How to turn Auto Color Correction off

New Here ,
Jun 04, 2022 Jun 04, 2022

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Hi,

I just started using Premiere Pro and on my project I noticed that when I add a clip, it automatically is color corrected. When I right click to remove attributes there are no attributes to remove. How can I add clips in it's original colors so that I can color correct them manually? Thanks

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Adobe Community Professional ,
Jun 04, 2022 Jun 04, 2022

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That isn't any 'auto-color' ... it's a color management issue. You're using a (probably) HLG clip, a form of HDR, on a Rec.709/SDR timeline.

 

Select one or more clips in the project panel, right-click/Modify/Interpret Footage. The new color management tools are at the bottom.

 

Set the Override to Rec.709 option.

 

Neil

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Explorer ,
Jun 07, 2022 Jun 07, 2022

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Hi Neil,

What is the workflow when someone is using Premiere Productions? Overriding doesn't seem to work for me, because the footage is being stored in a different project then the project holding the sequences. Once you 'forget' to override to Rec. 709 from the beginning (once importing the footage into Productions, dropping it on a timeline) it seems impossible to 'relink' the modification.

Isn't there an easier way instead of removing the old footage and having to import it again? That seems to be the only way for Premiere to recognize the footage to be 'flat'.

Thanks.

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Explorer ,
Jun 07, 2022 Jun 07, 2022

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Maybe I should add:

I'm importing all footage into a Footage project within a Productions project. Within that Footage project, I'm dropping all clips onto a sequence. That sequence is being moved to a separate sequence project.

Once you forget to modify the Interpret Footage from the start, the only way to make a colorless export from your edit is to move the sequence back to the Footage project (as if the sequence needs that project to reestablish the 'connection' with the footage), and only then you are able to make an export without colors.

Is that really the only way to make a 'flat' export for graders who work within (for example) DaVinci Resolve? If so, why would Adobe change their software in such a drastic way that you can't just switch back to the way how things worked before the recent Color Management update? That really messed up our workflow.

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Adobe Community Professional ,
Jun 07, 2022 Jun 07, 2022

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I'm not getting that behavior, and I don't think it should be working that way.

 

The meta for media is in the project panel/bin with the clips. I have 'storage' bins as recommended, but the 'working' or sequence parts are in other projects within the Production. And the CM set in the Modify/Interpret Footage for the clip seems to follow to any sequences. As I would expect.

 

Now, sequence CM settings are of course applicable only to that sequence.

 

So I'm wondering if @Bruce Bullis  might be able to help ...

 

Neil

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Explorer ,
Jun 07, 2022 Jun 07, 2022

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Thank you for your comment 🙂

From what I understand, you basically use the same workflow as I'm using, but for you it seems to work:
"The CM set in the Modify/Interpret Footage for the clip seems to follow to any sequences". That doesn't happen for me. Once I override the 'forgotten' clips in the Footage project and save it (even after restarting Premiere), the sequences in all separate projects (within Productions) aren't affected at all. There is still color.

So basically I have:
1 Footage project holding the source media (all MXF files)
1 project for gfx
1 project for music
etc.

Besides these, there are also projects that hold single sequences (nothing else) so multiple editors can work on the same episode. Again, these sequences (containing synced footage on a timeline) where made within the Footage project and then moved.

So here is the weird part:

This is being tested on several computers within the same network (all running the latest version) and there are several outcomes. Once opening a sequence on two different computers, the one which created the sequences shows all footage in a 'flat' way, but for another computer which is in the same project at the same time, some clips are colored (the ones being 'forgotten' while modifying the Interpret Footage option).

In both situations, there's no way to make an export from the sequence projects. You really have to move the sequence back to the project where it was created (in this case the Footage project), after which exports are back to normal.

I'm kind of thinking about reinstalling all sets that are affected by this, but I'm not sure if that will make any difference. I also tried to delete al (Media) Cache.

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Adobe Employee ,
Jun 07, 2022 Jun 07, 2022

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> "Once you forget..."

Agreed, hard to recover later.

Could you explain what "export without colors" means, to you? [I think I know what you mean, but would like to be sure...]


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Explorer ,
Jun 08, 2022 Jun 08, 2022

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Thank you for your reply.

Our footage comes from a Sony PXW-FX9 (Sony S-Log3/S-Gamut3 or S-Gamut3.Cine).

This footage by itself is ungraded, which later is send to a coloring house to be graded.

I get that the new color management within Adobe tries to reverse the color space on its own, but in our case (besides the fact that it looks awful in most cases) we need to send out the edit to our grader. Right now, Adobe really makes it hard to just export the timeline, because there is no way to turn off this new color management.

I had to make an export a couple of hours ago, and yet again, the only way is for me is to move the sequence from project to the project it was created in (so it sits right next to the raw footage). For now it works, but in the end its a workaround. A workaround that's really unnecessary in my opinion.

Yes, it's a matter of importing it the right way and modifying the color space override to Rec. 709 (so partially on 'people' to blame), but it would me things a lot easier when you're able to correct the color space afterwards (especially in case of Premiere Productions) or if you're able to just switch a button to 'classic mode' (or something like that).

Unless I'm missing something and I'm still able to fix it in an easy way. Right now, besides the workaround mentioned before, my only chance is to import all footage again in a separate project within the Productions project, modify those clips the right way and than find back the exact same clips to drop them above the old clips. Which will take quite some time.

Thanks for your input!

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Explorer ,
Jun 08, 2022 Jun 08, 2022

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To make things more complex: I've narrowed down the issue to 'just' several editing systems which opened the Premiere Production project at least once since it was made.

Today, I opened the Production project on a system (also connected to our server) which never opened the Production project before, and as it seems, it recognizes everything as 'flat' footage. The sequences (inside multiple projects within Production) that hold various clips (which are being 'forced' with color on other systems within our network) are now shown 'flat' (ungraded).

That is basically what I want. Somehow the other systems (which worked within the Production project on multiple occasions before) seem to be 'bugged'? Yesterday, I already tried to clear all the cache. Both on the local systems and on the server. That didn't seem to do much for the 'affected' systems. It did force each system to rebuild the cache, but they all still force color on some of the clips on some of the timelines. Which doesn't happen on the system we tested today.

I'm thinking about reinstalling Adobe Premiere on the systems which act weird. Or if that doesn't work, to reinstall the entire OS. In that case, I'm just hoping this is all related to not modifying the 'overruled' color space right away. Which basically means that it won't be happening in the future as long as we are strict on 'overruling' the color space.

Still, that does sound like a bug. You would say this sounds like a cache problem and clearing all cache would solve the issue. Or am I missing something?

Thanks again!

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Participant ,
Jun 08, 2022 Jun 08, 2022

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Did you try to create a new sequence and paste the footage in there? That helped for me when PPRO decided to change the colorspace without ACTUALLY changing the colorspace.

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