Thread: Default color space in Premiere

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  1. #1 Default color space in Premiere 
    Senior Member Tom Dowler's Avatar
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    When I bring Komodo .r3d files into Premiere, they're coming up as RWG/Log3G10 by default even though RedcineX is seeing them as Rec709/BT1886 straight out of camera.

    Assume this is just an Adobe-being-Adobe issue, but was curious if everyone was seeing this / had a better workaround for it.
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  2. #2  
    Senior Member rand thompson's Avatar
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    From Loren Simons from Red:





    "RED is making changes to the default behavior of R3D’s in all third party applications to unify the results and deliver consistent and predictable behavior no matter what software you are working in.

    All R3D’s will be decoded in software such as Premiere, Resolve, and Final Cut Pro as Log3G10/REDWideGamutRGB by default.

    Most software, such as Resolve and Final Cut Pro, have ways to customize how R3D’s are decoded project or system wide - and so if a workflow that is different from the default is wanted, it can be configured applied to all future R3Ds in all future projects.

    Premiere is the one exception to this - with neither a true color managed workflow capability nor ability to change R3D decode parameters project wide.

    However, there is still a suitable workflow for Premiere which maintains true flexibility in color grading and is simple to implement.

    Our recommendation is to generate the desired IPP2 Output Transform from REDCINE-X, for example a Rec.709 with Medium Contrast and Soft Highlight Roll-off. Once that .cube is created, select that as the Creative LUT for one of your clips in Premiere’s Lumetri Panel. After that, simply save that Lumetri Panel as a Lumetri Preset by right clicking the top of the panel.

    This Lumetri Preset can either be applied to all of your R3D clips in your bin, or, the Preset can be dropped into a top level Adjustment Layer which runs the length of your timeline - automatically applying it to any image beneath it in the timeline.

    Either of these methods will delivery you a proper image, with the added benefit of still maintaining the full flexibility of your logarithmic image behind the resulting image when changing your Lumetri values.

    Previously, with images coming into Premiere directly decoded into say Rec.709 Medium Contrast Soft Highlight Roll-off, any adjustments made in Lumetri would happen on-top of that image, severely restricting your latitude in post."
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  3. #3  
    Senior Member Tom Dowler's Avatar
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    Perfect, thank you!
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  4. #4  
    Senior Member rand thompson's Avatar
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    No problem Tom!
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