Inspiring

Answered

Creating proxies without a LUT with HLG footage

Forum|Forum|1 year ago
March 5, 2025
3 replies
2781 views

I have footage from a DJI 4D camera (part of a Ronin gimble rig). It seems to shoot ProRes RAW in HLG color space. When I import the raw footage into Premiere, I can make it look flat by, under Source Settings, changing the Color Space to "D-Gamut/D-Log". However, when I right click on the Source Clip and "Create Proxy", then cut the clip into a sequence, when I Enable Proxies, I'm unable to keep the clip looking flat. The only way I've got it to work is to create a sequence for each shot and exporting each sequence to manually create proxies.

Is there an easier way to make proxies for 10-bit footage that stays flat?

Import

Correct answer Fergus H

@KazuTa the issue is likely that the color space you've selected in Effect Controls > Source > Color Space is being ignored when the file is being passed on to Media Encoder for the proxy creation. I will check with my colleagues to see if that's a bug we're aware of.

As a workaround, you could create the proxies manually by importing the source files into Media Encoder and updating the Source Settings there to choose the correct color space. It's not idea - you can't select multiple files, even of the same type and change their source settings all at once - but it's probably the best option for now.

I'm sorry for the inconvenience and if I come up with a better idea or suggestion from the team, I'll let you know.

@John V Knowles you mentioned "Auto Tone Map". That will never affect whether a clip looks flat or not. It's only going to affect whether a clip on the timeline looks blown out.

@R Neil Haugen Preserve RGB or entirely turning off color management would normally be a good option to check what's going on regarding a clip looking flat or not. However, in the case of a format that has a color space option in Source Settings, it's not: the importer is rendering the clip in the color space selected, before the color management system is involved.

Regards,

Fergus

P

PeartreeStudios

Known Participant

@KazuTa please consider trying our ProRes RAW plugin: OCTOPUS RAW Studio. It offers considerably more control over RAW handling and greatly improves workflow. For example we have a sidecar metadata override system which could be used to force all clips in a folder to use one color/gamma space.

Fergus H

Correct answer

Community Manager

@KazuTa the issue is likely that the color space you've selected in Effect Controls > Source > Color Space is being ignored when the file is being passed on to Media Encoder for the proxy creation. I will check with my colleagues to see if that's a bug we're aware of.

As a workaround, you could create the proxies manually by importing the source files into Media Encoder and updating the Source Settings there to choose the correct color space. It's not idea - you can't select multiple files, even of the same type and change their source settings all at once - but it's probably the best option for now.

I'm sorry for the inconvenience and if I come up with a better idea or suggestion from the team, I'll let you know.

@John V Knowles you mentioned "Auto Tone Map". That will never affect whether a clip looks flat or not. It's only going to affect whether a clip on the timeline looks blown out.

@R Neil Haugen Preserve RGB or entirely turning off color management would normally be a good option to check what's going on regarding a clip looking flat or not. However, in the case of a format that has a color space option in Source Settings, it's not: the importer is rendering the clip in the color space selected, before the color management system is involved.

Regards,

Fergus

R Neil Haugen

Legend

Thanks for the clarifications. SO many ticky little things to know.

Everyone's mileage always varies ...

J

John V Knowles

Community Expert

Right? I feel like I'm going to need a full debrief on how all the Color settings work together.

-------------------------------------------------------------------------JVK | Editor/Designer/Software Instructor. Pr, Ae, Ch, Ps, Ai, Id

J

John V Knowles

Community Expert

Instead of changing the color space on the clip, turn off settings for the entire project.

In the Lumetri panel, go to settings and turn off the Auto Detect Log Video Color Space and if you have HDR footage then turn off the Auto Tone Map function as well. That will ensure you only see the flat look througout. Any proxies made at that point should also be flat.

-------------------------------------------------------------------------JVK | Editor/Designer/Software Instructor. Pr, Ae, Ch, Ps, Ai, Id

K

KazuTaAuthor

Inspiring

Thank you for your response! I do have Auto Detect Log Video Color Space deselected. It doesn't appear that I can turn off Auto Tone Map function unless I have a sequence selected. I tried selecting the clip, right clicking, and Create Proxy, both in BT.709 Color Space and D-Gamut/D-Log Color Space. Both proxies are not flat, they have Rec.709 baked in. We hand these projects off to off-site editors who won't have the raw media, so I need to make sure the proxies look flat. So far, the only way I've been able to do so is to create individual sequences for each clip and export the sequences.

J

John V Knowles

Community Expert

I just created a ton of proxies for a doc project and they looked as flat as the raw media. So it's totally possible as long as you turn all the color management options off.

Is there a LUT on the source footage or is a color space being applied?

-------------------------------------------------------------------------JVK | Editor/Designer/Software Instructor. Pr, Ae, Ch, Ps, Ai, Id

Sign up

To post, reply, or follow discussions, please sign in with your Adobe ID.

Sign in to Adobe Community

To post, reply, or follow discussions, please sign in with your Adobe ID.

Scanning file for viruses.

This file cannot be downloaded