DISCUSS: Log color spaces now available in interpr...

Francis-Crossman · ‎Sep 17, 2021

Color management is now available for log-based media. This allows for simpler, LUT-free workflows when working with log footage from popular camera makers like Sony, Panasonic, and Canon. Set the log color space correctly in Modify > Interpret Footage, then place the media on a Rec709 or HDR timeline and Premiere Pro will automatically apply the correct color conversions. Any camera that shoots log can now be used in HDR production easily. This method transforms log footage to the color space of the sequence in a non-destructive, real-time workflow, rather than the common use of Log>Rec709 LUTs that can clip highlights, shadows and color information. How It Works: Right-click on a video clip in the Project Window and select Modify > Interpret Footage. In the Interpret Footage Window, scroll down to “Color Management” at the bottom of the panel. Click “Color Space Override” then use the pull-down menu to assign the format of the selected clip. This should match the color space that you shot in the camera – V-Log, S-Log, Canon Log. Place the media on a Rec709 sequence if working in standard dynamic range. You can also choose to put it on a PQ or HLG timeline to work in HDR. Premiere Pro reads the media color space and does the appropriate conversion from source media color space to the Premiere Pro sequence color space. When you change the working color space in Sequence Settings, Premiere executes the color space transformation, no need to add a different Log > Color Space conversion LUT. This new color managed workflow is also useful for moving projects out of Premiere and maintaining the wide gamut and luminance of HDR video. To export in HLG or PQ, choose format H264 or HEVC, select the Main10 or High10 MPEG profile under Encoding Settings, then choose Rec.2100 HLG or Rec.2100 PQ as export color space. Make sure that the check boxes on the right of Profile and Level are NOT checked, and select Main10 if you are exporting in and HDR format. Then set the Export Color Space to one of the three HDR color spaces. Beta testers should note that there is a significant difference between clips that are color managed from log to Rec 709, vs clips that use a LUT to convert. LUTs can include tone mapping, knee and highlight roll off values that yield which yield a good looking image with little fuss but often clip highlights and shadows and that detail in unrecoverable. The LUT processing is destructive. With color managed workflows, none of the color information is lost. But significant tone mapping is required to fit the enormous dynamic range of log (~14 stops) into the very narrow range of Rec709 (~6 stops). We are still working on a tone mapping approach. You are likely to see results that look a bit blown out in Rec709 sequences. Log to HDR sequences look fantastic, however. The Waveform above is from a Color Managed clip, none of the highlight or shadowed values have been clipped or lost, you can see them extending way above 100 IRE and dipping below 0. The Waveform above is from a LUT converted clip, all highlight values have been remapped or clipped to values below 100 IRE, and shadow values are either remapped or crushed to values greater than 0 IRE. We want to know what you think. Please join the conversation below.

Francis-Crossman · ‎Sep 17, 2021

This expands the list of color managed codecs. H264/HEVC represents the majority of DSLR and mirrorless prosumer cameras on the market, and XAVC-L / XAVC Slog are heavily used in broadcast HDR workflows. “Color managed” means that Premiere Pro read the color tags in the file metadata and accurately converts the file to the sequence color space. If the color spaces of the file and sequence are the same, the Premiere Pro passes the colors through to the sequence without conversion. Color management is necessary for HDR production. Codecs that are not color managed will always be interpreted as Rec709, which worked just fine for a long time. But with HDR becoming more and more mainstream, proper color management is necessary. Full list of color managed codecs Codec Wrapper Color Space New? Apple ProRes · 422 HQ · 4444 · 4444 XQ .MOV Rec. 709 Rec. 2100 HLG Rec. 2100 PQ Previously supported Sony XAVC-I (all intra) .MXF Rec. 709 Rec. 2100 HLG Previously supported Sony XAVC-L (long GOP) .MXF Rec. 709 Rec. 2100 HLG NEW H.264 / HEVC (H.264) .MP4, .MOV Rec. 709 Rec. 2100 HLG Rec. 2100 PQ NEW Steps to check the color space of the clip: Check the Properties Right click on the clip in the project panel of timeline and choose “Properties” Look for Color Space Check interpret footage Right click on the clip in the project panel and choose “Interpret footage” Look for the Color Management section at the bottom If Properties or interpret footage do not show a color space, the file is not color managed and will be treated at Rec709. We want to know what you think. Please join the conversation below.

Francis-Crossman · ‎Sep 16, 2021

That's a totally fair point @Averdahl. I tend to agree.

