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slog 3 footage color issues in sequence

New Here ,
Apr 06, 2024 Apr 06, 2024

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I am experiencing a weird issue with Premiere Pro. I am on the current version and only a few sequences in my project have extremely saturated colors. I have been through all color management properties in the sequence and the individual clips to make sure that my slog 3 footage is in the correct color space. All of the footage has the same color space and codec yet some of them are over-saturated and exposed. This issue happened after I attempted to export a sequence. Any fix?

 

  

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Editing , Error or problem

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LEGEND ,
Apr 07, 2024 Apr 07, 2024

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First, why are you using the various odd spots they initially put CM stuff into, rather than the full CM controls panel ... Lumetri panel's "Settings" tab. Which has all  the color management options, and if you have a clip selected, even the clip CM settings.

 

This stuff is all interactived. So that's both where you should set things, and where you can best show others what you've done... as everything CM shows there.

 

Second ... that clip is not being correctly 'seen' of course. But as "we" can't see what you've done for CM, "we" can't say exactly what the problem is.

 

Have you set both auto-detect log and auto-tonemapping to on. Then exported to a 'standard' Rec.709 preset?

 

As if you haven't, well ... you haven't used the CM as it is mainly intended to work. And in doing so, you'll either 'fix' the problem or not. Either result tells us something useful.

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New Here ,
Apr 07, 2024 Apr 07, 2024

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Thank you for clarifying that the Lumetri panel settings tab controls the clip's CM settings! I had already turned on auto-detect log and auto-tone mapping. The Lumetri panel settings seem to be what they should be.

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New Here ,
Apr 07, 2024 Apr 07, 2024

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LEGEND ,
Apr 07, 2024 Apr 07, 2024

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This stuff can be so freaking complicated, so ... totally understandable when something just ain't right.

 

And always happy to help sort this stuff out. I read things like the basis of ACIS color systems for both knowledge and because ... actually, it's kinda fun. But most people would not look at that book as "light" or "fun" reading. But it's so fascinating ... isn't that the definition of 'fun'? .... lol

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New Here ,
Apr 08, 2024 Apr 08, 2024

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So it still doesn't seem to be fixed. All of my footage is in Sony slog 3. Usually my footage is automatically converted into a Sony s-gamut3.cine/slog 3. I color graded all of my clips in this format and then tried to export but all of the colors went crazy. Now it says that in the color management all the clips are in the proper format, but they look completely different. If I override the footage and change it to rec709 I have to restart my grade and it won't look the same. It seems like I have tried just about everything.

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LEGEND ,
Apr 08, 2024 Apr 08, 2024

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I'd love to have a clip to test here. Dropbox or something possible?

 

And if the issues are on export ... then something else is amiss. How do the exports look if brought back into Premiere?

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New Here ,
Apr 08, 2024 Apr 08, 2024

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Do you have an email I can send it to?

 

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New Here ,
Apr 08, 2024 Apr 08, 2024

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When I drag files like the one I provided, premiere accepts it as a slog 3 file but it looks completely different than it usually does. I used to be able to drop in the files without any issues color-wise. I'm confused as to how I color-graded this footage completely fine and something so drastic altering my timeline happened after I exported it.

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LEGEND ,
Apr 08, 2024 Apr 08, 2024

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What does it look like if you bring the exported file back into Premiere?

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New Here ,
Apr 08, 2024 Apr 08, 2024

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It looks the exact same. Premiere formats it as a Sony s-gamut3.cine/slog 3, which it is but there seems to be color baked intro the footage. It does not look how the actual footage looks when opened in catalyst browse or any other media player. I know it's a premiere problem but all settings are the same as they were when everything worked. 

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LEGEND ,
Apr 08, 2024 Apr 08, 2024

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So you do your color work, export, it looks different.

 

But when you import back into Premiere, it looks the same as the sequence before exporting?

 

If so, then the issue is how you 1) have your viewer gamma and computer monitor setup for video playback, and 2) what you expect to happen versus what will actually happen "out in the wild".

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New Here ,
Apr 08, 2024 Apr 08, 2024

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Not exactly. I do my color work then exported. My export looked different because all the colors were overly saturated. Then I went back into my timeline and all of the clips were over saturated, but they still  in the same format before the export.

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LEGEND ,
Apr 08, 2024 Apr 08, 2024

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I'm not understanding here. Are they oversaturated in Premiere while working? What?

 

Drag/drop a screengrab onto this text reply box would be helpful.

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New Here ,
Apr 08, 2024 Apr 08, 2024

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Yes, the footage and its color management properties are exactly what they were before everything went crazy.  But after I tried to export my video a few days ago the timeline now looks like this, but no settings changed. 

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LEGEND ,
Apr 09, 2024 Apr 09, 2024

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That looks like  a Rec.709 sequence (which is what you have by your settings) exported with either a PQ or HLG HDR export preset.

 

Rec.709 presets don't have either PQ or HLG in the preset name. For exports to those two HDR formats, you use the presets with the appropriate HDR form in the name.

 

Could that be the issue?

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New Here ,
Apr 09, 2024 Apr 09, 2024

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So how could I fix it? Do i need to change the export settings then it will fix my timeline?

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LEGEND ,
Apr 09, 2024 Apr 09, 2024

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What's that adjustment layer doing?

 

Any other effects applied to the clip?

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New Here ,
Apr 09, 2024 Apr 09, 2024

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The adjustment layer is my color grade. No other visual effects are applied to the clip.

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LEGEND ,
Apr 09, 2024 Apr 09, 2024

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Not sure why you're using the AL but then we all work differently.

 

If you turn off visibility for the AL track, does your image become normal again?

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New Here ,
Apr 09, 2024 Apr 09, 2024

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The Saturated colors go away because of my grade, but the log footage looks different than it usually does, it has color baked into it, and it is not a flat profile but it says it is in the correct slog 3 format. The adjustment layer should not be a problem because I graded it a few weeks ago and everything looked fine. Then after I attempted to export in a higher quality a few days ago that is when my timeline changed to this over-saturated mess.

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New Here ,
Apr 09, 2024 Apr 09, 2024

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One of the issues is that some of my footage I can override to be rec 709, but some footage is locked. The footage that I cannot override looks fine but the footage that I can override is what looks oversaturated.

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New Here ,
Apr 09, 2024 Apr 09, 2024

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The screenshots above are 2 different clips, both are the same type of footage in the same sequence.

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LEGEND ,
Apr 09, 2024 Apr 09, 2024

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Ok ... the auto detect log/auto tonemapping is a replacement for using log to linear normalization either manually or via a LUT. You do not use LUT to normalize a clip with auto-tonemap.I don't know that this is an issue, but ... that does look like some things I've seen that are "double" normalized so to speak.

 

So is there any log to linear normalization, either by manual adjustments or via LUT, in that AL?

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New Here ,
Apr 09, 2024 Apr 09, 2024

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I use Phantom Luts for my look but I'm not sure if that is normalizing anything. Is there a setting that can make all of my clips where I cannot override them or vice versa? My main issue is that some clips seem to be fine and others are different. But the clips that I cannot override are the ones that look how they are supposed to. And no matter what I override the other clips to they still don't match the others.

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