How to remove LUT from proxy file?

Forum|Forum|3 years ago
April 27, 2022
2 replies
5740 views

Hi,

I've noticed a small "problem" when making proxies.

Whenever I shoot on the FX6, Premiere does a color space transform to my clips.
Usually I just remove the LUT through "Interpret footage" - no problem.

But when I want to make my footage to proxies, they automatically burn in the "LUT" that Premiere has given the clips - which I just find super annoying.

I have tried to make a .cube file from Davinci, and then import it to Premiere, where I then made my own Ingest preset.

When I tried to render the proxies with my flat LUT, Media Encoder still put their Color Space Transform on the proxies.

But when I tried to render the proxies with Premieres own LUTs, I did not look like Media Encoder put on the Color Space Transform.

Do you guys have any idea on how I can remove the Color Space Transform, that Premiere/Media Encoder automatically put on the proxies? 🙂

Thanks

This topic has been closed for replies.

R Neil Haugen

Brainiac

Technically, that's not a LUT, it's a transform. Mathematically/performance-wise two very different things.

I'd love to see an example of original/proxy as you're getting them now.

Neil

M

Mikkel Kinimond5D34Author

New Participant

Hi again,

It looks like a "bug".

Since in the beta version, there is no color space transform on the proxies.

R Neil Haugen

Brainiac

The public beta version has newer color management options, which will be in the shipping version soon. The problem isn't a "bug" really, as much as they rolled out with incomplete handling of all file types for color managment in all situations.

Truthfully, Pr2022 has a competely new data handling system for image data. Ground up. 2021 and prior, the color system was Rec.709 centric. Pr2022 is what I'm calling "color space agnostic". Designed to work either Rec.709 or HDR, using the Rec.2100 stats for HDR.

They needed to make the change, period. But two problems: they didn't stick the landing for all potential media format/codecs out there, and they didn't get the information that it was new and required different operating procedures from the users "obvious" either.

So in the public beta, they're rolling out the updated code to include more format/codecs and options than originally "shipped". I had long talks with the program manager at NAB ... this was one of the subjects we discussed. And yea, he's aware it's not been smooth for many users. "To put it politely."

Neil

R Neil Haugen

Brainiac

What's the media you're working with? Log, or HLG or other HDR? And what is it doing to the proxies?

They've had issues with the 22.x builds brand new color system, where proxies with some HLG media don't get the proper treatment. So for example, an HLG or even many Sony log-encoded clips, either used in a Rec.709 timeline, the proxies are HLG. And "blown out" on a Rec.709 timeline.

For that issue they have a potential fix in the public beta app. Download it from the Creative Cloud app's beta tab, and install alongside whatever else you have.

You can open and test the proxy setup there, and close ... then go back to using the 'shipping' version.

Neil

M

Mikkel Kinimond5D34Author

New Participant

Hi,

I'm working with S-Gamut.Cine/S-log3.

Premiere Pro is burning in a "Rec. 709" LUT, to the proxies.

I'll try to give your solution a shot!

Thanks!

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