Francis-Crossman · ‎Sep 16, 2021

You can now choose to automatically shut down your computer when the entire Media Encoder render queue is complete. Check the option at the bottom of the queue. This is useful to save energy by powering down the system after a long overnight render job for example. Media Encoder will issue the shutdown command to the OS, but other apps could still interrupt the shutdown process at the OS level, so be sure to quite those other apps. This option is sticky, meaning it will still be checked the next time you launch Media Encoder. Be careful testing, because . . . your computer will shut down . . . which is the intention of course 🙂 This feature is available in AME beta 22.0 build 89 and later. We want to know what you think. Please join the conversation below.

Francis-Crossman · ‎Sep 15, 2021

You can now choose to automatically shut down your computer when the entire Media Encoder render queue is complete. Check the option at the bottom of the queue. AME auto shutdown This is useful to save energy by powering down the system after a long overnight render job for example. Media Encoder will issue the shutdown command to the OS, but other apps could still interrupt the shutdown process at the OS level, so be sure to quite those other apps. This option is sticky, meaning it will still be checked the next time you launch Media Encoder. Be careful testing, because . . . your computer will shut down . . . which is the intention of course 🙂 This feature is available in AME beta 22.0 build 89 and later. We want to know what you think. Please join the conversation over on the media encoder beta forum here: https://community.adobe.com/t5/adobe-media-encoder-beta-discussions/discuss-automatically-shut-down-the-computer-when-the-ame-render-queue-is-complete/m-p/12386805#M114

Francis-Crossman · ‎Jun 14, 2021

Heads up, we are making some changes to the trascription back-end that will make speaker identification no longer function. Update to the latest beta version to keep using this feature. More details here: https://community.adobe.com/t5/premiere-pro-beta/speech-to-text-early-access-update-speaker-identification/m-p/12113906#M3539

Francis-Crossman · ‎Jun 14, 2021

We are making some changes behind the scenes which will temporarily disable automatic splitting of speakers (Speaker 1, Speaker 2) in release and older beta builds. Don’t worry! We know it’s an important feature. It will be back in release builds as soon as possible. Note: The feature is up and running in the latest Premiere Pro (beta) 15.4 build 31 or later. If you are in the early access program for Speech to Text and you have multiple speakers in your footage, we recommend using Transcription in the latest beta build of Premiere Pro. Not in the Speech to Text early access program? Apply now: http://adobe.ly/speechtotextpr 

Francis-Crossman · ‎Mar 23, 2021

Adobe and RED have recently made changes to the default behavior of RED Raw R3D color space handling in Premiere Pro (14.9). R3D files will now default to Log3G10/REDWideGamutRGB instead of Rec 709/BT.1886 which was the previous behavior. Decoding the raw files to wide gamut is necessary to retain the maximum dynamic range of the material and prevent highlight clipping. But the footage will look flat, so an additional step is required to get the footage to look correct in a Rec 709 timeline. Premiere Pro does not currently have the ability to change R3D decode parameters project wide but there are still some easy ways to get everything looking correct while maintaining the maximum quality of the image. Use Lumetri to convert from Log to Rec709 Download the LUT linked below or make your own in REDCINE-X with the following steps Load a clip in REDCINE-X Generate the desired IPP2 Output Transform, for example a Rec.709 with Medium Contrast and Soft Highlight Roll-off. Save it as a .CUBE LUT In Premiere Pro, apply Lumetri to a selected clip and specify that LUT as the Creative LUT. Save this Lumetri effect as a preset by right-clicking the hamburger menu at the top of the Lumetri panel. Apply this preset to all your .R3D footage on the timeline OR – you can use an adjustment layer spanning the length of your timeline. Lumetri order of operations Lumetri processes from the top down and all the math is done in 32bit floating point. This means that over exposure in one section of Lumetri can be brought back in another section or another Lumetri instance. LUTs are a notable exception to this rule, they are destructive and any values driven above 100 IRE by a LUT will indeed be clipped and are irrecoverable. This is why the LUT should go in the Creative section of Lumetri. It gets processed after all the Basic corrections, giving you the opportunity to recover overexposed areas with the Basic controls. Why not apply the preset as a Source Clip effect to all my footage in the bin? This can be a convenient option but does not protect you from clipping. The source clip effect is processed first, so any clipping that may be introduced by the LUT cannot be brought back with an instance of Lumetri on the clip in the timeline. You can reduce the exposure or highlights in that source side Lumetri effect but remember that this will affect every instance of this media in your project and may not be appropriate. If this workflow sounds like it will work for you, here are some ways to make is a bit more convenient. To quickly find all the .R3D clips in your project simply search for “.R3D” in the Project panel search bar. Creating a Search Bin is another way to quickly find all your RED media. You can then apply the preset to all the clips in the project panel. Download the LUT here: RWG_Log3G10_to_REC709_BT1886_with_MEDIUM_CONTRAST_and_R_3_Soft_size_33.cube Download the Preset here: RED Log3G10 to REC709.prfpset

