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Premiere Pro Color / Gamma Shift still present after re-importing

Explorer ,
Apr 25, 2019 Apr 25, 2019

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I have recently started having issues with Color / Gamma shifts when exporting from Premiere Pro. I have read multiple threads on the issues people have been experiencing while trying to view exported content on QT / VLC / YouTube / Etc., and fully understand the issues with different settings causing the gamma / color space shifts. For me though, I am seeing the issues even when I import the video back into Premiere. 

I have tried exporting from DNxHD/HR and XDCAM timelines, both exported to DNxHD, H264, XMF output options and still have the issue. It does vary slightly depending on the flavor of the codec..... On the H264 I tried the REC2020 color options as well and get the same issues. The source content ranges from Sony Fs7, SHOGUN Apple ProRes, R3D, and A7riii / A7sii.

Some clips show just the slightest color shifts, ones that truthfully would never be noticed, but then other clips get the larger gamma shift issue and become very apparent. Washed out blacks, and missing a lot of the warmer tones. 

I have been editing TV in Premier since switching over to the platform in 2012 and have never experienced this. I was just exporting TV shows for both national networks, and digital platforms earlier this year (Jan 2019) and everything was fine, no matter what I was exporting to. Everything looked the same once exported as it looked in my timeline in Premiere.

Any insight or suggestions would be greatly appreciated. Thanks!

System Specs:

Windows 10

Premiere Pro (version 13.1.1 build 11) I was also having this issue before this latest update

Nvidia GTX 1080ti GPU

EIZO Color Edge CS2420 monitor

EIZO EX3 puck calibrator

Color Profile.JPG

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correct answers 1 Correct answer

Explorer , Apr 30, 2019 Apr 30, 2019

Hi Neil,

This bug is also discussed in this thread:

Major lumetri rendering bug​

I tried a test export to H264 with "Render at Maximum Depth" unchecked and it turned out perfect. But the export with that option checked had constricted the range unnecessarily.

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New Here ,
Nov 05, 2020 Nov 05, 2020

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Hi Neil,

 

thanks for your answer. I am completely aware that other users will view the material I export or post in a different way than I see it on my screen. I've been around as a director long enough to know that 😉

 

But this was never my question. My concern is that it would be nice for makers to at least have the same viewing experience on their own screen as that is their 'reference', apart of callibration.

As I mentioned this is regradles of how it looks on other peoples devices.

 

Don't get me wrong, I understand why Premiere works the way it does. I'm only saying that with so many people only creating for online (where the misinterpretation by browsers IS a thing) it would be wise for Adobe to implement a choice of how the preview window interprets the footage.

 

That's all. The main issue is not for pro-collorists (as they often focus on broadcast and have all the gear required) but for people (like me) who sometimes don't have the full budget to go for a pro-colorist and would like to color-correct their own footage.

 

Thanks again for trying to help out.

Erik

 

 

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LEGEND ,
Nov 05, 2020 Nov 05, 2020

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As someone who works with colorists daily ... and teaches Premiere to them ... I get a TON of information on color spaces, management, ACES operation, and inter-operability (or mostly the lack thereof) between apps, browsers, players, and systems.

 

BlackMagic decided to simply go with the flow so to speak and allow the option of a different flag within a clip header block that gets the Mac OS utility ColorSync to actually treat Rec.709 media well ... mostly correct. The colorists I work with have used that at times, many hate it with a passion, as yea, then on other systems funky stuff happens.

 

I've suggested to the color people for Premiere they allow users to do the same thing, but their chief color scientist basically insists that it is a WRONG way to 'fix' the solution, which is caused by the Mac OS not being properly set to work with Rec.709 media. Yea, whatever. But Apple being Apple, they're going to always throw something odd into their stuff so it doesn't play well with others.

 

The Display Color Management option, and the accompanying "Extended dynamic range monitoring when available" options are the only things they've been willing to do so far to work with non-b-cast systems. Yea, I would like more user choices myself, even knowing many users will choose the wrong thing. But some need those options.

 

Neil

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