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telecam2
telecam2
Inspiring
March 11, 2022
Question

Serious problem matching SLog3 footage from Sony's FX6 and A74 cameras with Premiere version 22.2

  • March 11, 2022
  • 3 replies
  • 4490 views

Matching SLog3 footage from two different Sony cameras was in a past a fairly simple operation.  Not anymore wiht Premiere v22.2.  I understand that more settings and capabilities on color space have been introduced but I am totally confused on what does what.

 

- First issue is that Premiere interprets Sony's A74 10ibt 422 SLog3.cine clips as REC709.  And there is no option in the interpret window to force Premiere to interpret them as SLog3.cine... See below.

 

 

- Then when I dropped a SLog3.cine clip shot on the Sony FX6 in the timeline, it looks like a LUT is automatically applied.  Howver, a A74 clip dropped in the timeline looks like.... SLog same as Premiere versions prior to v22.2.  See below both clips (FX6 on the left and A74 on the right) using the comparison view

 

 

- I would have thought that applying Sony's own SGamut3CineSLog3_To_LC-709 LUT to the A74 clip would give me a good match but not at all.  The A74 clip (see below on the right) is still desaturated and overexposed and tweaking the lumetri color settings doesn't create a good match. What a pain...  I am at lost.  Am I missing something?

 

 

 

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3 replies

telecam2
telecam2Author
Inspiring
March 11, 2022

Did another test by loading a similar clip from FX6 and A74 in Sony's own Catalyst Browser, applied Sony's LC709 LUT, exported a frame grab from each clip into PP 22.2 and looking at them side to side.  They came very close, definitely much closer than whay I can achieve withing PP22.2

 

 

chrisw44157881
chrisw44157881
Inspiring
March 14, 2022

"In the public beta, they now have options in the Modify/Interpret Footage "Override to __" section for several Sony and Panny log formats, including S-log3/S-gamut3.cine"

https://community.adobe.com/t5/premiere-pro-discussions/changing-the-colour-interpretation-of-merged-clips/m-p/12801914

 

also,

this thread points to something I haven't verified but sounds promising.

 

"Sony color space controls like I had which are hidden in the "Source Effects Controls"."

 

https://community.adobe.com/t5/premiere-pro-discussions/colour-management-is-greyed-out-in-interpret-footage/m-p/12797329

 

3. maybe you can export from Catalyst Browser a HALD self-reference image to convert into a custom lut with free iwl lut converter.

    telecam2
    telecam2Author
    Inspiring
    March 15, 2022

    Thanks so much for the heads ups.  I'll take a look at those!

    chrisw44157881
    chrisw44157881
    Inspiring
    March 11, 2022

    you can use free shutter encoder and encode to another high quality codec like prores. I think the format of the mov codec itself is hard coded in premiere. update:  I saw in another thread, that the beta might have overide support.

    https://community.adobe.com/t5/premiere-pro-discussions/changing-the-colour-interpretation-of-merged-clips/td-p/12801914

      telecam2
      telecam2Author
      Inspiring
      March 11, 2022

      Override support to what?

      R Neil Haugen
      R Neil Haugen
      Legend
      March 11, 2022

      Just to be certain, as you didn't actually respond one way or another ... with the A74 clips, you don't have the option of "Use media color space from file .... " as shown in my image up above ... ?

       

      Neil

      Everyone's mileage always varies ...
        R Neil Haugen
        R Neil Haugen
        Legend
        March 11, 2022

        There are parts of their new system that aren't working correctly. And Pr2022 has a completely rebuilt underlying color system. It was based on Rec.709, but certainly ain't no more.

         

        And the different cameras are clearly making something different about the file headers so that Premiere sees them as different things. Oh joy, right?

         

        This is what shows up in the clip color management options 'here' for the Sony S-log3.cine clips, from I think an Fx6 also:

        Note that is using the built-in recognition of the S-log3.cine media in Premiere, and the option to use the media color space from the file. Neither using the Input LUT slot nor the override option.

         

        And what this applies is not a LUT, it's a color space transform. And one that does a pretty good job of moving the log-encoded footage into 'normal' space for SDR.

         

        And that is not at all the same thing as a LUT ... completely different math. Much more sophisticated math than a LUT. And ... very difficult as you've found to recreate the transform with a LUT and tweaking.

         

        If you don't have that option ... using the file color space of S-log3.cine ... that's a tough one.

         

        Neil

        Everyone's mileage always varies ...
        telecam2
        telecam2Author
        Inspiring
        March 11, 2022

        Thanks Neil,

         

        Indeed, clip from the FX6 is correctly interepreted but the one from the A74 seem to completely ignore the S-Log3.cine gamma. See below properties for FX6 clip on the left and A74 on the right.  Both use the exact same Sony AVC-I 422 10bit codec shot in SLog3.cine.

         

        I am not sure to make up for this in the various interpret settings, nothing seems to work.  I loaded both clips in v15 and I was able to get a good match, easily.  Oh well, looks like Adobe has work to do on this.  Frustrating.

        R Neil Haugen
        R Neil Haugen
        Legend
        March 11, 2022

        And you don't have the option I suggested for the A74 clip? I wouldn't be surprised, that cam's pretty new, and Sony jukes their file work around with each new camera.

         

        Neil

        Everyone's mileage always varies ...
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