SLog3 footage coming in with LUT applied, unable to change or remove.

[Hecubus114]

I recently update to Premiere 2022, and now I am unable to grade ir color correct any footage I import from my Sony FX6. The clips are SLog3. When I import them into Premiere, they have the appearance of a LUT already having been applied (I assume rec709, as that it about hwo I expect them to look). However, if I click on any clip, and interpret footage, Premiere claims no LUT has been applied. Oddly enough, if I open any of the source clips, they appear correct (flat, with no color grading applied). But if I bring them into the timeline, they become just like all the others, with the colors changed. Source tab for any clips in the effects window is completely empty, so there is no LUT there to remove.

Especially frustrating is that I CANNOT change/grade/color correct any of the clips beyond how Premiere imports them. Not adjustments in Lumetri have any impact. I don't feel like I am doing anything incorrectly here, but perhaps there is something I am overlooking about how this works in the new version? I did everything exactly the same in the previous version, and had zero issues like this.

Specs:

Premiere 22.0.0

macOS Big Sur 11.2.1

iMac 27 inch 2019

Processor: 3.6 GHz 8-Core Intel Core i9

Memory:  64 GB 2400 MHz DDR4

Graphics: Radeon Pro Vega 48 8 GB

[R Neil Haugen]

The 2022 Premiere changed several default behaviors including how it 'views' and treats various Log and RAW media placed on a timeline. I go into this in some details on the FAQ posted at the bottom of this post.

The previous default behavior was to assume everything was expected to be used as Rec.709. So there was a transform applied to many Log and RAW clips on use. I think it was basically the manufacturer's base transform/LUT. And that was to transform the clip to Rec.709 color space and gamut.

In 2022, the default is completely changed. They make no assumptions about modifying the clip color space/gamut on application to a timeline. So on a timeline the clip will show the 'full' dynamic and color range of a clip unless the user specifies otherwise.

So you will need to use the Modify/Interpret Footage color managment options to tell Premiere what you want it to do. As the vast majority of us still need to work in Rec.709, for most purposes, users need to select the Override option to Rec.709.

You can change one clip, or select a bunch of them and do this to all of them at one time.

I have an S-log-3 clip from another user. Simply dropped on a timeline, it was shown as blown out and the scopes were all blown also including the Vectorscope. Setting the Scopes to color space of HLG and the scale to HDR, it showed a tonal range going from 0 nits to a bit over 4,000 nits. And the color was well within the boundaries of the Vectorscope.

Going to the bin, Modify/Interpret Footage to override to Rec. 709, it now showed a very log-ish image, values between about 18-88 nits. This is shown in my FAQ below.

And was easily then 'normalized' manually within Lumetri.

Neil

FAQ: Premiere Pro 2022 Color Management for Log/RAW Media

[R Neil Haugen]

I was just listening to Kevin Shaw on HDR working. One thing he noted was that a log clip with say 10 stops of dynamic range displayed on an SDR/Rec.709 timeline will be the typical "log" look, grayish. Low on color saturation, no whites or blacks.

But the same clip, without any changes, dropped onto an HDR timeline will be shown as 10 stops of image. Very much looking "normal". So a log image dropped onto an HDR timeline needs less 'normalization' than it does compressed for a Rec.709/SDR timeline.

So log clips do not need 'normalization' nearly so much if applied as say HLG or PQ within a timeline. What I think Premiere is doing is simply displaying the S-log-E clips "as they are" in the assumption that they are HLG.

Interesting the things one learns as one goes along.

Neil

[default6ho8xsl2lhys]

Had this same thing happen to me. If you shot in RAW on your FX6/Cine-EI, withinn your bin, double click the video and in the effects controls there should be a drop down menu for you to switch color grades/looks. 

[DjangoAgterberg]

Same problem, and yes I have read tons of forum posts and youtube videos, but still I can't find any sollution. Working with Sony FX6 material. Material in bin have the SLOG3 look and once I put them in my sequence it blows up with saturation and over exposure. There is no input LUT, sequence settings are REC 709. Before (Premiere 15) there was no problem. I tried to tweak all buttons and possibilities, but I can't find a sollution. And I'm in desperate need, because my deadlines are getting closer and closer.

Working in Premiere 22.2 (also tried 22.0, but same issue)
OS Big Sur 11.3.1

iMac (Retina 5K, 27-inch, Late 2014)

4 GHz Quad-Core Intel Core i7

32 GB 1600 MHz DDR3

    

[DjangoAgterberg]

Solved with the help of client support. I didn't have the color management option of 'color space override'. Apparently "there might be a possibility that there might be a problem with workspaces." Please do the following: "reset the preferences and see if it works. there might be a possibility that there would be a problem with workspaces. So I would request you to close the premiere pro application and go to the following location: Document > adobe > premiere pro > rename it to premiere pro old. Please note:- You might loose your Keyboard Shortcuts, Presets, MOGRT files."

This worked perfectly, and now I do have that setting. Phew!

[R Neil Haugen]

That's interesting, that on some rigs a Prefs reset works for this also. Yea, and it's a good thing to keep your main prefs stuff saved in a second folder, so you can reset prefs, then put your KB shorts back in place.

Neil

[am22482702]

Hey OP, I just ran into this issue today and I'm looking for a fix. We have FX6 SLog3 clips. We have the same issue but only with the clips shot in High Sensitivity mode. Base ISO clips are fine. So I don't know if Premiere is having an issue reading those specific clips. Don't know what your clips were shot at but this may help narrow it down.

[R Neil Haugen]

What does Premiere show for color space for those clips, and what for the ones that import ok?

