Dynamic Link PP – AE affects the color and gamma

[James Winget]

Did you try rendering the clip with the link in the timeline? I had issues with that in the past and when I would render the clip, that would tend to resolve the issue.

[Erik Eliason]

Hi James, thanks for input.

I just tried that but the destructiveness remains. Footage moves a notch towards magenta.

[Chris Wright]

dynamic link is forced converted to rec. 709 gamma 2.2. if you don’t have that, you need to use either a conversion lut or ae’s utility profile converter. color management doesn’t work across dynamic link.

[Erik Eliason]

Hi Chris,

After you enlightened me about the Color Profile Converter effect I’ve been reading the texts I could find about it, without getting any wiser.

1. I know my footage is shot on Slog3, on my private project. But freelancing and at my new job I’m with mixed and some unknown source of footage. If I don’t know the source of footage, there’s now way to work non-destructively between PR – AE with dynamic link?

2. I’ve been testing multiple variations in the CPC effect settings, of input and output, between Project Working Space, Rec 709 gamma 2.4, sRGB, S-Log3 but the closest I get to a good image still has the notch towards magenta and gamma jump.

3. I apply the CPC effect on an adjustment layer, what are my next steps?

Sincerely grateful for a dummy explanation //Erik

[Chris Wright]

everything premiere imports in, becomes rec. 709. as such, you should use the sony 3d luts that convert S-Log3/S-Gamut3.Cine to rec. 709 gamma 2.2. This way, premiere sees it correctly; then dynamic link should work just fine. If going from AE, you can use color profile converter or apply same lut in AE before going to premiere. make sense? icm’s and luts can do the same thing.

[Erik Eliason]

Yes I was using a S-Log 3 to rec. 709 LUT on an adjustment layer in Pr, to see it correctly.

Duplicating and stacking my footage on top of each other on tracks underneath the adjustment layer, I use dynamic link for AE.
Using any LUT in AE, it would now give me a differentiation of the two clips underneath my LUT adjustment layer in Pr, a double LUT impact, wouldn’t it?
That’s at least what happens.

I’ve tried this with TV show master renders in mxf, dynamic link between Pr and AE and get the same gamma jump and temperature shift back in Pr, which tells me that this isn’t a LUT issue.

Are the whole video world happily using dynamic link without caring about the small change it does to the footage, or do they know a trick I don’t? Because no one I’ve talked to have seen this issue before I show it to them.

[Chris Wright]

you probably aren’t calibrated to rec. 709. you’re probably P3 or adobe RGB. you need another lut on top of the slog3 lut. this is to convert your P3 calibration to rec. 709.

[Erik Eliason]

When you say calibrated do you refere to my monitor? It’s calibrated and set to Rec. 709.

What would you suggest I do, step by step, editing in premiere let’s say with random media, using dynamic link to treat a clip in AE? Without having gamma nor temperature change to that clip.

Thanks for takkng time with me Chris //Erik

[Chris Wright]

if you do have a calibrated monitor, you need to include that calibration lut inside premiere, even if its rec. 709. premiere ignores .icm color profiles. You need it as an iradas .cube LUT in a lumetri adjustment layer.

[Erik Eliason]

But no matter what my monitor is calibrated to, I see a difference stacking two of the same clip on top of each other in premiere. Only for comparishon I send the upper clip to AE via dynamic link, doing nothing to it in AE. Now back in Pr, disabeling and enabeling the upper track which is the AE comp, there’s a slight gamma and temperature shift between the two clips.
Above those two tracks on v3 I have an adjustment layer with a lut for correct display, but that shouldn’t matter to this issue.

Thanks //Erik