Upon import to Premiere, footage from a project I shot on a Sony camera (.mxf files) was automatically turned to Rec 709. I was able to change all the clips to S-Log3 and edited a full rough-cut, but now opening the project after a twenty-day period, the files all somehow reverted back to Rec 709, and the way I recall changing the Source Setting/Color Space is no longer working.
Several clips I sent (in S-Log3) to have VFX applied had come back to me, and they remained in S-Log3 even though every other un-VFX-ed clip reverted to Rec 709.
When I right-click a clip in the Library/Bin, I go to "Source Settings...", and nothing happens; no window pops up. Similarly, I can't Modify/Interpret Footage as the Color Management tab is greyed out.
How can I get my footage back from the automatically applied Rec 709 to S-Log3?
We have to wait a long time for Adobe engineers to revise the policy of contemplation in one "window". Here it is necessary to radically change the principle of working with color. My guess is that the further decisions are made in this direction, we will not see anything good and there will be endless exclamations about working with sources. We need to think about this and work on a qualitatively new approach when working with color. They've already thought of everything, but they can't implement it correctly. This is a global problem and all Premiere users are struggling with it, but engineers don't seem to see problems and force them to work on their product as if it were professional. This is not the case now.
Do you know of any other way I can try getting my footage back to S-Log 3? I've been editing this project for 5 months, and we have been planning to get it released within the next couple of weeks. As it is in Rec 709, the details are lost in the highlights and shadows, so the visuals don't look good in this color space. Right now I'm pretty lost as to how to move forward.
You seem to be conflating S-log-3 with a color space? What timeline were you using that in? If not an HLG, then you were actually using that media in the Rec.709 color space, just still in "log" view, meaning not normalized ... so I'd like to get confirmed exactly what you were doing.
Were you working in an SDR/Rec.709 timeline before, or an HLG/HDR timeline?
If the former, working in a standard SDR timeline, what normalization process did you use on that log media?
And finally, if you could show a clip with the scopes ... preferably Parade/RGB and Waveform, unclamped ... we could see if the scopes indicate clipped or crushed media.