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Jerome Raim
Jerome Raim
Known Participant
July 9, 2021
Question

How to use Wide Gamut workflows in Adobe Premiere?

  • July 9, 2021
  • 2 replies
  • 8654 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.

2 replies

R Neil Haugen
R Neil Haugen
Legend
July 9, 2021

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 Raim
Jerome RaimAuthor
Known Participant
July 9, 2021

I believe this issue stems in part due to Premiere's awareness that the source is S-Gamut3.cine/Slog3 (since the source is RAW and Premiere is the one doing the debayering).

 

If I export the properly debayered footage out of Resolve as a ProRes 444, bring it into Premiere and re-export it out of Premiere, Premiere does not touch the gamut and I get a 1:1 with Resolve's export.

    Jerome Raim
    Jerome RaimAuthor
    Known Participant
    March 21, 2024

    Describe the differences between Premiere and the others ... and you've got a Baselight system, wow ...  😉

     

    Better yet, add screengrabs of the scopes.


    R Neil, screengrabs of the various debayers are attached in one of my earlier posts. Easy to see the (subtle) differences between them, both visually and via scopes.

     

    If you're staying in Premiere from start to finish, this is a non issue.

     

    But if VFX plates are processed in any software other than Premiere, and Premiere's debayer is used for the OCM/Drama portion, when it's time to apply the grade from OCM to VFX, those subtle differences will not be easy to fix.

     

    This is what prompted me starting this thread almost 3 years ago: VFX work done outside of Premiere did not line up with Premiere-debayered material, adding a lot of unexpected work for the colorist.

      R Neil Haugen
      R Neil Haugen
      Legend
      July 9, 2021

      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 Raim
      Jerome RaimAuthor
      Known Participant
      July 9, 2021

      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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