Is there any easy way to bypass input LUT on export?

Forum|Forum|1 year ago
June 17, 2024
1 reply
1826 views

When I export small clips for VFX work, I'd prefer to export these without the input LUT enabled.

There are basically two ways I can achieve this right now:

Right click the source clips and disable input LUT, then export, then re-enable.

Or use an adjustment layer that I can turn on or off. This is easier, but seems to perform worse, especially if I'm making adjustments to the motion of the original clip, and sometimes doesn't work as well if the source is HDR.

I'd prefer for there to be an option during export to bypass input LUTs.

I'd also like an option for the project to have a default input LUT as well, rather than needing to set it up for every input source.

I believe these are things you can do in Resolve, but I can't seem to find easy ways to achieve these things in Premiere.

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R Neil Haugen

Legend

What Input LUTs are you choosing to use? Premiere doesn't have them as such. The new color management system relies on tonemapping (an algorithmic process) rather than LUTs for log media.

So it sounds like you are applying a LUT ... ?

Everyone's mileage always varies ...

morphinapgAuthor

Inspiring

Right click source, click Modify -> Color. Add Input LUT in this screen:

I generate my own LUTs. Do my own color space conversions and tonemapping, incorporating my own grading, rather than just standard color management. I have one LUT for SDR output, and a different LUT for HDR output.

R Neil Haugen

Legend

Ahh. For working in both with the same clips, manually ... you need duplicate the clip in the bin. This creates a different metadata record for the same clip on-disc. Name them accordingly.

Then in one you can have your Input LUT for HDR work, the other one for SDR work. Just make sure you use the SDR referencing clip on Rec.709 sequences, the HLG referencing clip on HLG sequences.

The way Premiere handles metatadat about clips, this is kinda more useful for a totally manual workflow.

Personally, as someone who works for/with/teaches pro colorists, and spends a lot of time also in Resolve ... I've found the tonemapping used in Premiere a perfectly usable starter for bringing clips into the progam. And as working that way means you can use one clip reference without worying about using it in both HDR and SDR sequences, it's simply easier.

I'm not a fan of the "Input LUT" being placed before any possible 'trimming' of clip values. As LUTs can so easily be destructive, and typically can clip or crush out-of-expected values. It's nice to be able to 'trim' the exposure/contrast settings pre-LUT to be assured the clip meets the needs of the LUT.

But everyone works differently. Everyone.

Everyone's mileage always varies ...

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