Participant

Question

Changing the Colour Interpretation of Merged Clips

Forum|Forum|4 years ago
March 9, 2022
5 replies
4137 views

Hi There,

having a nightmare at the moment with a picture locked offline edit of 2 half hour broadcast shows that have now fallen victim to the new colour management update in Premiere 22. One show shot on a Sony FX6 and the other on an FX9. The older show had been rough cut late last year before the update when it was still v15 and when i open up the project on 22 its getting blown out like a double LUT has been applied. Did some research and found out about the issue and reverted back to 15 and picked up and rebuilt the sequence. So good so far. The 2nd sequence shot on teh FX9 in Slog edited in a v22 project was displaying correctly up until today when i reopened to export and found the same issue. All of my working files were processed in Premiere with non-sync sound and merged to give synced rushes with proxies etc. I can select all of the raw material in the project and right click - interpret footage and change the colour management overide to rec709 which displays the original footage correctly on a rec709 timeline. However my merged clips are all still being misinterpreted as HLG and the option to interpret footage and colour overide are greyed out for the merged clips. The sync timeline i used to create the merged clips from is displaying correctly.

My question is - without having to start from scratch or recreate all of the merged clips and proxies and rebuild the timeline is there any way to get around this? I'm going to have to export for Online in the next week as well as for sound mix and could be doing without starting form scratch so to speak.

Any help would be hugely appreciated.

Running Premiere v 22.2.0(Build 128) on an iMac Late 2015 4GHz Quad-Core i7, 32 GB Ram, AMD Radeon R9 on MacOS Monterey 12.2.1

Using 4k rushes shot in Cine-EL on a Sony FX6 and FX9.

This topic has been closed for replies.

T

tinkthank av berlin

Inspiring

"Merged Clips" is an endless source of pain in Premiere. IMHO they should overhaul this functionality or get rid of it entirely.

The UX logic behind merged clips is flawed, you shouldn't be able to make copies of clips which loose the reference to the original clips in the way "Merged Clips" allows you to do it.

Warren Heaton

Community Expert

@tinkthank av berlin

Merging picture with sound recorded on a different device is an important post-production feature. Bugs should be reported and, hopefully, addressed in a timeline manner.

T

tinkthank av berlin

Inspiring

I am fully aware it is a very important feature. Unfortunately it does not work at all in Adobe Premiere and this is not a new problem, it had been the same for years.

As a workaround, because there is no "good" way, people use nested sequences and multicamera clips to work around the horrible "Merged Clips" functionality.

I have been using premiere on and off for at least 20 years, in the beginning it was the lack of omf/AAF export functionality that was a deal breaker for using premiere in a professional environment, now it is the lack of a good workflow for productions that use external sound.

I am at a point where I believe adobe doesn't care about this target group. For me, I love premiere, but I would never edit a feature or long documentary project with it's for this specific reason.

SMWhitehead

Participating Frequently

Would love to know any progress on a fix here - got exactly the same issue and having to redo work now against a deadline...

Adobe please don't make 'smart' features that can't be overidden. Software 101 surely.

R Neil Haugen

Legend

You have media from which cameras? Trying to keep a rough track of which ones are still not working well in Pr.

Neil

Everyone's mileage always varies ...

R Neil Haugen

Legend

The merged clip can't be Color managed... it's greyed out. So although the source file can be overridden it doesn't affect anything further down the line. So if, like in this instance, you have sequences with merged clips (timecoded audio) the only option is to start again... and risk it happening again.

or as I have now done build nests so that you can always access the source media. But it means merged clips cannot be used until there is a fix.

if you have any light to shed that'd be great! As it's makes syncing audio by timecode so much quicker and accurate if we can use merged clips

Thanks for the clarifications.

I always sync remote audio to camera files by the multicam process, as the"merge clips" option has so many working drawbacks. And the multicam is as good or better at automatically syncing the files.

You can have a bin with ten files, five of them cam originals, five remote audio, from five different shoots. Select all/create multicam, and essentially you get five 'new' clips, one of each setup. Slick.

Neil

Everyone's mileage always varies ...

R Neil Haugen

Legend

John,

In the public beta, they now have options in the Modify/Interpret Footage "Override to __" section for several Sony and Panny log formats, including S-log3/S-gamut3.cine ... so you should probably go test that option out.

Neil

Everyone's mileage always varies ...

J

John234184277ikhAuthor

Participant

Neil,

Thank you so much for your suggestions and hints. I might send you a file via wetransfer and take you up on your test offer. I'll download and install the Beta now and have a look if it makes any difference. If there's no joy there i was wondering if its possible to export an edl from Premiere 22 to use in Permiere 15? Not sure if it would work or not.

Ill post a wetransfer link shortly. Thanks again everyone for all the replies.

John

R Neil Haugen

Legend

I'll await that link. Have some things to start off with this morning, but should be able to get to it today.

Neil

Everyone's mileage always varies ...

R Neil Haugen

Legend

That's a bummer ... but I don't know any way to get the S-log3.cine really working well with Pr2022. Other than exporting all the clips from the bin, so they retain the file names, with the "SDR Conform" option checked in the Export dialog's Effects tab. Then you will probably get usable SDR files, and can replace the files of the project with those, make proxies & etc.

It's a hassle, it might work ... so Pr2021 would really be my best suggestion at this time.

Now, I'd be happy to test a clip of it that media, if you could link me to a dropbox type service.

And they do have apparently a couple color management fixes (of the several ones needed!) in the public beta, so you might try installing the public beta and checking that. You can work "shipping" 2022 projects in the public beta, and go back to working them with the shipping version easily.

I typically have the public beta, shipping, and as many previous versions of Pr installed as were available when the computer was made. This rig has back through the 2019 versions, I've an older one that goes back to 2015. Even ... SpeedGrade, sigh ...

Neil

Everyone's mileage always varies ...

B

Baffy19

Legend

A significant disadvantage of previous versions is that we do not get the features that are now available in the current version. Agree. It is not an option to go below the current one.

R Neil Haugen

Legend

There are some changes in the captions/subtitles that would be a pain to lose by going back for many pros. Past that, not so much that I can think of to go back one version.

Neil

Everyone's mileage always varies ...

J

John234184277ikhAuthor

Participant

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