Lumetri whites out clips completely

[Sean Kernan]

Just opened a project that I hadn't worked on in about 7 months. A large number of the clips were completely white. Files were linked. Trying various things, I turned off Lumetri and could see the clip fine. Turned it back on and screen went white.

Updated the software, no change. I have switched dto a

I DON"T want to have to do all of this color work again. Anyone know what is happening?

[R Neil Haugen]

Yes, it's the new color system in PrPro. It used to be a totally Rec.709 app, and now ... it works both with HDR and SDR timelines. Confused how that's causing this?

Prior behavior was everything 1) assumed to be Rec.709 for log-encoded clips and 2) transformed to Rec.709 if the color space of the clip was HLG/PQ.

New behaviors ... 1) nothing assumed to be Rec.709 and 2) HLG/PQ clips are no longer transformed to Rec.709/SDR.

So those clips you're having troubles with are from one of two things.

• They were shot in HLG color space (you can see that in the clip Properties) and Premiere transformed them to Rec.709 for you.
• Pr2022 is currently mis-reading some log-encoded media as if it is intended to be HLG, an HDR form. Particularly with some Sony and Panny cameras and their log-encoded Rec.709 media.

Go to the clips in their bins, and check their Properties for color space. If they are showing as HLG, then select them as a group, right-click, Modify/Interpret Footage, and set the Override option to Rec.709. That should take care of it.

Now, if they're showing as Rec.709, but are log-encoded ... that's ... perhaps another problem. If so, what cameras created them?

I've created a couple forum FAQs on this I'll provide links for. The first covers the changes to color management and color systems in Pr2022, what changed, how to work with it, and what's currently broken ... like proxies from HLG media. The second is how to monitor in HDR in Pr2022, as that's also completely changed.

FAQ:PremierePro 2022 Color Management for Log/RAW Media

How to Set Monitors for HDR work in Premiere Pro 2022?

And ... they're adding new and needed CM controls, but hidden all over the app where they seem to 'fit'. But hunting them down is a right pain, and we need a single control panel for CM. Where we can set defaults AND overrides behaviors.

Color Management Panel

Neil

[Sean Kernan]

Thank you for this knowledgeable assessment. It seems incredible that for as long as the M1 chip has been out, Premier has been quite slow in responding, and there still are problems.

Honestly, it makes me want to go looking for a different software… And I absolutely hate learning new software. But if it did the job… Do you have any thoughts on that?

Anyway, thank you again.

Sean

Sent from my iPhone

[R Neil Haugen]

It isn't your M1 chip in this case, this happens with all users. Again, because it's an issue with the new color system built for the Pr2022 release.

As to other fields perhaps being a more perfect 'green' ... (which is actually more yellow than green by hue vector ... ) well, maybe, maybe not.

I'm a staffer over at MixingLight.com, a pro colorist's teaching website. My beat is working and grading in Premiere for the Resolve/Baselight people, for when they have to work in Premiere. So I have to be quite versed in Resolve and use it most days for some things. Testing, trying, learning how it does X, recreating something similar in Premiere.

And over on the BlackMagic fourms at this time, are a couple long threads where people are complaining of how BM has totally left their 'base' of pro users going for the Adobe-competitor ranks of the YouTube crowd ... cameras not getting firmware updates, some of their many hardware items that have not the best records for reliability, not paying attention to user needs requests ....

Does any of this sound familiar? Sigh. I think the only truely solid grading system at the moment is Baselight. Because ... you buy one of three systems from them, the $10G, $15G, or $20G computers ... yea, as in you buy the computer that comes with Baselight and ONLY Baselight for 10-20,000 dollars.

And then pay a yearly subscription fee of something like $1,500 I think.

But what you get is a rock-solid performer in Baselight.

Both the Adobe apps and BM's Resolve are trying to be all things on all equipment. Which seems to naturally come with ... issues.

Neil