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It seems like the laterst version of premiere is interpreting levels from prores444 files as video rather than datalevels. Similar to an old issue in this article:
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I'm presuming you're referring to ProRes 4:4:4:4 ...
Right off, I can think of at least five things that could be involved here, four of them having nothing to do with full/legal range. So we have start with useful information. And drill down to the exact issue for you.
What created those files? An Arri camera, or an external recorder? What color space are they in? And are they log-encoded? The answers to these will help suss out what's going on. To see what you're seeing as the issue.
Further general discussion
As to the issue of whether legal or full range should be applied ... while Apple does say that ProRes 4:4:4:4 can be either YUV (technically Y-Cb/Cr) or RGB, most applications will tend to default to assuming YUV, and ... YUV is by default legal range. And the chief color scientist for the Adobe video apps insists on playing straight from the established rules: RGB is 12-bit and always full range; YUV is 8-12 bits and always legal range.
Which gets into fun with say DNx files, the higher DNx variants are kinda sorta expected to be full range mostly but not always within Avid, but aren't technically RGB. It's kinda like the ProRes4444, where the ProRes documents say it can be either RGB or YUV.
And yes, I've argued with Lars that if Avid thinks DNx should be full ... shouldn't it be seen as such in Premiere? His response: if they truly want it to be full, they'd build it as RGB. End of discussion. Ah well.
(And the author of that article clearly didn't have much knowledge of or experience with the Premiere scopes ... just sayin' ... )
1- The clips, straight from the camera, work fine in a previous version of Premiere Were they disobeying their own "rules"? What changed?
2- Same clips in Resolve look correct and they are interpretted as full range. So yes that is useful information. ( It is rude to assume that people don't know what they are talking about when trying to solve a problem).
When is Premiere going to catch up with Resolve or Media Composer in being able to adjust/set refrence levels in source settings?
1- They completely rebuilt the underlying color system of Premiere in the 2022 series. It was completely based on Rec.709, and now it ain't. I'm calling it color-space agnostic. It can work with either Rec.709 or Rec.2100 in either HLG or PQ forms.
And that meant that everything about color handling changed ... all defaults, everything.
2- (It's rude to assume anything about someone's knowledge as there's no way to know what it is ... so I don't in general, nor here; and remember, the threads of a forum like this aren't personal-only information, but a resource for the larger group, of all capabilities.)
Resolve has allowed user controls for CM since forever, as it started as a colorist's app and had to. Premiere is finally starting to get the user CM controls that many of us have been pushing for for years now. But it's being rolled out piece by piece, spread out across the UI.
And yea, I've complained about that also. Wrong design, very wrong design for the users. But the engineers seem to think any user would logically look for CM stuff in the all the individual panels of the app. Huh?
And so under their current plans, for CM we'll have to go all over the freaking app. Rather than having one control panel to go to for CM, which would make life easier and save a ton of user time & frustration.
As to when we'll get more CM controls ... they'll probably roll them out first in the public beta version. But then, they hadn't run the entirety of the new color system and CM controls in the public beta before the release of 2022. Caught me and many others by surprise.
not too long ago prores 444 was imterpreted as full range in premiere. if indeed its now video levels, are you saying that the colors are off? are you round tripping to resolve? do you have max bit depth and max render quality enabled? and color mangement setup correctly? does it look different with prores 422 hq?