In Premiere Pro V 22.2.0, when I batch create Proxy files, the proxy files now have a color correction on them. The original files should be flat. I am not sure if a LUT is being added somewhere, but I see no place to instruct it to add a LUT or not.
For obvious reasons, I want the proxy file color to match the original MXF files.
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Are you using an M1 Mac?
Are you using the Create Proxies command within Premiere or did you create your own preset in Encoder?
iMac 2019. Never this issue.
I've detached proxy files and rebooted the software. Now the uncompressed files are automatically adding a LUT within Premiere. I wonder if Premiere is adding this automatically somewhere based on a file that was included with the MXF files. If so, I need to disable it. Here's an image of source, program, and color window where one can see no color has been added, yet there is an obvious difference.
Those mxf file, I'm gonna take a guess here, are probably from a Sony camera, are log-encoded and/or S-log3.cine?
If so, there's a problem with the 'shipping' version where the proxies will be displayed as if HLG no matter whether the originals have been set to S-log3.cine or overriden to Rec.709 in Interpret Footage dialog.
The fix is I think out in the Public beta, which you can install alongside the shipping version. You can open the project with the beta, test it, and then simply close and open again in the shipping version without problems.
i'm not sure if you have to remake the proxies to trigger the color update. hopefully someone can test it out and report back.
I figured it out. I'm not sure why, but upon import, the files came through with ’Sony S-Log3/S-Gamut3’ for color management. The even weirder part is the color adjustment only shows up in the program monitor. The source monitor the colors are flat.
I have to go right click and select 'Interpret Footage' and deselect "Use Media Color Space from file: Sony S-Log3/S-Gamut3.che
Then select 'Color Space Override and pick Rec. 709.
That fixes it. Before & After images attached.... I hope this helps someone. 🙂
you wanted flat colors right? this new process seems backwards to me.
and did you have to redo the previous proxies or does this also update the ones already made?
Yes, I wanted flat colors because I want to do my own color correction with Lumetri.
When I do the proxies, it still puts a Color pass on it. I don't know how to resolve that part. So I'm not doing proxy files at this time because I lost too much time already with this problem.
i believe i read one person had to redo their proxy creation for the color change to take effect for the proxies, but I could be mistaken.
if the color information is stored in the project file, perhaps the proxy color metadata is stored there too and simply isn't updated when you change the original footage's override color.
I have to research the Sony files a bit more but I think they are stored there. To me, that's what makes the most sense. And I wouldn't know how to turn it off.