Started using Davinci

Report · May 22, 2022

After all the problems I've been having with premiere (as good as it's been to me) I've started to use Davinci Resolve. It's opened my eyes to how color grading should be. WHY do we not have a proper color space transform!?!?! I cannor for the lfie of me figure out why my SONY SLOG-2 footage is not being transformed properly to REC 709? I cannot interpret footage its greyed out. ALL of my colors are absoloutley BAD on premiere, without a single way to fix it? In resolve I put a node and "color space transform" and BAM all my footage looks exactly the way I recorded it..... I REALLY REALLY REALLY do not want to leave premiere to start working on an entire new workflow but seriously this is something that is BASIC and absosoutley NEEDED in video editing. FIX the crashes, FIX the video imports! BASIC stuff guys please. Rant over...

Report · May 22, 2022

You have Sony S-log files, and when you go to the Project panel, right-click/Modify/Interpret Footage, something is grayed out? Give a bit of specifics here ... that shouldn't be happening.

The process should allow you to set an input LUT, then use the Override to set the output to Rec.709.

Neil

Report · May 22, 2022

I cannot Interpret footage. It wont allow me.

Report · May 22, 2022

It looks like Premiere is Interpreting the footage wrong without a way for me to change it. I can Raise the exposure to correct but Exposure isnt linear and degrades the footage before I get a chance to do anything. In resolve you can use Offset to bring it up without degrading the footage and we don't have a way of doing this in premiere unless I'm missing something.

Report · May 22, 2022

I don't have a clue what you mean by "degrading" the image ... giving specifics always helps. If I understand what you need, I can give a pretty solid answer.

And mp4 files are normally an H.264 format/codec, and not something that Premiere may be looking at as "having" a color space to mod. Just a guess. But using mp4/long-GOP encoding for log-encoded files is not always a great thing ...

Exposure going up lifts about everything, but does lift highs/mids more than other values. It doesn't push things past 100 though at the top. It's really meant to be used "against" another control for best use, like most color tools are.

Going down, Exposure is a straight Gain tool.

Whites of course is a straight "gain" tool. Like working with the white point right end of a Curves tool.

The color wheels, for another example, are always designed to work against each other.

Example: use the Highlight wheel going up, it's a gain tool, lifting most values, just the highlights more than mids, mids more than shadows. So raise the Highlight wheel while slightly pulling the Mids down, keeps the Mids in place while you lift the Highs. Same process as in Resolve, Baselight, whatever.

Neil

Report · May 22, 2022

Yeah If you don't understand It would be much harder to explain. https://youtu.be/9FEXUQHMLmo?t=508 This video would explain more so how offset works in Davinci. Raising and lowering the entire Gamma Curve without stretching or distoring in any way. Using "Whites" in Premiere still stretches the curves, Same with using exposure. We don't have a tool in premiere that does this.

Report · May 22, 2022

Exposure is not a 1:1 gain tool in Premiere. As I lift the exposure you can see the waveform "stretch" and not "Lift" alltogether. Meaning Highs,Mids, as well as low's DO NOT move in uniform. We dont have a tool that does this. As far as SLOG 2 footage in H.264 or .MP4 Format/codec not being "Ideal" for Video Work... All that is needed is a PROPER color space transform. Blaming a codec on not being "Ideal" for work instead of the program that is supposed to interpret it properly is just passing on the blame to the consumer. It's being done in other Programs as presented here, and Adobe has a habbit of blaming US instead of just adding the features.

Report · May 22, 2022

After Updating my premiere the option was no longer greyed out. However After using the offical Sony LUT's for conversion.....I'm sorry but this is absolutely Horrible. Sony Slog-2 is 100% not being properly being interpreted in Premiere Pro. I was scratching my head, and wondering why so many people complained of working with Sony footage ESPECIALLY S-LOG footage in Premiere and I can say It's 100% the software (Premiere) in the wrong. We NEED a proper ACES workflow, we NEED a proper Color Space Transform.

Report · May 22, 2022

Give the exact steps you took ... and was that 1) add the input LUT 2) set the Override to Rec.709 ...?

As apparently in their new system, you would need to set the LUT as the input directions, and the Override for sequence/display/export.

Even I'm still struggling to sort out their new system at times. And I'm someone who taught their old system to pro colorists after being heavily taught the system by Adobe color staffers. Hours of time.

This new one though ... once the kinks are fixed, will probably work fine. But we're all struggling to find how the blame thing works.

Neil