Premiere Pro auto applying LUT on timeline

[Peter227556011ppa]

When I open a clip it automatically applies a LUT to the footage in the program and on the timeline. I am not able to remove attributes or presets as there are none. On the preview window is showing the footage as should be. I am using Premiere Pro version 22.1.2 (2022) and MacBook Pro (Retina, 15-inch, Mid 2014) on BigSUR 11.6.2

[PeterCorbett]

The biggest PITA with the new colur management system is opening older S-LOG XAVC projects.  Every single bin with S-LOG files has to be individually opened and the override set to RC709 on the clips.  On a project with dozens of bins and hundreds of media clips spread out over multiple sources, this is INCREDIBLY time consuming.  And you have to do it on every old log project that is opened in PP2022.  It surely has to be possible to code a default setting for older projects.

[R Neil Haugen]

Make a search bin for the clips ... and then select all, right-click/Modify/Interpret ... set the Override for the whole batch in one go.

And yea, that gets annoying. They had to change the underlying color system, as a straight-Rec.709 as their entire math was is no longer sustainable. But ... this kind of thing without a built-in method to ease the changes is a royal pain.

Neil

[Pedroks]

Neil, THANKS SO MUCH!

[Jon Coyopa]

I'm working on a show shot on the FX9.  Upon ingesting a camera load, I take all of the clips and override the color to REC709.  I've done this for 15 TBs of footage.  I know how to handle this color managemtn issue but there is one clip that has a look put on it when placed in a timeline.  No other clip from this load (or any other load) has this happen and there are no effects on it at any level.  It looks nice and flat in the source window.  I'm baffled by this one.

I've included some screen grabs and stills of the shot when in time timeline and not

[R Neil Haugen]

Interesting ... I'm wondering if there is something about the settings used in-cam for that one clip that were different?

Have you tried the Set to S-log3.cine option in the middle of the color management options?

Just out of curiosity, to see if that changes the file at all ...

Neil

[Jon Coyopa]

That doesn't do anything.  When I match frame back to the source monitor, it's flat but gets that look when I put it back in the timeline

[R Neil Haugen]

Putting that clip and one that works "normally" into MediaInfo, what if any difference shows up between the files?

Neil

[Pedroks]

guys, neil helped with the problem but i didn't get why this happens, anyone knows? 

[konraderer]

Thanks Neil and everybody for this thread. I'm in a bind because Adobe's ongoing negligence has screwed up my work in a particularly bad way due to circumstances. Earlier today I color graded on one system that for some reason does not suffer from this bug, and now I have to finish and output on a different one which has added the automatic LUT to my color grading, with grotesque results. The given override solution was greyed out, I think due to the fact that these are composite clips I made to sync production audio. I was able to fix the original clips with the override, but that did not fix the composite clips that I edited with. I have a day to deliver this and had plenty to do before this insanely stupid bug reared its head. This may be a bit of a digression from the topic, but if anyone here were in this situation, what would you do? I'm trying to think if there's an efficient way to get to the uncontaminated version of the edit, but my brain is out of juice. Premiere Pro 22.6.1 build 1, Lenovo Legion 5

[R Neil Haugen]

Ahh ... if you used Merge Clips to join the audio to the video, that's most ... unfortunate. That is NOT recommended if any 'turnover' of the media to another user or application is expected to be used.

The Multicam process is the preferred one for joining separate audio/video. Or "grouping" an audio & video can work for normal editing, without the limitations of Merge Clips. They cover 'joining' video and audio quite well in the new Adobe document on practical use ... and avoiding Merge Clips is one of the first things covered:

Adobe Long-form and Episodic Best Practices Guide

As to the clips, what is the meida involved? What color space? Is it 'normal' media or log-encoded?

Neil

[Jon Coyopa]

I'm assuming composite clips means merged clips.  If not I apolgize.  Export an XML of your edit and run that through Resolve.  Once you've got the cut in Resolve, export another XML and bring that back into Premiere.  This will rebuild your cut with the original camera files and you should be able to turn off the auto LUT.  

