VFX workflow using S-gamut3.cine/S-log3

[Justin Sarceno]

I'm having color workspace issues with a VFX workflow and deliverables being rejected. I'm trying to figure out what export settings should be used- Premiere to After Effects, then back to Premiere.

Footage was shot on a Sony Venice, S-gamut3.cine/S-log3, and trying to use ProRes 4444 format.

When inside After Effects I usually will have color managment turned off so that color values are not changed. So to begin with, what would be the best settings to use when exporting out of Premiere?

[R Neil Haugen]

What are the rejections ... a QC machine, what? Anything listed as the reason for rejection?

By saying you are trying to use ProRes 4444, is that what you're trying to export into?

If so, make sure that your Sequence settings have Maximum Bit Depth checked, as well as your Export dialog. Then in the Export dialog, scroll down, check Render at Maximum Depth, and in the drop-down, select either 16-bpc or 16-bpc + alpha, depending on whether you are exporting an alpha channel also.

Neil

[Justin Sarceno]

Thanks for the quick response. The issue is that the turnovers I'm delivering got flagged in a color session as being in the wrong color space.

I'm just on the VFX (after effects) side of things, but I'm working with an assistant editor (premiere) and we're trying to figure out if the exports out of premiere is the issue, or if the vfx exports out of after effects is the issue. I have a feeling the initail export out of premiere (to me) is the issue so I'm trying to help the AE out.

When exporting the raw clip out of Premiere and checking Render at maximum depth, what should the export color space be? Considering the camera color space is S-gamut3.cine/S-log3

Thanks

[R Neil Haugen]

Premiere is exporting any Rec.709 in stock Rec.709, with the correct NCLC tagging on anything I've seen.

I don't think what you've done in Ae would change that. So this is a puzzler.

Neil

[chrisw44157881]

I don't think you can select s-gamut or s-gamut cine as export colorspaces. only rec. 709, rec. 2020 and P3, afaik.

also, the best quality would be Open EXR at 16 bit as it automatically converts it to linear working space. Prores stores all values in Rec. 709 non-linear.

Jpeg2000 can store Rec. 2020.

and I believe DPX's spec requires they be stored in bypass RGB.

In after effects, you can use the OCIO plugin for ACES support, but Premere is gonna be a little tricky if you dynamic link anything, it will force  rec. 709 (unless somethings changed about that)

You probably got a 1-2-1 flag for NCLC mismatch. It happens all the time.

BBC - "Several post-production tools and utilities are now aware of the colour and transfer function parameters specified. However, some tools are unable to correctly signal the correct parameters, and may result in a file with the incorrect video parameters. "

edit metadata:

https://github.com/bbc/qtff-parameter-editor

https://developer.apple.com/library/archive/documentation/QuickTime/QTFF/QTFFChap3/qtff3.html?fbclid...
id/TP40000939-CH205-74522

NCLC tags cheat sheet.
https://drive.google.com/file/d/1mvDCUCXcKvhg-A2hfsoAna4cBu7kzZYC/view?fbclid=IwAR2f6q7LxiLe3lJGgem1...

[Justin Sarceno]

Got it, we were trying to export PR4444 with Rec 2100 to keep the s-gammut, but it ended up converting the color to Rec 2100.

We will probably use DPX for the transers from Premiere to After Effects, and I will use EXRs for multipass renders, and then export back to DPX to be turned over back to premiere.