Disable automatic color space compression on CinemaDNG files

[SixTwo_Pro]

When I import my CinemaDNG files from the BMPCC into Premiere, it looks like premiere is still applying a rec709-type LUT to the image by default, as opposed to showing the log images it captures in.  Is there a way to disable this?  I have several LUTs built specifically for BMCC/BMPCC footage in its log format, and the auto-correction Premiere slaps on there messes up those LUTs.  I really want to get away from Davinci Resolve and go with a full Adobe workflow but unless there's a workaround for this I'm still limited to round-tripping to Resolve in order to use the LUTs.

[davebemissmith]

I came across your post because it seems like I was having the same problem that you were. Yesterday I shot S-log2 footage in 4K RAW using a Sony R5 recorder on my F5, and when I brought it into Premiere, it seemed like a Rec 709 LUT was already added to it, but in Sony Catalyst Browse, everything looked how it was supposed to. After searching through the internet, and playing around in Premiere, I think I may have found a solution for you.

I really thought it had something to do with the composition or project settings, but it was actually within the clip settings, and it's a very easy fix. In your project window, select all of your 4K RAW footage, and go to clip -> source settings, and a window comes up with your source color space. Mine was auto selected as Rec 709, but you can switch that to S-log2.

When I clicked on the source settings, the title of the window that popped up was "Sony Raw Source Settings" so I really hope that you can do this as well, and it's not limited to a Sony thing.

Good luck!

-Dave

[F.Brockert]

I'm having the same problem with my Apple Pro Res 4444 files. (I'm editing on a PC, could that be it? That my PC hates Apple?)

It REALLY messes with the Premiere / After Effects workflow...

[F.Brockert]

Hmm... So I applied the Arri Alexa LUT in AE (removed the effects that came fom Premiere) and it looks fine again in Premiere... Still not liking that Premiere adds a color scheme to my shots...

[KristofDeak]

I had a similar problem with Arri Amira Prores 4444 footage and found out the cause from the Arri website:

"When AMIRA footage is ingested into Premiere Pro, the appropriate LUT from the camera is automatically applied as a Lumetri effect, which can be toggled off if necessary."

The way to switch it off is to right-click the imported master clip(s) and go "Remove Masterclip Effects" , the cause of the baked-in look.

Hope that helps.

Kristof

editing.dunked.com

[dummergold]

Thank you Kristof

[dummergold]

The way to switch it off is to right-click the imported master clip(s) and go "Remove Masterclip Effects" , the cause of the baked-in look.

If so, can someone please explain, as I get nowhere trying to right click the imported master clip as I do not see such option.

In your first post (before this one) refering to LogC Amira, Mark links to another post with three other methods.

one method (Marks) is to create a project in Premiere CC 7.x and import that into Premiere 8.x

another method (character dude) is to XML the project to a new project

and the third method (noclue41) is to ingest the footage into Prelude CC 2014, then send to Premiere

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So, not having PP 7.x anymore, and not knowing XML, I installed Prelude, did the three updates, ingested a bmpcc dng clip, sent to Premiere and still appears to be the same as ever.

I am trying to get Premiere to view the clip the same as what SpeedGrade would see it if opened without direct link from Premiere.

And, how to you tell what exact LUT Premiere is automatically applying to the clip anyway?

[markovizual7]

Yo! Thank you so so much! In new Premiere Pro CCthis this is "Disable Masterclip Effects". But I've had a hard day with my Amira footage. Problem solved. Thnx!!!

[Nick_Papps]

Toggling the CinemaDNG Source Settings does nothing for some reason. Anyone else experiencing this?

[dummergold]

‌I toggle the fx button, beside the source settings in the effects control panel master effect side, to update my source setting 'changes' for my bmpcc cinema dng clips.

If I were to make an adjustment in the source settings, I wait for a minute until the adjustment occurs. If I want immediate update of the source setting change, I turn the fx button off, then back on, and my source settings are immediate.

If you want full control of your cinema dng, open your clip in After Effects and use Adobe Camera Raw. Then in After Effects. Now open the After Effects project in Premiere. What I have found with that is GPU acceleration is no longer available and everything exports out of Premiere through the processor. At least that was with an earlier After Effects project. I hesitate to try again, but will soon. I hesitate to try again, because it threw my Premiere project off of stability and I lost all saved Premiere projects from that point on, except for the auto-save versions.

Yes- toggling the source settings does nothing. Alexa footage is able to turn off the LUT that Premiere adds I believe. Certain ones are able to.

[Nick_Papps]

Camera raw in After Effects is definitely powerful but pretty arduous even for a 2-3 minute video.  I've been feeling my way through Resolve and it's pretty awesome.  But the speed is great with having the Lumetri Panel right there In Premiere.

Have others experienced the strange colors when using the raw profiles?