Note, Premiere's completely new underlying color system is having some issues with certain log-encoded formats from some cameras. You see, all HDR is log-encoded, and 'typical' SDR/Rec.709 media is ... perhaps call it ... integer-encoded. But some SDR/Rec.709 media is also log-encoded. And that's clearly tripping Pr up, as for some log-encoded clips it is displaying them as if they are HLG, but ... isn't also allowing for an override action to Rec.709.

The cameras noted are certain Sony and Panny cameras ... and the engineers have acknowledged this, and have been working on a fix, but it's been known for over a month now. Don't know when we'll get that fix.

Neil

[am22482702]

For the clips that work (shows as flat profile) it lists Color Space: Rec. 709. This is with Sony FX6 Base ISO setting.

For the clips that don't work (shows as if a lut is applied) it lists Color Space: Sony S-Log3/S-Gamut3.Cine. This is with the High Sensitivity setting. DjangoAgterberg's

I did use DjangoAgterberg's workaround and have the Color Space Override option now while Interpreting footage. Setting to Rec. 709 gave the clips flat color in the sequence.

[R Neil Haugen]

That isn't "as if a LUT is applied" ... and I don't know where people get that idea, but ... it's simply an improper color space image. A very different thing.

But the Override to Rec.709 worked to get them back into a workable Rec.709 view? If so, good.

They do have some of the log media settings available in the top option for Color Management of the Modify/Interpret Footage dialog. It's in the Input LUT section, have you checked that and tried anything?

And ... if you've got a short clip you could share, I'd love to have one to test with here.

Neil

[am22482702]

"As if LUT is applied" is the best way I can describe it. I'm not familiar with a bunch of technical terminology and thought that comment was the easiest way to visualize what I was experiencing. The fact you know what I meant means it worked.

The override worked. I can't really share any of our clips but I appreciate the help.

[danielkeane]

A perfectly reasonable way to describe it, they said it shows as if a LUT is applied. That is what it looks like. Pedantry is not helpful. 

[R Neil Haugen]

Yes, it can be a way to describe it. But it isn't actually ... accurate. So why not learn something while we're at it?

Neil

[Warren Heaton]

@danielkeane 

An unexpected appearance of picture due to improper color space may look like a LUT being applied, but it definitely should not be confused with it.

[Kraig23516210wsdi]

I also just ran into this issue! My only solution has been to revert back to the 2021 version which solves the problem with my FX6 footage. Othere than that, I cannot find a better soltution. SONY & ADOBE PLEASE FIX THIS!!!

[R Neil Haugen]

Which media is it?

I ask because another user with S-log3.cine clips was able to use the option to Override to Rec.709 and get their clips working.

And if you install the public beta (which you can have installed at the same time as the shipping version) they have a new option there for Sony & Panny log media, in the Modify/Interpret Footage color management section.

You can use the public beta on a Pr2022 project, then open back in the shipping version without troubles.

Neil

[wadeh757]

This worked for me.  "Select all video clips in the bin. then right click modify. then right click interpret footage and then go to the bottom and select color space override and pick rec 709. "It defaults to "use media colorspace from file" I think that s the bug...

[icimarco]

That works for me thanks !

[davidatkinsontv]

Hey folks! 

So I think I solved this problem. 

1. Go to the footage on the timeline that's already got the LUT applied > Right Click > "Reveal In Project". 

2. Find selected clip in the media window (mine is bottom left screen as default) > Right click the clip > go to "modify > in drop down menu select "Interpret Footage" 

3. Interpret footage opens a window > go to the bottom in "colour management" > select Color Space Override > I picked Rec.709. 

That should flatten your footage from whatever stupid setting adobe force onto footage! Allowing you to use your own LUTs. 

[R Neil Haugen]

For the nth time, that isn't a LUT ...  it's a color management problem. Very different things. There is no LUT being applied here. Period.

It's due to all HDR media being log encoded, and some SDR/Rec.709 media being log-encoded. And their brand spanking new complete redesign under-the-hood color handling having teething issues when dealing with some log-encoded media.

And assuming it should be treated as HLG ... hybrid log-gamma ... when the user would prefer SDR/Rec.709.

Color Management 101. And yea, that's new with Pr2022, which has a ton of new CM settings and defaults and such for us users to learn about.

Neil

[davidatkinsontv]

Dude chill! You don't have to respond to every comment if you've said it
loads of times 🙂 peace.

Would you know how to change the default to stop it automatically treating
it as HLG and just putting the files in flat?
Cheers.

[R Neil Haugen]

One of the problems I see with the new color handling system is they don't give us users any way to check or change defaults.

And yea, that's a big problem, isn't it?

I will say ... the Public Beta has a transform for S-log3.cine to Rec.709 that is gorgeous, espeically in the highlights. But I don't know if that's in the 22.4 patch that went out yesterday afternoon my time, haven't had time to test it yet.

But even when that "ships" in the regular version, it still won't give us the controls we need ... because we need to control the options & defaults.

Their current plan is Premiere will make an assumption, and if the user doesn't like it, we can go to the Project panel using the override options.

I do not find that a useful choice. So I created a Color Management Panel UserVoice request ... to get us a unified, single panel in the app for checking, setting, and changing defaults and media settings.

Please go upvote that!

Neil

[K-Billy]

I had the same issue and hope it will be fixed soon. I votet for the user request.
The "Color Space Override" method worked for me as well.

Thank you Neil (and the others) for the help!

[alisonl95263685]

I tried exactly what you instructed here but my "Color Management" is totally greyed out and can't be changed!! Any idea on why and how to fix this?

 

[R Neil Haugen]

What camera is this media from? What format/codec?

Neil