Francis-Crossman · ‎Jan 29, 2021

Hey there all. I updated the original post with some updates but I will post them here too. Since the innitial post back in October of last year we have made a ton of progress and some of the details originally posted here are no longer acurate. I have updated the post to be more accurate to the state of things today. Here are some important changes to be aware of The Premiere Pro beta is now version 15 (starting January 26, 2021) The captions workflow in on by default - no need to enable it The beta menu has been removed (because you don't need it anymore - the advanced beta features are always on) Applications for speech to text early access has closed and those who have been accepted should have recieved an email. The email you used to apply needs to match the email (Adobe ID) you use to log into creative cloud. If you did not recieve an email stating that you have been accepted, or if you are logged into creative cloud using a different email you will contininue to see the message stating that speech to text is coming soon. Broadcast closed captions are now supported CEA 608/708, OP47, Teletext, EBU Subtitles. Exporting is working (burned-in, sidecar, embedded) and queue to Media Encoder is working too now. Thanks to everyone for testing and for all your awesome feedback! We are still looking into why certain people cannot access the speech to text functionality even though they have been accepted into the program. Thanks for your patience while we resolve these issues. - Francis

Francis-Crossman · ‎Jan 28, 2021

We figured out what the specific problem is. There is a problem reading 1D LUTs on Apple Silicon. We are working on a fix to the problem so stay tuned. 3D LUTs work fine right now. Please let us know it the LUT that @jarretb68665817 referenced is working for people. That is a 3D LUT and if it works there is no reason not to use it.

Francis-Crossman · ‎Jan 27, 2021

AE MOGRT funtionality has not been added yet, so they are not expected to work at this time. This is listed under the "Not functioning currently" section on the main thread for the M1 beta - https://community.adobe.com/t5/premiere-pro-beta/discuss-premiere-pro-on-apple-silicon-m1/td-p/11691346?page=1 MOGRTs authored in Premiere Pro are working right now though.

Francis-Crossman · ‎Jan 15, 2021

Have you enabled either of the beta features New Captions workflow or Media replacement in motion graphics templates from the Beta menu? Both of these will require a project version update which cannot go backwards. There was a warning explaing this. Discuss: Media Replacement for Motion Graphics Templates DISCUSS: New Captions Workflow in Premiere Pro

Francis-Crossman · ‎Jan 11, 2021

We don't yet have a version of After Effects running natively on Apple Silicon, so MOGRTs authored in AE will not function in Premiere Pro running native on the M1 at this time. Today - you can use MOGRTs that are authored in Premiere Pro. Or you can restart in compatibility mode which will run the Intel version through Rosessta 2 emulation. But then you will lose some of the benefits of the M1 chip.

Francis-Crossman · ‎Jan 05, 2021

Since this is a beta forum, it's a running list of in-developement features and by it's very nature there will be some incomplete information here. But rest assured we will document the final and true state of things once it ships in a release. In the meantime, thanks for following along, Neil, your involvement is truly appreciated! And thanks for always keeping us honest.

Francis-Crossman · ‎Dec 22, 2020

We just made the Warp Stabilizer way faster! The warp stabilizer is one of our most popular effects in both Premiere Pro and After Effects and it is known for doing a really high-quality job of stabilizing shaky footage. We are seeing speeds up to 4 times faster. Warp Stabilizer What’s different Stabilization is a two-phase operation Analysis Stabilization We found that the analysis phase is taking 90-95% of the overall stabilization process. We took various steps to dramatically improve the time it takes to analyze the shaky footage while leaving the actual stabilization process unchanged. The result is that the quality of the stabilization is as good as before – just way faster. Analysis Stabilizing Please tell us what YOU think The improvements are turned on by default so just use the tool like you always do. If you are happy with the results let us know in the comments below. If you are NOT happy, definitely let us know in the comments. You can disable these improvements to go back to the old method to compare the results. Uncheck the Fast Analysis box to revert back to the old version of the warp stabilizer. Fast analysis Question to the beta community If you are happy with the new results, can we remove the option to use “Fast analysis” and just have it be fast all the time? Or do you find cases where the old method yields better results? Please leave comments below. We really appreciate your participation in the beta discussion!!!

