After reading extensively on the subject of color management, I still don't have a clear understanding of it, so hoping someone here can help make sense of it for me.
Using Premiere Pro V. 24.0.0 (Build 58)
Computer specs:
MacBook Pro (late 2018)
Mac OS V. 12.6.1
Processor: 2.9 GHz 6-Core Intel Cor i9
Memory: 32 GB
Graphics card: Radeon Pro Vega 20 4 GB
Display: 15" Retina, 2880 x 1880 (display gamma set to "Color LCD")
I'm currently cutting a project I shot on several cameras.
The bulk of it was shot in 4K S-Log 3 cine on my FS7.
Some of it was shot on an iPhone 13 Pro, in HLG 4K mode.
All the footage was imported into the 2022 version of Premiere and with "override color space" turned off, so the FS7 clips now read as Rec. 709. The iPhone footage also had override "color space" off, and color space reads as Rec. 2100 HLG.
I can't remember excactly why I decided to edit the footage on a Rec. 2100 sequence (I think at the time, it was the only way I could find that made the iPhone footage look normal, rather than blown out).
Current Lumteri settings panel is set to Extended dynamic range monitoring, and "use media color space" turned on.
Project is not done yet, but when I've exported some test clips that include a mix of S-Log footage with a LUT applied via Lumetri, and the iPhone HLG footage. Results were that the S-Log looked fine on export, but the iPhone footage was overexposed. The only way I found to export that made the iPhone HDR footage look correct was enabling Tone Mapping and the "hue preservation" setting in the export panel, but when doing that, the S-log 3 (with Lut) footage looks slightly darker than when exported with any other Tone Mapping settings (settings which make the S-Log 3 stuff look brighter, but blow out the iPhone footage).
This project is intended solely for web distribution (various social media sites and YouTube).
So, given all that, my questions, of which there are many, are:
What display setting should I be using on my MacBook (again, currenly set to "Color LCD")?
Should I be editing in a Rec.709 or Rec. 2100 sequence?
Is there any advantage in cutting S-Log 3 in a Rec. 2100 HLG sequence, with auto-tone map turned on, than cutting in a Rec. 709 timeline, given that I don't have an HDR display?
I don't remember if Premiere 2022 had the tone-mapping feature to allow both Log and HLG footage to look correct on my display when in a Rec. 709 timeline, but it seems like Premiere 2024 can do this, so do I need to just duplicate my current 2100 HLG sequence and change the settings to rec 709, then go back through the S-Log footage (all currently set to "Use Media Color space", which reads as rec 709) and set it to "override media color space", with the appropriate S-Log selected in the drop down menu?
I'm really struggling with what the correct display settings, correct clip color management settings, and timeline color space and correct Lumetri sequence settings should be. Any help with making sense of this would be greatly appreciated:)
AdChoices