NEW TOOL COLOR TRANSFORM Premiere 22

Forum|Forum|4 years ago
January 26, 2022
3 replies
1775 views

When the necessary new tool for developing material from the camera appears on the color page without losing information in details. Without LUTs. Straight from the camera. So that there is 100% detail without distortion of the color space. This tool is needed right now. For example, the name Convert the color with the camera profile settings and boom the purest quality of the development frame in Premiere.

Cool?

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Correct answer Ann Bens

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chrisw44157881

Inspiring

I don't usually plug plugins, but since Premiere isn't going to support ACEs anytime soon, check out Cinematch.

"CineMatch converts your footage from one Log picture style to another. Mix and match between SLog2/3, CLog, BRaw, V-Log/L, RED IPP2 and more, and apply the correct REC.709 transform with a single click.

R Neil Haugen

Legend

I've heard some good things about Cinematch, and as we don't currently have an ability within Premiere to user-select matching camera color spaces, this is about as good as you can get.

You can mostly build working models yourself with a bit of time & experience. But Cinematch jumpstarts things a ton. Within the cameras they are set to work with, of course.

I've been pushing for something my colorist friends are mostly doing in Resolve these days: all media on import is assigned a CST to specifically move that clip from whatever it is, to P3/D65, the widest practical color space available. Then they select Rec.709 for their display option if going to a Rec.709 deliverable. Or an HDR option for monitoring for an HDR deliverable.

Then as all media is in the same space/gamut, the color controls all work the same on all clips. No matter the camera. Which is a very good thing.

Premiere used to work the same for a color control surface with all clips, which isn't surprising, as everything within Premiere was treated as Rec.709 up through Pr2021.

But ... as of the Pr2022 release, there are some subtle and some not-so-subtle differences between different formats/codecs/media types. HLG/PQ/log-encoded clips don't 'feel' precisely the same anymore, when correcting on my Elements panel.

Neil

Everyone's mileage always varies ...

B

Baffy19Author

Legend

Neil, I'm not talking about the problem of color profiles right now. I mean, we need a similar tool that allows us, without plugins and LUT, to transform raw material into its native color space as in a camera without loss of quality. Do you now understand the scale of the importance of this tool?

R Neil Haugen

Legend

I think what you're asking for is essentially tonemapping? Or CSTs, color space transforms, for each camera that a user selects? I'm not sure from your comment.

Neil

Everyone's mileage always varies ...

B

Baffy19Author

Legend

Everything is clear Neil. This is not tone mapping in any way.
It doesn't come close to the tool you called CSTs. It is CSTs that needs to be implemented as soon as possible. What is happening now with the manifestation of color from the camera (LOG/RAW) is profanity. LUTS is not the option and it does not give what CSTs.

R Neil Haugen

Legend

Well, what you're suggesting is not clear to me, that's why I'm asking.

You mention LUTs ... which aren't applied automatically by Premiere on anything, so that's confusing.

What is currently happening with some log-encoded media is that Premiere is seeing it as HLG/HDR. When actually is it just supposed to be log-encoded Rec.709. Premiere is supposed to be able to note when a file has Rec.709/sRGB color property tagging, that even if log-encoded it's still Rec.709. And for some formats/cameras, it does.

But for some others, it fails, and sees the log-encoding and improperly assumes Rec.2100/HLG as the nature of the media. The engineers have said it ain't supposed to be doing that, so they're trying to fix that part.

Which is kind of understandable when you know that all HDR media is encoded in a log format. Such as in the name, Hybrid Log Gamma ... that's a hybrid (mixing) of log encoding for all but the shadow regions, which use a gamma encoding process similar to SDR/Rec.709.

Further ... Pr2022 has clearly a completely new underlying color system/engine/whatever you call it. They haven't specifically said so, just talked about the many changes to color managment and default behaviors in Pr2022. But from working with it, yep, it isn't the old Rec.709 underlying math "with the ability to work with over-range data to work with HLG/PQ HDR media" cadged onto it.

So the reason we're getting some clear errors on the part of Pr's color right now is it's a totally newly built system. And yes, there are several errors from what the engineers expect such as the totally broken proxy system for HLG/PQ clips. And again, they're working on fixing it. It ain't supposed to be like this.

So ... that said, what would you like to see for behavior?

Neil

Everyone's mileage always varies ...