Francis-Crossman · ‎Dec 18, 2020

Our team is working hard on a version of Premiere Pro that will run natively on Apple’s new Apple Silicon based M1 processor. The first public Beta is available today and we invite you to test it out! Your feedback is welcome. We will be updating the Beta frequently as new builds become available. Please see the notes below. Premiere Pro Beta Apple Silicon M1 processor For more information on Adobe video and audio apps for Apple M1 systems, please see this blog post https://blog.adobe.com/en/2020/12/21/now-in-beta-premiere-pro-premiere-rush-audition-for-apple-m1-systems.html#gs.o4izbf The Beta processes Since Premiere Pro is built on a large codebase with support for a wide range of media and workflows, we will implement native support for Apple M1 in phases and some parts have not been ported yet. This phased approach allows us to validate performance and functionality for specific parts of the application before we add new components. And it also allows you to start seeing the benefits now. The first public Beta includes all the core editing functions and workflows like color, graphics, and audio, as well as features like Productions, and multicam. We prioritized support for the most widely used codecs, like H.264, HEVC, and ProRes. The average editor is likely to see very little difference from the Intel version, but there are some limitations which are listed below. Please check back on this thread for more updates as we add more functionality. Running current Intel version in Rosetta 2 emulation mode While we complete the Apple M1-native versions of our Premiere Pro, you can install and run the current release version of Premiere Pro using Rosetta 2 emulation with Apple M1 devices and macOS 11.0 (Big Sur). Please note that third party integrations such as panels, plugins, effects and drivers for transmit hardware will need to be updated by the developer to run natively on Apple Silicon and may or may not work in Rosetta 2 emulation mode today. General Things to Know Premiere Pro Beta for Apple M1 uses the new captions workflow, which requires you to upgrade project file format. If you want to work with current projects, we recommend creating a copy of for Beta testing to avoid compatibility issues with any ongoing production work. After Effects and Media Encoder do not yet have Beta versions for M1 Macs. Dynamic Link with After Effects and Queue to Media Encoder will work with the Intel Beta versions of those applications, which will run under Rosetta 2 emulation mode Supported Formats H.264 & H.265 in MP4, MOV, or MXF AVC Intra XAVC-I & XAVC-L in MXF ProRes in MOV or MXF JPG, PNG, GIF, WebP, HEIF/HEIC AAC, WAV, M4A Known Issues Tapping the tool selector on the Touch Bar (MacBook Pro) can cause a crash Premiere Pro can crash on launch if set to Chinese localization A crash can happen during the analysis phase of Scene Edit Detection Team Projects collaborators can appear offline Dragging markers in the Timeline or Program Monitor can cause a flicker in the Program Monitor Estimated file size when exporting can be incorrect by an order of magnitude Project Manager has an incomplete set of presets as well as some extraneous presets Using Lumetri color controls while the Program or Source Monitor are set to Multi-Camera view can cause the application to hang Using “Replace with After Effects Composition” will fail to bring the selected clips into After Effects The background process “dynamiclinkmanager” can cause temporary hangs if the Intel After Effects Beta is launched before the native M1 Premiere Pro Beta. If intending to use both applications, make sure to quit all Adobe applications, then launch the native M1 Premiere Pro Beta, followed by launching the Intel After Effects Beta Not functioning currently Learn Panel and in-app tutorials Support for control surfaces Not all video & audio effects have been ported Legacy Titler (use the essential graphics workflow instead) Motion Graphics Templates authored in After Effects (Premiere Pro authored MOGRTs work) Old caption workflow (please use the new captioning workflow which is available in both beta versions, Apple Silicon and Intel) Interchange formats (XML, AAF, OMF) Capture panel & preferences Device Control preferences Third party plug-in support including panels, effects, scripting, and transmit Libraries panel

Francis-Crossman · ‎Dec 14, 2020

We have identified a fix to this issue and you can test that out in Premiere Pro Beta right now. We don't yet know exactly which public release this fix will go into, but it should be soon.

Francis-Crossman · ‎Dec 10, 2020

I'll DM you

Francis-Crossman · ‎Dec 10, 2020

I was just able to imort an arriraw (.ari) file from Alexa LF into PPro 14.7 without issue. Would you be able to send us a short sample of the MXF files that do not import?

Francis-Crossman · ‎Dec 08, 2020

We are aware of this bug and have fixed it. It was fixed in beta version 14.8 build 8. Please update to the latest beta version to see the fix. You will need to re-import the affected files.

