• Global community
    • Language:
      • Deutsch
      • English
      • Español
      • Français
      • Português
  • 日本語コミュニティ
    Dedicated community for Japanese speakers
  • 한국 커뮤니티
    Dedicated community for Korean speakers
Exit
1

No ACE's in Premiere!!? Does anyone have a work around?

Explorer ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

I work In Cinema 4D and After Effects. We've had ACEs for about 2 years now. I made a bunch of renders and clips to be able to cut them into a complicated edits which I wanted to do in Resolve but changed my mind since I've only used it twice for editing. Soooo Like a fukn idiot... I said ok I'll do it in Premiere since my deadline is tomorrow. I make the Edits all day today only to realize that on the final clip I placed all the colors / reflections / gamma are all off on all clips. I look for an OCIO ACE's tool in Premiere, BUT It doesn't exist. Is there no way of fixing this in Premiere?

 

WHY DONT YOU GUYS HAVE ACE"s YET!!?? WTF

Idea No status
TOPICS
Color

Views

459

Translate

Translate

Report

Report
Community guidelines
Be kind and respectful, give credit to the original source of content, and search for duplicates before posting. Learn more
community guidelines
7 Comments
LEGEND ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

AfterEffects has OCIO and ACES, but it's not yet made it into Premiere. And as someone that works for/with/teaches pro colorists, I spend a lot of time in Resolve and "interpret" how to work in Premiere for Resolve users. And that's a frustration for sure.

 

I assume you know of the new, full set of color management controls in the Lumetri panel Settings tab, which at least is a big upgrade from previous versions. Their algorithm based tonemapping is actually pretty decent, whether working with log footage in general into Rec.709 or using HLG or PQ clips on a Rec.709 timeline.

 

That requires that you have the project CM setting for auto detect log "on", and auto tonemapping in the Sequence CM. Again, this can all be done in the Lumetri panel's Settings tab.

 

From staffers ... Premiere takes the native space of the clips, and transfers all clip data to 32 bit float. You can set the Sequence CM now, to Rec.709, HLG, or PQ, and what that does "effectively" is set the display color space. Think display ODT. So any chroma/tonal work is done to original clip data in 32 bit float, then an ODT is "effectively" used to give the data to the display.

 

You can set the display gamma to be used in the Program monitor now, three options, 1.96, 2.2, or 2.4.

 

At export, the Sequence CM and export CM need to be the same ... Rec.709 export presets don't have any additional name parts, HLG and PQ presets do include their color space in the preset name. So at export, match the preset to the Sequence.

 

 

Votes

Translate

Translate

Report

Report
Explorer ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

OK thanks. So in Cinema 4D I was working in ACE's, I sent that into AE and AE has ACES, so I was working in 32 bit ACES colorspace in AE.  When it came time to render I rendered them out as ProRes 422 and they look just like I want them to look.  I do not know about the new control panels in Lumetri....unless it's just Lumetri's normal controls that have been there for the past 2 or 3 years. 

Votes

Translate

Translate

Report

Report
Explorer ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

I don't see anywhere on the Program monitor to change gamma, I also don't see a settings tab in Lumteri unless of course you're talking about the basic color correcting settings such as - Basic correction, creative, curves, color wheels, HSL etc.

Votes

Translate

Translate

Report

Report
Explorer ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

Im on 2023, gamma feature is in 2024

 

Votes

Translate

Translate

Report

Report
LEGEND ,
Dec 29, 2023 Dec 29, 2023

Copy link to clipboard

Copied

That's a major reason to update to 2024 ... more CM options, and all of them easier to check and change.

 

Pr 2023 does scrupulously follow Rec.709 rules for sequences in Rec.709. It does take the original clip data, apply any transform for color space from say HLG to Rec.709, then apply any corrections, then apply Rec.709 'display rules' including gamma 2.4 to the Program Monitor and Transmit out. 

 

Export is original data plus any transform plus corrections into the export preset color space, which needs to match the sequence color space.

 

If you are working with HDR media, and wish to maintain that and pass the clips on to other workers, then using PQ for sequence and export presets is advised.

Votes

Translate

Translate

Report

Report
Explorer ,
Jan 08, 2024 Jan 08, 2024

Copy link to clipboard

Copied

If anyone's looking for the answer to this problem, My honest opinion is It's better to just work in DaVinci Resolve or Edit in AE (which is terrible for making 500 cuts to the beat of an EDM song). Yes, I think it's faster to spend 2 hours learning Resolve and how to import and cut than it is to try to regain your colors back in Premiere Pro.  Resolve makes it seemless, and you have a more powerful color control. If you run into the exact problem  the best thing would be to do is use the Gamma effect set it to level 6, theres "Auto" feature in Lumetri that sort of works. You'll have to adjust it but it still doesn't look as good as it did in AE using ACES.

Votes

Translate

Translate

Report

Report
Explorer ,
Jan 08, 2024 Jan 08, 2024

Copy link to clipboard

Copied

LATEST

Thank you for your help. I couldn't quite dial it in to look like it did in AE in ACES. I got close. Next time I will just import right into Resolve and learn it. 

Votes

Translate

Translate

Report

Report