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Question

How to use Wide Gamut workflows in Adobe Premiere?

Forum|Forum|4 years ago
July 9, 2021
2 replies
8673 views

Sorry to re-open this old thread/wound.

I am attempting to export out of Premiere, Sony Venice debayered as S-Gamut3.cine/Slog3. The idea is that I export an ungraded ProRes 444 master out of Premiere and grade it in Resolve.

Setting timeline working space to Rec709 and exporting Rec709 looks *almost* right but seems to have some gamut clipping or compression. Setting working space or export space to PQ or HLG results in something else entirely.

I was hoping I could export to a larger gamut out of Premiere and "Color Space Transform" in Resolve, but so far I have not found a way to map the Rec2100/PQ or HLG back to Sgamut-3.cine/Slog3. Some Adobe secret-sauce at play maybe?

R Neil Haugen, any thoughts on how to accomplish this?

Best,

Jerome

[Moderator note: discussion split off from old thread to new one as things have changed somewhat.]

This topic has been closed for replies.

R Neil Haugen

Legend

Which part of the export process isn't making sense? Let's see if we can sort it out.

Neil

Everyone's mileage always varies ...

Jerome RaimAuthor

Known Participant

Here's a 1-frame trimmed original OCM to illustrate the issue:

https://lion.box.com/s/7oo562vt302auy5qqdt5egql6avwfsyk

In Premiere, I set RAW X-OCN debayerying to S-Gamut3.cine/Slog3.

Timeline color working space is kept at Rec709 (other color spaces don't help).

Export settings is QuickTime Apple ProRes 444 16bit. All Export color spaces tested (Rec709, PQ and HLG).

Rec709 offers the closest match to properly debayered footage (as debayered in Resolve or Sony RAW Viewer). HLG and PQ is doing "something". When I take the HLG and PQ versions into Resolve, no matter what Color Space Transforms I apply, I cannot get them to match Resolve's/Sony's S-Gamut3.cine/Slog3 debayering.

Attached JPGs are:

- Properly debayered out of Resolve

- Premiere's Rec709 export

- Premiere PQ export

R Neil Haugen

Legend

There's no way to export to a CineLog or s-gamut out of Premiere. I'm not even sure you could do that in Resolve.

To get the widest color gamut out, I would suggest using either a PQ or HLG Rec2020 sequence, do your editing. Then use that chart for exporting to either HLG or PQ in Rec.2020.

The Scopes panel can be set for color gamut/space also, and I would suggest doing so. As long as you aren't getting any crushed blacks showing, Premiere should not clip any highlights/whites. So check for crushed blacks in the scopes If you've got any, simply lift the image up. Don't worry about the monitoring so much ... that's still dicey unless you're running say a Decklink card out to a full HDR.

If you have a Decklink or AJA output to a monitor, you can probably see the PrPro image correctly. Or pretty close.

If your transmit out monitor is HDR capable, and in the OS settings you can set it to use that in HDR, you may get a usable image. My setup doesn't really allow for confident HDR work, as I don't have a Decklink, and my BenQ PD2720U (I think that's the name of the thing) monitor is supposedly "HDR capable" but only goes up to about 350 nits in HDR mode.

But again, working with sequence and scopes in Rec2020 either PQ of HLG, then exporting to ProRes following their chart settings ... and they've an updated chart around somewhere here ... you should be able to get everything out.

Fun thing is Adobe is on a company wide summer vacay time this week. Don't know if any developer will answer our "call" ...

@Francis-Crossman17221443 ... @Trent Happel

Neil

Everyone's mileage always varies ...

Jerome RaimAuthor

Known Participant

Hi Neil,

Thanks for answering so promptly.

When working non color managed in Resolve, it will not do any kind of gamut compression/clipping. So ProRes mezzanine files for any Wide gamut (ALEXA, Sony, RED, etc.) properly preserves the gamut.

The HLG/PQ export out of Premiere is not making any sense. Meaning I am unable to reverse-engineer what Adobe is doing to get back to proper S-Gamut3.cine/Slog3.

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