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I'm on Premiere v22 on an imac pro.
When opening existing projects from older versions some of my footage has a mutliplied LUT and the colors are oversaturated and blown out. I'm using S-log footage .mxf from a Sony FS5/FS7. I tried to disable source effects clips and it is greyed out. I tried to modify the clip and it shows that it is using the source type (screengrab attached)
Anyone else having this issue?
My workaround is to turn off the LUT and readjust the color, but it is time consuming.
I'd like the project to open up the way it was created without having to readjust.
Thanks in advance for your help,
Jessey
Interpret the Footage to 709 and you should be back in the ballgame, JJ. Welcome to the brave new world of HDR. This is not a bug, but a feature. It is now set up so that you can have HDR clips and an HDR sequence. You do still need to create a HDR export preset, however.
If you prefer the legacy workflow, that is how you deal with it; via the Interpret Footage dialog box and "Colorspace Override" set to Rec. 709.
Thanks,
Kevin
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Interpret the Footage to 709 and you should be back in the ballgame, JJ. Welcome to the brave new world of HDR. This is not a bug, but a feature. It is now set up so that you can have HDR clips and an HDR sequence. You do still need to create a HDR export preset, however.
If you prefer the legacy workflow, that is how you deal with it; via the Interpret Footage dialog box and "Colorspace Override" set to Rec. 709.
Thanks,
Kevin
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Great! That worked. Thanks for the help, Kevin.
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BTW, HDR workflow is not what most people want to do right now in late 2021. Very few clients will be asking for it any time soon. Still, nice to know it's there - but this post should help others that should not be stepping into the HDR minefield just yet. 🙂
Kevin
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Spot-on Kevin.
I work with a ton of colorists daily, a lot of communication. Very few pro colorists have ever delivered a show in HDR so far. There's a lot of questions to the ones that have, on how to navigate the ton of minefields to get this done right from any program.
But very few actually working at all in HDR yet. Some testing it, many haven't even tried testing any HDR yet. That's about it.
As there are still so many variables ... and most every device and app mods the HDR image a bit differently than others to 'enhance the viewing experience' ... and very few devices can actually hold color data above 450nits or so ... it's not a set thing to deliver to yet.
Neil
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WHY has Adobe changed the default colourspace setting of .MXF footage and tucked it away in the interpret footage box without telling anyone... I thought it was going insane. At least let me turn this off by default in the ingest settings.
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It's part of the massive and complete rebuild of the entire color system/math/processing of Premiere. Which started really in the first 2022 build 'shipped', and a couple bits more have been added in the updates they've sent out. We'll get more bits every update.
And ... for some reason, to the engineers it seemed most logical to put the per-clip CM controls in the Modify/Interpret Footage dialog. .. where "everyone" would assume they'd be. Right. Whatever.
We need user control of color management, from input through working space/display space/output space ... but it needs to be somewhere obvious. Like ... a special panel, where we set all color management defaults and overrides ... which I've done a UserVoice request for, please go upvote this ...
One panel to rule them all ...
Neil
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This is not solving the issue for me, is there any other setting i can try?
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We would need to know your exact media and the camera it came out of, what the media is ... and your OS/hardware. Then we can offer suggestions.
Neil
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Same problum.
If you have merged clips there is no option to modify back to rec709.
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I don't think you actually have a LUT applied there ... what it's doing is simply displaying the log-encoded footage as HDR ... as if it is meant to be HLG. You see, all HDR media is log-encoded, but some log-encoded media is still expected to be seen as SDR/Rec.709. And Premiere 2022 gets itself confused at times with this.
I'm guessing that it won't allow an Override to Rec.709 after merging, but would before. There are some Sony/Panny cameras where their SDR log-encoded clips aren't allowed an Override to Rec.709 option, but ... aren't meant to be HLG at all. And there's no way really to 'fix' that in this version. Which is an acknowledged bug by the engineers, and we're awaiting that and several other fixes for the new color system that replaced the entire previous color version with the 2022 release.
I'd wondered about merged clips, but hadn't taken the time to test. I'm certainly not surprised. @Smit-Shah , could you check this out for us? Smit works on the color side of things.
And again ... as they completely rebuilt the color systems and color management of Pr2022, including adding new CM user contrrols nearly hidden around the app, and changed many default behaviors, I wrote a forum FAQ on those changes. There's also information in it on what is currently broken, such as the Sony/Panny cam thing, and also that proxy workflows from HLG clips is totally busted. I also wrote a FAQ about using a monitor within HDR, if you want to work in HDR ... as that also went through a dramatic shift.
Neil
FAQ:PremierePro 2022 Color Management for Log/RAW Media
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Thanks Neil
In the end I had to go through all my timeline and replace the merged clips. couldent find a workaround.
Also had to go back a version with Adobe Media Encoder as it was also flaging the files as HDR when batch exporting. not looking to ouput HDR on this project.
Hopfully this will get fixed soon.
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Oh, yea, this all needs quite a bit of fixing. Totally agreed there.
I'm frustrated though that some of the engineers don't seem to get the whole unified control panel. I did have a conversation with one, and he thought that it was far more easily used if the CM options were put in what will seem to most users to be the obvious place.
Like ... going to Modify/Interpret Footage for clip CM controls, to him, that is SUCH an obvious place everyone will look.
My thoughts? If so, we wouldn't have had this huge issue with no one seeing the new controls! Because ... who would ever ... ever! ... have seen something weird in the image, and gone right to that context dialog?
I tried to point out there's a pattern ... ESSENTIAL SOUND ... ESSENTIAL GRAPHICS ... um, Essential Color would be freaking obvious. His thought ... well, he thought it would really mess up the UI ... !
And of course past that, you have to get the M&E people on-board, as they're the ones up top with final decision power. Which the only thing we users can do to get their attention is to get them 'metrics' via the UserVoice system.
Neil
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Kevin, you are a GOD among men. Thank you!
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Kevin you're my hero.
What's happening with Adobe, there just seem to be so many problems and bugs in the software these days and if this is a feature, it's an awful one.
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It's part of bringing Premiere Pro into the brave new world of multiple possible color and working spaces. Premiere used to be totally centered on Rec.709. Now ... it's not.
Like Resolve, we're going to have to learn to set color and working spaces. There's more of the 'tools' of this coming over the next few months. It is a bit frustrating that the toolset isn't fully setup yet, and has some limitations and broken parts.
Neil
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Thanks Neil & Kevin,
I'm working with MXF files s-log 3 for the first time. PP Beta 24.1.0 (build 66)
Where should I be looking for the latest workflow recommendations? (My project includes MOV and MP4 files as well, which I'm comfortable with, on their own.)
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Color management is best all handled in the Color Workspace Lumetri panel Settings tab. For Project, clip, sequence and export settings. It's vastly easier than before, actually.
And especially for the log stuff ... you can set that for Project setting to auto-detect log, then Sequence settings to auto-tonemap, and whether you use SDR or HDR for a sequence, it should give you correct tonemapping for your sequence.
It's a bit different "starting" image than a lut-based 'normalization' of log media, but ... it is actually 'safer' in most cases for your pixels, as the tonemapping algorthm is a ton "smarter" than a LUT's basci lookup table ... X becomes Y.
So your corrections to the image for final look will be a bit different than the ones you did post-LUT. But really, same difference in the end.
And ... you should be able to use that media mixed with 'non' log media on the same sequence without troubles.
And again, all of this is handled in that one Setttings tab of the Lumetri panel.