Hello! First time posting here and i'm in need of some help. I am shooting Sony Slog-2 with the FS5ii and recording with Pro Res RAW on the Shogun Inferno. When I import the clips to Premiere they are not SLOG? They are in full color prob Rec.709? What am I doing wrong?
I looked up the camera but couldn't find specs for it. I looked up inferno and saw specs but couldn't make out much from it. I think the manuals you got with equipment ( and maybe tutorials online ? ) would be helpful to you but didn't search for that stuff. It's too complicated for me to figure out. I don't know if you're recording one format in camera and another format in the inferno and can put either media from camera or inferno into your computer editor. Don't know if you're using SDI out of camera to inferno or HDMI. Don't know enough of what you're doing and how.
Did you check to see if Premiere was applying a corrective to the files in the Master Clip process? With a clip on a timeline, go to the ECP and see if when you check on the Master Clip tab, there's something there.
Prores RAW log isn't available yet. its hardcoded to rec. 709 till they update Premiere's SDK.
@chrisw44157881, could you elaborate a little bit? I'm having the same problem as the original poster. Shooting on FS5ii w/ Shogun Inferno. The image on the left is recorded in Prores HQ and the image on the right is recorded in Prores RAW HQ. I did not change the exposure settings between the two shots and they both looked the same when recording on the Shogun Inferno.
Are you saying that Premiere is automatically converting the slog2 to rec. 709 for the Prosres RAW clip? And there's nothing that can be done about it until some future update to Premiere is released?
Thank you in advance.
Did you look at the Master Clip tab in the Effects Control Panel (ECP) to see if there is a Master Clip effect applied by the program?
Thanks for the quick response. I checked, and there is an effect called "PRORES RAW Source Setting" applied to the master. I disabled the effect (see screen shot below) but nothing about the image changed.
I also checked the Master Clip to make sure there was no Lumteri effects being applied by the program. I disabled Lumetri Color from the Master Clip and again, there was no change. See below.
If I understand what @chrisw44157881 wrote correctly, Premiere currently supports Prores RAW but is converting Prores RAW files shot in log format to rec. 709. Is that correct? I haven't been able to find any other information about this.
if you want to read more about it, there's an official Prores RAW thread in this forum which is for the beta testers only, but you interpreted my post correctly.
Copy you. Thanks for following up. Fingers crossed the update comes out soon. I'll go looking for that thread, but if you happen across it and could post a link here, that'd be greatly appreciated.
Could you like maybe... post that thread..?
There are a number of other threads there discussing ProRes RAW and specific situations, so you can look through there also.
I've only worked with a little ProRes RAW files, so I don't have a great deal of experience with them. It is possible they may be auto-applying a Rec.709 conversion, at least to get the material into the app in a workable form.
From "MartieB", an Adobe staffer on the Premiere Pro beta forum ...
"In Premiere, we are currently debayering to 709 linear and applying gamma 2.4. For now, adjustments can be done with exposure option in source settings and Color Lumetri contols."
It is possible normally to pull a lot of say whites back via the Lumetri controls. It isn't clipping things, but may not be displaying everything within a Rec.709 screen. They say they're working on getting more than simply exposure on the Master Clip tab, but ... we won't know when until they ship it.
Sorry to ressurect this thread - but I'm working through using my Sony FS700R with the Atomos Inferno and am bumping up against this same issue. My question is - using a Mac with FCPX, can I transcode the Inferno Pro Res Raw into Pro Res 4444 or HQ (NOT Raw) and retain the SLog2 information without the unwanted conversion to Rec709 color space? Would I lose anything in this process? I have FCPX on my older but still working Mac Pro. I am currently on a PC running Creative Cloud and the Premiere beta. I'm just on a quest to get the best usable image possible out of my old workhorse, which still has some life left in it if Pro Res Raw would do a better job in Premiere.
Bill, if I were you, I'd consider just making proxies for all the files you want to work with. That would let your older Mac Pro handle the files for editing. It might be a heavy lift when it comes to grading, but you'll still have all the benefits of ProRes Raw.
I really dislike the fact that you have to change the color space for each clip in Premiere to SLog when working with ProRes Raw clips. If that bothers you as well I'd just record everything as ProRes HQ on the Shogun and save yourself the trouble.
That's a really good idea, kind of an offline/online scenario like the old days of post (don't ask me how I know). I did just try an export from FCPX to ProRes from the ProRes raw file, and then brought that into Premiere on the PC. I'm not sure if the color space settings are correct tho, I'm still having issues with that. I'm also bumping up against my own ignorance on all of this, truthfully. I'm not a colorist, nor do I really want to be - but in so many situations I'm forced to be, so it's a learning opportunity.