Francis-Crossman · ‎Dec 08, 2020

We are replacing OpenGL with DirectX12 as the preferred display technology on Windows with the eventual goal of phasing out OpenGL entirely. There are many benefits to DirectX including better stability and performance, and a more modern codebase that is more efficient for us to maintain. But possibly the most exciting benefit is support for Windows 10 advanced color which allows displaying HDR content on an HDR10 capable display. There are some prerequisites to making this work which are detailed below – you must have an HDR-capable GPU and monitor. If your system configuration does not support DirectX12, it will fall back to use OpenGL as it used to. System Requirements Operating System: Windows 10, version 1709 or later. Display: To take advantage of high dynamic range, you must have a display that supports the HDR10 standard. Windows works best with displays that are VESA DisplayHDR certified. GPU: Nvidia GeForce 1000 series (Pascal), or newer AMD Radeon RX 400 series (Polaris), or newer Selected Intel Core 7 series (Kaby Lake), or newer To check if your system configuration supports DirectX HDR – right-click anywhere on the desktop and go to Display Settings. If both your monitor and graphics card are qualified, you should be able to see the option, as circled below, "Play HDR games and apps", and it can be switched on. Otherwise, if your hardware is unqualified, you will not see that option. Enable DirectX HDR To enable DirectX HDR support, you need to switch on the “Play HDR games and apps” in Display Settings as demonstrated in the System Requirement section. That will put your system into advanced color mode. Note that the advanced color mode can be switched on/off on a per display basis. You can have one display in advanced color mode, while the other display stays in SDR mode. When advanced color is enabled, non-HDR content, including the system background, desktop and menus will appear dull and flat. Only actual HDR content will appear normally. It is recommended that you only enable the HDR capability in the Display Settings when you are dealing with HDR content. If the non-HDR content are too dark for you. Windows does provide a master control to increase brightness for non-HDR content. With "Play HDR games and apps" switched on, click on Windows HD Color settings. Drag slider SDR content appearance to adjust the brightness of SDR content. App-specific configurations Premiere Pro Set project renderer to one of the GPU-accelerated renderers: OpenCL/CUDA. Enable preference “Display Color Management (requires GPU acceleration)”, located in Preferences/General. Major views that support DirectX HDR: Program Monitor Source Monitor Transmit Views that don’t support DirectX HDR: Export Window Legacy Tilter Premiere Pro Known Issues When sequence working space is set to Rec 709 (SDR), the preview files would be clipped into SDR ranges. You may notice that importing HDR clips and directly playback preserves the HDR appearance. This is because we process color in 32bit floating point and you will see the overrange values going into the HDR range. However, all the HDR range data would be lost as soon as you render them into preview files. An HDR sequence working color space is recommended for HDR production (Rec2100 HLG or Rec2100 PQ). You can choose the sequence working color space in the Sequence settings. After Effects Set Project bit depth to 32bpc. Set project working space to an HDR compatible one, such as "Rec.2100 PQ W203" Enable "Use Display Color Management" in display panel drop down option menu. Major views that support DirectX HDR: Comp Window Layer Window Footage Window Transmit (not working yet) After Effects Known Issues: The Comp/Layer/Footage/ Window background color will look different from other UI elements, most likely darker, when system advanced color mode is turned on. Premiere Rush DirectX display technology will also be used on Rush desktop on Windows, but there is no HDR capabilities in Rush.

Francis-Crossman · ‎Nov 19, 2020

I hear ya. This stuff is not easy right now, but we're working to make it easier and more intuitive and it's getting better with every release.

Francis-Crossman · ‎Nov 19, 2020

There are many things going on here. So let me spell out a few key things to understand first. Premiere requires transmit hardware from AJA or BMD to properly monitor HDR content. PPro cannot drive your HDR desktop monitor yet. When working in HDR, you cannot trust your program and source monitors - they will look wrong. Only ProRes MOV and XAVC Intra MXF are fully color-managed at this time. Interpret footage is only available for color-managed codecs Adding color-managed files to a sequence will automatically convert between colorspaces. Unfortuanately, mixing colorspaces like you are with non-color-managed codecs is going to be difficult. I recomend transcodoing everything to ProRes HQ. Then use interpret footage to override the colorspace of the HDR clips to the correct HDR color space (probably Rec2100 PQ - is this HDR10 footage?). Leave the SDR clips alone, Rec709 is correct. Create a sequence from one of the HDR clips. This will set up the colorspace of the new sequence correctly. Then edit everything into your sequence like normal. The SDR clips will automatically be colormanged to the HDR colorspace of the sequence. They will never be as bright as the HDR clips, but that is to be expected. Hope this helps a bit. HDR is a confusing area and our HDR support is improving with each release.

Francis-Crossman

Francis-Crossman

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