NEW TOOL COLOR TRANSFORM Premiere 22

Yes, I have heard and seen. But, such a similar tool should be in Premiere. He has to be there. The correct display of the color space is the key to image quality. The lut can be tinted or adjusted to give style. But, first you need to competently develop this material. I still don't understand why so much time has passed since the introduction of standard tools on the color page panel and that's it. There is no development with color in Premiere today. I think developers should and are simply obliged to keep this page up to date and look for solutions so that users simply have a lot of opportunities when working with color, and not limited sliders of dark, medium and light. This does not resemble a professional product, but something similar to an amateur application with three settings.

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