Something has changed, before when I would import my RED footage it would import with the color space and gamma curve settings I shot in, which would be rec. 709 and BT.1886. Now when I import footage it goes in as REDWideGamutRGB and Log 3G10.
Before I was able to use RED CineX to save and RMD with the correct settings and it would work fine but now that doesnt even work. Is there a way to set how premiere should import the RED footage? I am aware that I can edit one and save a preset, but then it applies white balance and ISO settings from that clip to all the others and its very frustrating and time consuming to go into every single clip just to change those settings.... does premiere have an option like Davinci that you can set the import settings? I can't find anything on this.
I have this same problem too. Shooting on RED, using multiple cameras. No matter what camera, the footage is coming into Premiere with the RedWideGamutRGB / Log settings. If we open the Red Cine X or look at footage in camera, the color profile is correct, but as soon as it gets into Premiere it's back to the flat color profile. We want to import the footage with the correct color profile, and not after it's imported, as we're creating proxies. The proxies are being made with the wrong color profile too.
Does anyone know how to change the import settings so that Premiere honors the color profile the footage was shot on?
Hi Neil, thanks for the response. Yes, I have the RED control panel and it works. I can change clips once they are in Premiere. The problem is that Premiere is changing the camera settings on import. This is causing all footage to change to a RedWideGamut Log when creating proxies.
This didn't used to be a problem, so I'm curious if there's some setting checked here that is changing the color profile on import.
Any help is greatly appreciated, as we're importing 20hrs+ of interviews from multiple cameras. I'm curious if we should try installing old versions of Premiere and Media Encoder. Thoughts?
The 2022 version has a completely new underlying color system, so yea, things have changed since 2021. I've worked with some RED media, haven't had any issues. But I'll have to say I didn't create any proxies ... so I'll have to test this out today. Hoping I can get to it.
Wondering if say @mattchristensen could answer ... is Pr2022 defaulting to RWG-log for RED media now?
Thanks Neil! Hope to hear from Matt. In the meantime, if anyone cares, here’s my workaround. I am exporting Proxies out of Redcine-X, this way it maintains the look and color of how things were shot. Then I'm attaching those proxies in Premiere. It's basically the same workflow, but replacing Media Encoder with Redcine X.
In Premiere I've already changed the R3D clips to have the correct color profile, not RWG-log.
I know this isn't ideal, but hopefully it helps anyone trying to import massive amounts of footage and creating proxies at the same time.
2) They do something kinda sorta in-between. They do recognize now for instance S-log3.cine media, which you can't 'guess' from the extension. And some others. But many, they clearly don't. And without have a default options for us users, that's really a mess, isn't it?
This is one of the issues I'll be hammering over and over with them at NAB in a couple weeks. (And yes, they know it's coming ... lol)
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