S-Log footage way overblown in proxies

[Fly Line Prods]

I am new to working with S-Log footage and I need some help coming up with the right workflow.  

My footage is 4k S-Log shot with the Sony FX9.  When I import it with the Interpret footage/color management/color space override of Rec 709, I get the expected properly exposed, but low contrast image.  Then, also in the interpret footage menu, I apply an input LUT of S-Log3 to LC-709, and the shot looks great, are at least is at a great starting point.  But then when I convert the 4k clip to a ProRes Low Res Proxy, the exposure and colors go off the charts.  

So I guess the first thing I'm wondering is if I am making the correct selections for the Interpret Footage section (applying an input LUT and then color space override to Rec 709).  Then the second thing that I'm really stuck on is how to create properly looking proxies.

I've attached some screenshots with the Interpret Footage menu right next to the program monitor.

System info:  Premiere v22.3.0.  Running on a 2018 MacBook Pro with OS Catalina v 10.15.7.

   

[R Neil Haugen · Accepted solution]

They have fixed the proxy mess for some of the Sony media in the public beta. You can get to that by going to the left side of the Creative Cloud desktop app, the Apps tab, down to beta apps.

You can install public betas without bothering your shipping version. And can open a project in the beta, do something like try adding proxies, then close that. Open in the shipping version.

That might fix your ills.

Neil

[Fly Line Prods]

Great suggestion!  When I was looking up the Beta version, I saw that Premiere was up to v22.4, and I had v22.3.  I updated to v22.4, and voila, the proxy problem went away!

[R Neil Haugen]

Good to hear ...

Neil