so this whole new color management has been nothing but an extra pain for my workflow.  Perhaps adobe needs to put an option for "amateur" timelines and sequences?

Thank you to the community for any support you can provide.  Hopefully someone has already answered these questions but I couldn't locate a support thread or a YT video about my specific issues.  

Cheers,

Jason Wynn

[personal info deleted by mod]

[Kevin-Monahan]

Hi Jason,

With the new version, it is going to change your workflow, I agree. If you want to return to the Rec. 709 workflow, that sounds like the best course of action. You can set up an Ingest Preset for all your HLG footage to interpret it as 709 right off the bat. With this change, I think you can then move back to operating as normal.

Perhaps adobe needs to put an option for "amateur" timelines and sequences?

I kind of agree wth this sentiment. Sorry that the application has complicated matters for you.

Thanks,
Kevin

[The_Wynns]

Wow, thanks for the quick reply Kevin. 

Can you direct me to a web page that could walk me through setting up an ingest preset that would see all my footage, from all my different cameras, then mark them as REC709, and create low res proxies with Rec 709?

My typical workflow is to drag my raw video folder from File Explore directly into PP.  I'm guessing that flow will have to change.

I'm on a 2021 creator laptop running Windows 64 Pro with AMD Ryzen 9 5900HX and NVidia RTX 3080

Thanks in advance.

[Satria Pinanditha]

I got it solved. It's not simple though. what i had to do was exporting the file that has been interpreted as rec709 into smaller size by either export tab in pp or bring it into media encoder for multiple files, then simply attach it as proxies to corresponding files. 

[R Neil Haugen]

Hey, Jason!

Yea, the changes made to Pr2022 needed to happen. Lars Borg, their chief color scientist  described their old system as "Rec.709, with over-range capabilities options for both dynamic range and color gamut, in order to allow some measure of HDR capability." Essentially, it was HDR media cadged into Rec.709, and it wasn't ever going to be anything but a stop-gap measure.

How the changes in Pr2022 were rolled out to us users ... that's a subject for much discussion, innit? I've certainly voiced my opinions on that. (None too pleased, if you want to know.)

And one of the biggest problems for users, is the new color management options, which we needed, are spread all over the app. This is making it difficult for most people to even find them once you know they exist. Until you know they exist, you'll never know even to go looking for them. NOT good.

So I've got a UserVoice request for a single color management panel ... one panel to rule them all! ... where the user could check and set default behaviors and overrides for individual clips, sequences, and monitoring. "We" could then quickly see, check, and if need be, modify the CM for any clip or sequence. I'd appreciate everyone going to upvote this request!

Color Management Panel

Next, the entire proxy system is currently broken for HLG media, according to their color engineers. And yes, I've been in contact with them. They expect to have some improvements out to get us working sometime (soon-ish? maybe?), but what and when that time will be, I of course don't have a clue.

I've tried using an ingest proxy preset on HLG clips with SDR Conform added to it, and ... still got proxies that were full-blown HDR. I can't find any way to make usable Rec.709 proxies from HLG/PQ media. Whether or not the clips have had their CM modified to override to Rec.709.

So if you can get a transcode preset for the original media with Conform to Rec.709 working, then yes, make t-codes for all original non-Rec.709 media so that you can then make usable Rec.709 proxies for those clips.

I'll add the links to a couple FAQs I've posted for this forum on what has changed, and how to work within the new system, and a second one for monitoring for HDR at this time. Sorry for the length of the first one, but ... there's a ton of stuff to cover and demonstrate.

Neil

FAQ:PremierePro 2022 Color Management for Log/RAW Media

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

[The_Wynns]

Thanks Neil,

I'm going to have to stop here as my head is spinning.  I don't want to get lost in the weeds of video editing.  We publish a new vid almost every Sunday so time to learn somethign so out of my wheelhouse is not an option.  Maybe in the future i'll be able to dedicate some learning time, after more people become frustrated and write additional articles or create explainer videos.  

In the meantime I have upvoted as requested and left a comment on your thread.  Fingers crossed they can take action in the near future.

[R Neil Haugen]

Yea, it's a load.

But then, it's one of the reasons the previous head of Pr didn't want to give users any CM controls at all, 'cause he thought editors would only screw themselves up if they had them. I understand his point, but still ... "we" users now must have those controls. (And as one might expect, I totally disagreed with that previous program head.)

But it could be more 'visible' in so many ways. Easier to work with. And of course, that's not even counting what's currently broke. It will get better though ... in time.

Neil