Disable automatic color space compression on CinemaDNG files

Hey OP, realise this is an old thread but just come across this working with Arri Amira footage and found that if you open the clip in source monitor, you get an additional tab in Effect Controls called 'Master * clip_name.mov' where you'll see a Lumetri LUT which can be disabled or deleted.

Alternatively if you have numerous clips, you can select all and right click and select 'Remove Masterclip Effects', this will remove any LUT PP has applied and revert the image back to the original LOG look.

Hope this helps.

‌ok so after searching and not finding a fix or anything I took matters into my own hands. I made a LUT for premiere and speed grade that when put oN the RAW files it gives it the same look as bmd film prores. So that all of the presets and luts and film convert looks perfect. If you want it just email me at allmonbrothers@gmail.com

So...will the upcoming update include more debayering options for BMD Raw in premiere?  Or will we still have to go through resolve first?

I also wanted to add this nice information straight from Adobe.com's product site for Premiere....

GPU-based debayering for several raw file formats

Premiere Pro now offers GPU-based debayering for AJA RAW, Canon RAW, and Phantom Cine, as well as RED and Cinema DNG footage.

These raw clips can use the GPU (OpenCL and CUDA) for an improved and faster playback performance. For Phantom Cine files, Premiere Pro also applies white balance, color matrix, gamma, and gain using the camera values stored in the video file.

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Maybe they do the same thing mentioned in the last sentence to other footage. It seems like they do it to my CinemaDNG footage from the Bmpcc.

Apologies if someone already answered, I couldn't be bothered to read every response: In premiere if you right click on the footage in the timeline and go to source settings, then change it from rec709 to s-log raw (or whatever you shot) then it will take off the LUT.

I had this same problem in my Sony f% 4k Raw footage, took me hours to work it out, such a pointless and stupid default as you'd have to be a total knobhead to grade it to look like the rec709 makes it look.

Now my problem is that when I bring over the click to AE, AE then re applies the rec709 LUT and I don't know how to turn it on in AE!!!! Someone help!

Ok, so apologies if this is already covered in this forum, but I don't want to trawl through the whole thing. After an annoying 1/2 hour I decided to export the final cut XML file from premiere and open the project in final cut. You get back to your nice flat / RAW / log images that way no problem. However, I would only do this when the project is ready for mixing / color since often audio glitches and misalignment occur. So, edit, picture lock, export video as final cut XML, then export from final cut and color from there. hope this helps

Premiere isn't applying any LUT, it's just doing a kind of poopy job interpreting the RAW and there are only rudimentary controls to tweak it.

The way Premiere handles raw DNGs right now is very disappointing. For whatever reason Adobe chose not to use Adobe Camera RAW to handle DNGs in Premiere and instead went with an "ACR Lite," those three rinky dink sliders in the source settings menu. I think this could be because ACR is a heavy duty piece of kit that makes After Effects attractive...if you incorporate ACR into Premiere, you're stealing a big chunk of functionality from AE. Or, maybe ACR will be implemented in a future update and these controls are just a holdover.

So what happens when you go from ACR to those three little sliders? Top image is a ML 5dmk3 frame rendered out from Photoshop, with ACR settings straight down the middle. The bottom image is the same frame except from Premiere, with no effects applied, except a slight downward exposure adjustment, without which the shirt was completely blown out.

I think there is a ways to go before there is a truly workable workflow for RAW inside of Premiere with as much image control as AE has.

Moving from raw to a workable colorspace is a lot like developing a film print, it's not a process you can throw away or automate, there is a certain care and thoughtfulness that should go into it, and really only Adobe Camera RAW controls are equipped for this kind of work.

Until then I think the best workflow is to import your footage into AE, and "develop" your footage with ACR individually before exporting to a near-lossless codec like ProRes.

I had a similar problem with Arri Amira Prores 4444 footage and found out the cause from the Arri website:

"When AMIRA footage is ingested into Premiere Pro, the appropriate LUT from the camera is automatically applied as a Lumetri effect, which can be toggled off if necessary."

The way to switch it off is to right-click the imported master clip(s) and go "Remove Masterclip Effects" , the cause of the baked-in look.

Hope that helps.

Kristof

editing.dunked.com

I'm having the same problem with my Apple Pro Res 4444 files. (I'm editing on a PC, could that be it? That my PC hates Apple?)

It REALLY messes with the Premiere / After Effects workflow...

I came across your post because it seems like I was having the same problem that you were. Yesterday I shot S-log2 footage in 4K RAW using a Sony R5 recorder on my F5, and when I brought it into Premiere, it seemed like a Rec 709 LUT was already added to it, but in Sony Catalyst Browse, everything looked how it was supposed to. After searching through the internet, and playing around in Premiere, I think I may have found a solution for you.

I really thought it had something to do with the composition or project settings, but it was actually within the clip settings, and it's a very easy fix. In your project window, select all of your 4K RAW footage, and go to clip -> source settings, and a window comes up with your source color space. Mine was auto selected as Rec 709, but you can switch that to S-log2.

When I clicked on the source settings, the title of the window that popped up was "Sony Raw Source Settings" so I really hope that you can do this as well, and it's not limited to a Sony thing.

Good luck!

-Dave