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eric escobar
Community Manager
eric escobarCommunity Manager
Community Manager
February 17, 2023

Overview of automatic log video detection, interpretation, and timeline tone mapping workflow

  • February 17, 2023
  • 17 replies
  • 64306 views

Adobe Premiere Pro v23.2 has a new auto detect, interpretation and time line tone mapping workflow for log space video clips. We support Sony S-Log, Panasonic V-Log, and Canon Log video, as well as iPhone HLG and other HLG/ PQ video.

 

The following video shows how to enable and work with this new workflow.

 

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      T
      Trevor_Asq
      Legend
      March 14, 2023

      I put this in the beta forum but may be relevant here, as folks get to grip with the recent colour transform developments...

       

      Media Encoder, like PP, has a global 'auto detect log color space' toggle in General settings.   This is NOT LINKED to the PP 'auto detect log color space' setting and also appears to be locked in at the moment the sequence is 'sent to media encoder' - either by direct keyboard command or via the export tab. (i.e. if you change the AME AutoLog toggle after it is in the AME queue the interpretation in the sequence export will NOT be changed)   Thus it is VERY LIKELY that exports that are sent via media encoder will NOT MATCH the levels/colour in PP unless PP and AME have the same AutoLog settings. 

      I think these settings are per machine - so in shared environments would need to be set across all machines and also would need to be re-enabled if/when preferences are reset. I can see this getting very messy on bigger shared projects with multiple editors with multiple source colour spaces. 

      Maybe the AutoLog setting should be with the ToneMap choice and be per sequence, maybe with an individual clip override.

       

      Also an edit index (like Resolve) where you could view/sift/select/change these settings compared against metadata would be very useful.

      Fergus H
      Community Manager
      Fergus HCommunity Manager
      Community Manager
      March 16, 2023

      Hi Trevor, 

      Thanks for your note and sorry for the issue you're seeing. It's a problem we are aware of. It won't be fixed in the next version of Premiere Pro (which is coming very soon) but it will be in our public beta within the next week. 

      Regards,

      Fergus

      J
      johnnyk7917700
      Inspiring
      March 4, 2023

      I also shoot hlg3/rec709, seems to do good enough  tonemapping on those.

      However it doesn't detect Slog2/Sgamut.cine  maybe add that too?

        Fergus H
        Community Manager
        Fergus HCommunity Manager
        Community Manager
        March 16, 2023

        We are going to continue to add support for additional color spaces. I'm curious: when / where do you choose to use S-Log2 over S-Log3

        B
        Buruch
        Participant
        February 23, 2023
        We were hoping that this latest upgrade fixed our color issues but it did not. This was posted in the FB group a couple of weeks ago, not sure where to go from here. Most of our projects began in PP 2021 (15.4.1) then some went to 2022, and many were finished for broadcast in 23.1 Now when we go back and open these projects in any suite, it seems like the Lumetri color grade is corrupt. Colors are off, blacks are crushed, etc. We tried interpreting footage to rec 709, tried a new project copy and pasted timeline, nothing works except going backward and opening them in 2021 and 2022, and this doesn't seem to work on all projects. This does not seem to be an issue between Silicone M1 and our Intel Macs as it's an issue in all three suites. Footage is mostly from Sony A73's but seems to affect other footage too. Greatly appreciate help on this, or please direct us, maybe even to adobe support, do they have phone support? thanks in advance!
        Our Specs in our suites:
        Edit 1-Mac Studio 2022 Silicone M1 Max
        • Mac OS Monterey 12.6.2
        • 23.2 Premiere
        Edit 2- iMac Retina 5k 27in 2020 Intel 3.6ghz 10 core i9 and AMD Radeon Pro 5700 XT 16gb GPU
        • Mac OS Monterey 12.6.2
        • 23.2 Premiere
        Edit 3-iMac Retina 5k 27in 2019 Intel 3.6ghz 8 core i9 and AMD Radeon Pro Vega 48 8 GB
        • Mac OS Monterey 12.6.2
        • 23.2 Premiere
        eric escobar
        Community Manager
        eric escobarCommunity ManagerAuthor
        Community Manager
        February 23, 2023

        Hello Buruch, have you made sure "Auto Detect Log Video Color Space" is disabled in the Preferences?

        cdavid1760
        cdavid1760
        Known Participant
        February 18, 2023

        Thank you Eric! Well dine👍💯🏆

          R Neil Haugen
          R Neil Haugen
          Legend
          February 18, 2023

          "I shoot 1.7 to 2 stops overexposed in HLG 2 in Rec 709 color space"

           

          This is completely puzzling. I don't know of any HLG in in Rec.709 color space.

           

          So I'm guessing you're shooting HLG then using that in Rec.709 in Premiere?

           

          Are you doing the proper CM for that media to use on a Rec.709 timeline, which is in the Project panel ...

           

          Right-click one or more clips, then Modify/Interpret Footage, setting the Override-to option to Rec.709?

           

          Neil

          Everyone's mileage always varies ...
          bryanmtm40
          bryanmtm40
          Known Participant
          February 18, 2023

          It's picture profile 3 by default on the Sony a7rIII. HLG 2 gamma and you can set the color space to BT.2020 or rec709. 

            R Neil Haugen
            R Neil Haugen
            Legend
            February 18, 2023

            Camera settings for HLG in Rec.709? That's ... intriguing! Separating the DR from color space, wow. And thanks for posting that bit!

             

            I'd love to get a clip of that in my shop to test out, if there's any way you could drop-box me something!

             

            Neil

            Everyone's mileage always varies ...
              bryanmtm40
              bryanmtm40
              Known Participant
              February 18, 2023

              I'm having a ton of problems with this new update. I shoot 1.7 to 2 stops overexposed in HLG 2 in Rec 709 color space. Normally when I bring a clip onto the timeline and open up the lumetri scopes, the highlights are blown out, and I can bring them down with the exposure, highlight and white sliders in the lumetri panel. Since this update, the footage that I shoot overexposed by 2 stops comes in as if I underexposed it by a stop. I've turned off "auto detect log video color space" and it makes no difference at all. I've tested clips that I shot and color graded before the update, and when I bring them in to 22.3, they're underexosed. When I take clips that I initially imported in 22.3 and import them to 22.2, they're (correctly) overexposed. I've made the obvious short term fix of just reinstalling 22.2, but I worry that this is going to be a long-term feature without a fix for my problem. Any ideas on what could be happening or how to fix this in 22.3?

                bryanmtm40
                bryanmtm40
                Known Participant
                February 18, 2023

                I've not had to post in the support community before and I'm not sure if you can edit comments or not, so one obvious clarification:

                The new version I'm talking about is 23.2, and version I've reverted to is 23.1. 

                Apologies. 

                R
                Ryan Sauvé
                Inspiring
                February 18, 2023

                Remember when Adobe prioritized smartphones over actual production cameras (ex. Nikon N-Log)? Pepperidge Farms remembers. 

                  Fergus H
                  Community Manager
                  Fergus HCommunity Manager
                  Community Manager
                  February 18, 2023

                  The last three updates to our video products have include major improvements to ARRI and RED camera formats, plus performance improvements for cameras shooting AVC Intra (Sony, Canon, and Panasonic). The next update will include performance improvements for RED R3D and following that will be better support for B-RAW. 

                   

                  We may not always have support for a specific format (N-RAW being one) but we are absolutely focused on supporting the cameras our customers use most. 

                   

                  Fergus

                    J
                    Jared29001323k5a3
                    Participant
                    March 23, 2024

                    Hi Fergus, 

                    Will N-RAW be supported on the next updatae?

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