Premiere not Loading Komodo LUTs

[Trishul Thejasvi]

I have no idea how this is happening and can't find anyone else online with the same issue, it happens with me even on a completely fresh install, both Windows 10 and latest MacOS, basically in Premiere (14.8.0) clips from RED Komodo (latest build) don't seem to load LUTs, no matter how I ingest, whether through Media Browser, or directly dragging and dropping. The LUT that is applied in camera is recognized through Master Controls and I can see it in the Creative 3D LUT line, but it's not being applied to the actual clip. Prior when I had this issue, I could click 'Reload from RMD' and that would seem to work, but it isn't working anymore. Even if I use the Lumetri filter, and directly point that to the LUT that is in the File Folder, it doesn't do anything. In Redcine and Final Cut Pro X, this issue isn't present. The LUTs in question are the ones built in Camera. I can use other LUTs as a workaround, but I really like the Film Bias LUT.

Any ideas, it's driving me nuts. And Adobe Support keeps telling me to use 2019 which doesn't even support Komodo.

 

[rand thompson]

Thrishul,

I don't know if this has anything to do with your issue but Loren mentioned this.

Something else that concerns Color Management that you need to be aware of.


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."