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JGarcia2545
JGarcia2545
Participating Frequently
May 26, 2022
Question

Workflow for ProRes Raw/Sony A7SIII?

  • May 26, 2022
  • 3 replies
  • 5339 views

Not sure how to begin asking, but an exhaustive search through the internet has not turned up the answers that I was hoping to find, unless I'm too silly to understand what I'm reading and seeing.

 

I'm planning on shooting a project in ProRes Raw but can only edit on a PC with Premiere. I was wondering what the best workflow is for treating the footage when it comes in? What should my sequence settings be? What exactly am I doing when I switch the color space in the effects control tab? And, other than that, what sorts of questions should I be asking myself before I commit fully to the idea? 

 

There are tutorials for how the footage can be manipulated, but no one seems to be talking about what is actually happening to the footage, and what settings I can change to take the most advantage of it (i.e. what should my working color space be? What should I set my preview codec settings to, to take advantage of Premiere's smart rendering features?)

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3 replies

JGarcia2545
JGarcia2545Author
Participating Frequently
May 27, 2022

@R Neil Haugen 

 

Their new CM system relies on the user setting the color space in the project panel's Modify/Interpret Footage panel. But it's not clear that for most media it's a two-step process.

 

Currently, this option is greyed out and I do not have any way of accessing it. When I right click on one of the clips and go to "Modify>Interpret Footage" I am unable to select the "Color Managment" control section. I do have "Display Color Management (requires GPU acceleration)" checked off in my General Preferences options though. Do you know how to access that option, or what things I have to manipulate in order to access it?

 

Furthermore, why would I use "Modify>Interpret Footage>Color Management" as opposed to the "PRORES RAW Source Settings" option to set the color space and exposure?

 

The Input is of course from that Input selection at the top of the CM controls section. And not all media has a current proper "input" option ... they're working on building that out. Sony S-log3.cine finally has some, and there's more stuff in the options in the public beta version.

 

Next, you need to use either the option to use the color space 'seen' from the file, or the bottom option, to set an Override to... action. That set's your working/export color space.

 

I'm afraid I don't understand what you're explaining in this portion. Given the specs I just explained, what color space is seen from the file? For instance, I know that DNxHR HQX operates in the standard Rec.709 color space. Is ProRes RAW automatically meant to go into the Rec.2020 HLG color space? Will it make more sense when the option to change it is not greyed out?

 

I can't ask questions about the rest since they depend so heavily upon the first set of answers.

R Neil Haugen
R Neil Haugen
Legend
May 28, 2022

That's greyed out when they don't have a CM setting for that media ...

 

The Input is of course from that Input selection at the top of the CM controls section. And not all media has a current proper "input" option ... they're working on building that out. Sony S-log3.cine finally has some, and there's more stuff in the options in the public beta version.

 

That's what I'm talking about here ... not all media has a current input option, and apparently ProRes RAW is in that category.

 

I haven't worked with any P-Res RAW for a couple builds, and so can't comment on the exact process. I won't be back to the shop until Wednesday either so I can't test.

 

And some log and raw formats are simply treated as HLG by Premiere at this time. If it's one you can't modify, that's ... a right royal pain.

 

Neil

Everyone's mileage always varies ...
    JGarcia2545
    JGarcia2545Author
    Participating Frequently
    May 29, 2022

    Thank you for all your help up until this point. It is greatly appreciated. Hopefully Premiere can build out these functions more fully in the future.

      A
      Andy 1968
      Inspiring
      May 27, 2022

      Did you test out the camera to see if Pro Res will yield the best results? I think most people use S-log to get the most amount of dynamic range. I am not sure what the best option would be since I do not have that camera. 

      JGarcia2545
      JGarcia2545Author
      Participating Frequently
      May 27, 2022

      This is actually what I'm in the process of doing right now. Since I'm editing this project and my collaborator wants to shoot in ProRes RAW, I am trying to figure out the best way to prep the footage with these tests so I don't run into any issues when I start to export for color, VFX, mastering, etc.

      R Neil Haugen
      R Neil Haugen
      Legend
      May 27, 2022

      From hearing colorists talk of this, S-log3.cine and ProRes RAW is mostly a tossup for quality. Too close to note, when you've got say a Sony shooting this, an Arri, and something else involved in a job.

       

      The bigger part is what you're testing ... how it works for your workflow. Resolve for instance doesn't do Pr-Raw so for totally Resolve based colorists, the S-log3.cine is 'easier'. The ProRes RAW adds a step in getting it 'converted'.

       

      For others, with a way to handle the ProResRAW easily, they don't have any troubles either way. Premiere's ProResRAW handling is semi-primitive but doable as far as I've seen.

       

      Neil

      Everyone's mileage always varies ...
      R Neil Haugen
      R Neil Haugen
      Legend
      May 27, 2022

      Clip color management is in the project panel, Modify/Interpret Footage dialog. In the clip CM settings you can select an input LUT or space, and also use either the "color space from file" option or the "Override" option to set what you want for working space for the clip.

       

      Then in Sequence settings, you need to set whether you want the sequence to be Rec.709, HLG, or PQ.

       

      Neil

      Everyone's mileage always varies ...
        JGarcia2545
        JGarcia2545Author
        Participating Frequently
        May 27, 2022

        Why would I use the Clip Color Management (which is currently grayed out for me) over the options titled "PRORES RAW Source Settings" in the "Effect Controls" panel? On that note, why is it greyed out? And, what is happening to the clip when I change the color space, and why aren't those changes being reflected when I bring it in the timeline? For reference, here are pictures of the clips. The one on the left is what the source clip looks like with the PRORES RAW Source Settings are adjusted to Exposure: 1.0 and Color Space set to "S-Gamut3.Cine/S-Log3". The second is the clip in the timeline with my Working Color Space set to "Rec. 2100 HLG". 

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