Making Sony Venice proxies in Premiere/Media Encoder

[Brian23583488dx13]

Hi,

I'm using Premiere Pro 2020 on a PC and we started working with a Sony Venice camera for a project, when I bring in the footage, I switch the Sony RAW MXF Source settings from REC 709 to S-Gamut3.cine/S-Log3. I also need to add a LUT in the Lumetri color effects. I can do all that to the native, no problem. When I go make a proxy file of the clip, those effects don't carry over the proxy codec I have made in Media Encoder. Is there a way to make a proxy codec that would bake in the S-Gamut3.cine/S-Log3 color space so the LUT free native and proxy would look the same so when I add the LUT to the Lumetri Color effect they look the same when I toggle between the proxy and native?

[R Neil Haugen]

That proxy workflow was broken with the complete rebuild of the color system away from being Rec.709-centric with the Pr2022 build series. They do have a possible fix out now in the public beta version, which seems to work.

So use the beta tab of the Creative Cloud desktop app to install the public beta. You can have it alongside the current shipping without issues. And you can open a project in the beta, try something, close, and open in the shipping version without troubles.

So I'd suggest installing the public beta versions, make the proxies, and see if they work correctly.

Neil

[Brian23583488dx13]

Thanks! When I go to create proxies, it still looks like it hasthe REC 709 color space on the clip in Encoder to make the proxy, so the coloring of the proxy is off from the native

[R Neil Haugen]

Are these made in the public beta version?

Neil

[dreac29174312]

Hi guys - same issue here. I shot RAW MXF on the sony Venice. When I bring into premiere I can toggle and choose the correct color space - for me it's S-Gamut3.Cine/S-Log3, that gives all my footage a flat look so i can apply a lut to it. BUT the problem occurs when i try make proxies for all this footage. It bakes a 709 lut into the proxies, which i don't want. I just want S-log3 or my proxies so the LUT applies to both the master and the proxies while i edit. I used to be able to do this same workflow with no issues in prem2020. I've tried going back to 2020, 2021, and now 2022 but they all have the same problem. I've also tried to going between my M1 and Intel mac - same issues. The only other thing that changed is that i'm running Monterey now. Any ideas guys? 

[Gorm5EC5]

Hi, I wonder if you found a solution - I'm having the excact same problem - cheers, Gorm

[Brian23583488dx13]

No, we ended up making the proxies in resolve then imported them into
premiere

[lucasgaynor]

Anyone found a solution to this? Any way to override the color management settings of the Venice footage on Media Encoder? The rec709 look that applies by default looks very blown out in the highlights and makes proxies unusable.

[R Neil Haugen]

Did you use the Project settings panel, Modify./Interpret Footage, set the Override option to Rec.709 with that footage?

As that ain't no "Rec.709" default look. It's simply reading the log-encoded media and assuming it's HLG ... an HDR clip. "Because some Rec.709/SDR is log encoded, but all HDR is log encoded."

Neil