LUT auto applied to Sony Venice .mxf files on import in Premiere

[#1]

Having an issue with a feature film that was shot on the Sony Venice. Whenever I import the raw .mxf files into Premiere Pro (2020) it seems to be auto-applying a LUT to the footage. Solutions like the Amira Lumetri workaround, and "disable masterclip effects" aren't relevant and don't solve the problem.

Looking for help with this. Thanks!

[#2]

Having an issue with a feature film that was shot on the Sony Venice. Whenever I import the raw .mxf files into Premiere Pro (2020) it seems to be auto-applying a LUT to the footage. Solutions like the Amira Lumetri workaround, and "disable masterclip effects" aren't relevant and don't solve the problem.

Looking for help with this. Thanks!

[#3]

Mac or PC?

To get help, you need to supply more info - like workstation and OS, etc.

MtD

[#4]

MacOS 10.13.4

[#5]

J,

Thanks. Hardware info too, please. Include your CPU, GPU, RAM, media drive type and how it is connected.

Thanks,
Kevin

[#6]

Hi. Having same issue exactly as described above.

Tried on up to date macbook pro, intel and ryzen machines. Same effect.

Currently having to convert to prores from RAWviewer 😕

[#7]

Does anyone have any additional information on this? I have the exact same issue as described, and I've tried Premiere 2020 with both a Windows 10 PC, as well as a 2018 Macbook Pro. The LUT is always auto-applied, even when converting the raw .mxf files into proxies through Media Encoder.

I can confirm the Sony Venice files are raw and there should be no LUT applied because they open up just fine as raw files in the Sony RAW Viewer.

[#8]

Check the Media Properties in the Project panel. Right-click the clip, then select Modify/Interpret Footage. That's where they've moved input LUTs and color space options to.

Neil

[#9]

This is the only thing that comes up when right clicking Modify > Interpret Footage:

[#10]

Huh, wonder if @Kevin-Monahan might be able to help with this?

Neil

[#11]

It wasn't in the Media Properties, specifically, but your suggestion gave me an idea and I was able to find the solution. See my other comment in you're interested in how to solve it. Thanks for your help. 

[#12]

For all those interested, I found the solution!

After you bring your clip into the timeline, click on "Effect Controls" and there will be two tabs. Click on the "Master * [clip_name]" tab and there should be a control setting that looks like this: 

Click the dropdown menu and select "S-Gamut3.Cine/S-Log3". As far as I can tell, this only works after it is in the timeline, and it won't work when looking at the "Source" window for the clip. This also means you will need to go in and manually select this setting for every clip in the timeline. But at least it's something. If someone has a way to apply this setting to all the clips, please feel free to share. (Copy/Paste Attributes does not work.)

[#13]

Oh, I assumed you'd checked the Master Clip tab, my bad! For the meta-heavy RAW and Log pro cameras, Premiere often has a Master Clip setting for their specific format. My BMPCC4K BRAW is handled via the MC tab also.

A "Master Clip" setting will apply across all uses of that clip in any timeline in the project. It is best used to set a 'neutral' view of the clip, so that you can then do any further corrections in the normal manner using the regular clip tab.

If you need to set a different MC properties setting for some uses, then you would duplicate the clip in the Project/Bin, and to the duplicate clip reference you can make changes to the MC settings that would apply to any use of that duplicated clip.

Neil