[Drew24764620al0l]

I may have started this thread and yea the work arounds do help but it is
still a pain in the ass. I had a tough deadline so I just fired up my Avid
software and finished the show. I’m hoping the new Premier versions will
make this problem go away.

[Emersoneditor]

I have the same problem in adobe 23 now. It's impossible that we don't have a solution.

[Drew24764620al0l]

Certainly is frustrating. Fixing this is obviously not a top priority. My
guess is the software geeks have never been on a film shoot and have never
made a movie. And yet we are at their mercy. Go figure

[R Neil Haugen]

If you'd like to actually get working without hassles, give the media & problem you're having. I'll be happy to help. And each different type of media may need slightly different settings, so full spedificity is needed.

Premiere doesn't actually apply LUTs everywhere ... they tend to use algorthmic transforms, an entirely different & vastly superior process for most uses. But if you don't understand the at times intriguiging controls, it's ... maddening for sure.

I'd recommend starting a new thread ... giving full details. I'll hop in and see if I can get this sorted with you.

Neil

[Drew24764620al0l]

Neil, the work around you gave me a few months back does solve the problem
but the fact that it is still a necessity is what frustrates me. On
location my AC puts a LUT on my monitor, which allows me sign off on the
visuals as we film. We get back to the office, import the media but then,
when we drag the footage in the sequence Premiere adds a LUT automatically.
This is ridiculous because it’s not the LUT we used on location. I don’t
need Premiere to think for me. Yes your “override”process which needs to
be done in the Bin allows me to move forward but the fact that I still have
to do this makes little sense to me and every colleague I know who switched
to Premier after Final Cut 7 went away

I do thank you for helping those of us on the front lines and your “work
arounds” do keep the movie making process going.

Drew

[R Neil Haugen]

Um, working in the Interpret Footage is simply setting color management up. It's not a workaround.

And again, it's not a LUT either. Although you can apply a chosen LUT if you wish in the CM process of Interpret Footage.

Yes, you do need to set CM up which you didn't when Pr was only Rec.709. And i know many consider needingto do so a right pain.

But first, you can batch it on a slug of clips in one go. Should not take many seconds to do.

And second, there are so many CM options possible depending on the media, you can get drastically different applications.

Do you want tonemapping, which is also a mathematical process and not a simple look up table, or not? Some want the basic normalization, some don't.

It's your choice depending on how you set the various controls.

And they've added more user control options just in the last month.

Neil

[Drew24764620al0l]

Not a work around? um I guess it’s here to stay. I do my color correction
at post house with Davinci so none of that is relevant to me. No worries.
As always I appreciate your help.

[R Neil Haugen]

I work with/for/teach pro colorists. And work in Resolve daily.

Do you consider setting CM there a workaround also?

Up until the 2022 version, Premiere was built assuming a total Rec.709 workfolw and computer/monitors setup.

The 2022 version brought a completely rebuilt color system that requires user actions to set project CM. And yea, the way they handle user controls is a bit odd.

They've added a couple more things, and finally recognition for most log forms. So it's more flexible now than even a month ago.

It's fluid, for sure. But at least, you now have the ability to set some fairly different CM options based on your desires.

I don't see that as a problem, personally. Learning how this odd system works, that can be a pain of course.

But then, learning how say an Arri-wide working space behaves in Resolve based on "no management", DaVinci YRGB, ACES 1.o or 1.2, then throwing in the difference between any of those with SDR or HDR tools, well ... that's a lot more complicated and complex.

Neil

[Emersoneditor]

Hey Guys, our technician managed to solve the mystery. Just go to the raw clips, right-click and go to modify interpret footage. In color management it needs to be in rec709. In our case it was in sony slog3s gamut3cine That's it my friends, problem solved! Good luck in your work!