‌

[dummergold]

Arduous I would not say. Make After Effects project and pay attention to the length of your composition. Import dng and Camera Raw pops up, adjust and save project.

I hope others continue to contribute. I cannot remember exactly what is on the other page

Your Premiere lumetri - set your lumetri scopes so that they show your waveforms top to bottom (above 100 and below 0). Then take the shadow slider in the color wheels and pull up. Does that do any effect on the bottom of your shadows? It does not effect the bottom of my cinema dng shadows. It makes a cut at a point above and offsets up from that line.

[benwinter]

Premiere isn't applying any LUT, it's just doing a kind of poopy job interpreting the RAW and there are only rudimentary controls to tweak it.

The way Premiere handles raw DNGs right now is very disappointing. For whatever reason Adobe chose not to use Adobe Camera RAW to handle DNGs in Premiere and instead went with an "ACR Lite," those three rinky dink sliders in the source settings menu. I think this could be because ACR is a heavy duty piece of kit that makes After Effects attractive...if you incorporate ACR into Premiere, you're stealing a big chunk of functionality from AE. Or, maybe ACR will be implemented in a future update and these controls are just a holdover.

So what happens when you go from ACR to those three little sliders? Top image is a ML 5dmk3 frame rendered out from Photoshop, with ACR settings straight down the middle. The bottom image is the same frame except from Premiere, with no effects applied, except a slight downward exposure adjustment, without which the shirt was completely blown out.

I think there is a ways to go before there is a truly workable workflow for RAW inside of Premiere with as much image control as AE has.

Moving from raw to a workable colorspace is a lot like developing a film print, it's not a process you can throw away or automate, there is a certain care and thoughtfulness that should go into it, and really only Adobe Camera RAW controls are equipped for this kind of work.

Until then I think the best workflow is to import your footage into AE, and "develop" your footage with ACR individually before exporting to a near-lossless codec like ProRes.

[Domgill1980]

Ok, so apologies if this is already covered in this forum, but I don't want to trawl through the whole thing. After an annoying 1/2 hour I decided to export the final cut XML file from premiere and open the project in final cut. You get back to your nice flat / RAW / log images that way no problem. However, I would only do this when the project is ready for mixing / color since often audio glitches and misalignment occur. So, edit, picture lock, export video as final cut XML, then export from final cut and color from there. hope this helps

[The Jive Aces]

Apologies if someone already answered, I couldn't be bothered to read every response: In premiere if you right click on the footage in the timeline and go to source settings, then change it from rec709 to s-log raw (or whatever you shot) then it will take off the LUT.

I had this same problem in my Sony f% 4k Raw footage, took me hours to work it out, such a pointless and stupid default as you'd have to be a total knobhead to grade it to look like the rec709 makes it look.

Now my problem is that when I bring over the click to AE, AE then re applies the rec709 LUT and I don't know how to turn it on in AE!!!! Someone help!

[Cinewinna]

I can't figure out why some people see that option you're talking about whereas people like me and a few others dont see that option...Maybe it's the type of camera some use. I use a Bmpcc.

[selinamiles]

For some reason Source Settings is greyed out for me??? I'm recording ProResRAW via an Atomos Shogun recorder / Sony FS5 and it's importing with some rubbish Rec709 on it and no way to change it??? ARrrrgghghghghh!

[Cinewinna]

I also wanted to add this nice information straight from Adobe.com's product site for Premiere....

GPU-based debayering for several raw file formats

Premiere Pro now offers GPU-based debayering for AJA RAW, Canon RAW, and Phantom Cine, as well as RED and Cinema DNG footage.

These raw clips can use the GPU (OpenCL and CUDA) for an improved and faster playback performance. For Phantom Cine files, Premiere Pro also applies white balance, color matrix, gamma, and gain using the camera values stored in the video file.

______________

Maybe they do the same thing mentioned in the last sentence to other footage. It seems like they do it to my CinemaDNG footage from the Bmpcc.

[ljfied]

So...will the upcoming update include more debayering options for BMD Raw in premiere?  Or will we still have to go through resolve first?

[MichaelAllmon]

‌ok so after searching and not finding a fix or anything I took matters into my own hands. I made a LUT for premiere and speed grade that when put oN the RAW files it gives it the same look as bmd film prores. So that all of the presets and luts and film convert looks perfect. If you want it just email me at allmonbrothers@gmail.com

[kiteley1]

Hey OP, realise this is an old thread but just come across this working with Arri Amira footage and found that if you open the clip in source monitor, you get an additional tab in Effect Controls called 'Master * clip_name.mov' where you'll see a Lumetri LUT which can be disabled or deleted.

Alternatively if you have numerous clips, you can select all and right click and select 'Remove Masterclip Effects', this will remove any LUT PP has applied and revert the image back to the original LOG look.

Hope this helps.