Color Grading under 22.2 ( not about the bug )

Community Beginner ,
Feb 22, 2022 Feb 22, 2022

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iMac 5K 27,2019 3GHz 6 core i5 64gb 2667 DDR4 Radeon Pro 570x 4 GB. /Pr.Pro CC 22.2.0 (Build 128)

 

Hello All,

 

I have the problem that after the 22.2 update (from15) my colors are off and very hard 

to get back were there were before! Same Cam Settings / Same Studio Lights.

on this quest i read the Nice Post from Neil H. ( color managemnt for log/Raw ). there for :

 

So to get this " right " Pr likes to work in rec 709.?!? ( dose it alwas hast to , if you render out to YT ? )

So the seq. Setting is set to rec709 ?

the .mov files, in side project panel, needs to be modify>interpretfootage>color space override Rec.709?!?

drag and drop via source monitor in to time line.

Then i overlay a adjustment layer >Lumetri Color 

Problem:

well that dose not work so nicely as it did before ! 

i can't get it to match. so what change under the hood ?

what is the best work flow for setting up HLG and Vlog L .mov files now?

 

ps.: Display Color Managment ( requires GPU acceleration) is check in general preferences 

 

How dose Pr do the Color "Math" ?

is the probelm related the the color Science of the GH5 and how Pr is seeing it ?  

Shooting in MOV LongGOP 422/10 4K 150M/25p.

 

also what dose this tell me 

wenn clicking Finder Info : HLG (9-18-9) / BT.2020 is schowing

wenn i click Properties   Rec.2100 HLG is this not a missmatch ?

and what should i chose in the settings / scope  2020 or 2100 ???

 

i cant get me head around this,

any clearing information it's greatly appreciated

thx

Stevan

 

 

 

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Editing , Export , Formats , Import

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Adobe Community Professional ,
Feb 22, 2022 Feb 22, 2022

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First, at this time, there are SO FEW screens that actually work in HDR, I don't recommend shooting in that format. Period. It simply complicates your workflow enormously whether you're using Premiere or Resolve, really. And as so few screens can see the results correctly, IF you can manage it, well ... it's a lot of work for not much.

 

In six months or a year, that may have completely changed. But not at the moment.

 

As for clips that were shot in HLG/PQ, or any HDR form using Bt.2020, 2100, 2084 ... to use those in Premiere for SDR/Rec.709 timelines and exports, you need to go to the clips in the bins, select all the affected clips, right-click/Modify/Interpret Footage, Override set to Rec.709. You can do that to entire groups of clips and it's fast to get the CM set correctly.

 

Now those clips should work on a Rec.709 sequence. For Sequence CM, go to the Sequence settings panel, there's a CM section there now also.

 

For HDR work, you would leave the clips in the HLG/PQ space with whatever Bt2020, 2100, 2084 they currently have.

 

Set the Sequence to the HLG or PQ options, and use an HLG or PQ export preset so you get a full HDR export. I would recommend using the Graphics White set to 203 nits option.

 

And of course, here's the two FAQs as things stand now for what's changed, how to work, and what's broken as of 20 February 2022 in the first, and how to set up monitors for HDR ... IF you want to work in HDR in Premiere at this time.

 

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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Advocate ,
Feb 22, 2022 Feb 22, 2022

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Any high-resolution media in the HLG/PQ profile needs to be interpreted from the trash of the project panel (by selecting all clips and redefining them in REC 709. in CM - Modify - Interpret). At the same time, in the composition setup, you need to leave the HLG/PQ profile and confirm them during export. This is how you visualize the material with support for a wide HDR color space. If you do not want to use the final material in HDR, it is recommended that you select REC 709 in the sequence settings and also confirm REC 709 in the export settings.

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Community Beginner ,
Feb 22, 2022 Feb 22, 2022

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Hi Baffy 

 

thank you !

my time line is now in rec.709 and i modifyed all the clip to rec. 709

but do i not lossing the better gradeability that i want in the first place 

by shooting in Vlog L  or HLG plus on the GH5??

 

thx

S.

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Advocate ,
Feb 22, 2022 Feb 22, 2022

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LATEST

Of course, any change with a color that should initially work correctly can make its own adjustments, because you compress the color space by narrowing its boundaries. But, to date, this is the only solution to how Premiere can display colors correctly. However, despite this, using the tools of the Lumetri panel, you can pull the image to a very close initial state. But, once again, this is not the solution to this issue. So far so. Ideally, Premiere should correctly interpret the material into the color space you need, which we hope to see in the near future.

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Community Beginner ,
Feb 22, 2022 Feb 22, 2022

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Thank you Neil,

 

0k i get your point. As of know it dose not make sense to work in an HDR workflow,

As long as you're not having a real HDR capable reference monitor. ! 

But how to utilise the HDR of vlog L footage in a Rec 709 time line then ?

 

being a photographer at first , this looks like  i'll let my Raw file be Converted

to jepg by a default algorithm and them making the color grading on a less gradable Jepg ?

Is this analogy correct? 

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Adobe Community Professional ,
Feb 22, 2022 Feb 22, 2022

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First, I'd be happy to test a clip. There shouldn't be any problem with the dynamic range of that V-log in Premiere, working in a Rec.709 color sequence. People routinely take Arri and Red camera media, with 13-15 stops of lattitude, and scale those within Rec.709.

 

Log encoded images are recorded differently as data in the file, and can be scaled to the dynamic range of the sequence.The process of taking log media to a visual timeline is called "normalization". Note, this doesn't go in one step from log to final appearence, just from log to normal appearance. With a full dynamic range and proper saturation.

 

After normalizing log media, then the next step, like with any other clips, is shot-matching clip to clip, then of course applying an overall feel or "look" to a series of clips. Basic color grading 101, really.

 

Back to normalization. Some people prefer grabbing LUTs from places to do normalization, I tend to prefer "rolling my own". After playing for a couple minutes with a few clips from a camera, I can get a feel for the types of things to get and may use an instance of Lumetri saved as a preset for that camera and perhaps that camera/situation.

 

Or I might save the Lumetri look as a .cube LUT from Lumetri, named for the camera or camera/situation, so I can apply that later as needed. This saves me from needing to repeat the same steps/settings for neutralization of clips from the same camera.

 

Neil

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Community Beginner ,
Feb 22, 2022 Feb 22, 2022

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thank you Neil to continuing this conversation,

so we are now narrowing it down to the true problem and i can articulate may wrong doing.:)

The normalization prozess is not working the same as it did before in the 15 build. 

or my the incorect equalization off all source files toward the seq.settings ?

because all the adjustment layer settings i had used before in the same Studio environment

are not getting me to the same or better color grade that i need to achieve.

 

kindly

S.

 

 

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Adobe Community Professional ,
Feb 22, 2022 Feb 22, 2022

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Might be ... they totally changed the underlying color system in Pr2022, I've found a couple other things that are broken that the engineers are now working on.

 

Could you get me a sample clip in V-log-L for me to test here? Dropbox or whatever?

 

Neil

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