PP and Sony F55 RAW files

[Peter Garaway]

Hi Bill,

Premiere should bring in the files RAW with the ability to change the color space to Rec 709 or S-log2. It will be set to Rec 709 by default.

Did you record the files yourself? I believe you can add a LUT at the time of recording. Are you sure a LUT was not applied?

I’d be happy to take a look at a sample file.

Best,

Peter Garaway
Adobe
Premiere Pro

[Bill Olafsen]

Hey Peter,
The attached image is a side by side view of the file in the Sony RAW VIEWER. The left side is “After” the right side is “Before”. When I import into CC I always get the “After” version and I am trying to get the FLAT “Before” version. It appears as if CC is importing with “The Look” and not FLAT. The smallest file I have is 2.5 gigs. What would be the best way to get you a test file?

BILL

[Peter Garaway]

Hi Bill,

Have you tried changing the color space to s-log2? If not try that and let me know if that matches the Sony Viewer and the look your after.

Thanks!

Peter Garaway
Adobe
Premiere Pro

[Bill Olafsen]

Hey Peter,
Thanks for the help. Changing the color space to SLog2 did solve the problem! Now if we can just get the DP to shoot it the same way each time!

Thanks Again

BILL

[Hettie Griffiths]

Hi there,

I’ve been having the same problem, I can’t find where to change the color space within Premiere Pro CC? The camera is set to SLog3and looks great in the Raw viewer, but when I bring into Premiere pro the colours are completely different and exposure too. After reading I thought you couldn’t change color space in Premiere?

I also tried downloading the Sony Raw plugin but it just comes up with an error saying I don’t have Premiere Pro 6 or 7 installed, which I don’t as running CC.

Any help much appreciated!

Hettie

[Mauricio Franco]

i have this problem in premiere pro cc 2015, the f55 raw media doesn’t enabled me to change the color space, help please!

[Peter Garaway]

Hello Mauricio,

New to Premiere Pro CC 2015 is having Source Settings as a Master Clip effect. Here’s a link that gives further details about Master Clip effects.

https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html

I’ve copied what would be useful for you below. Let me know if you have any troubles or questions. Best!

Adjust Source Settings using the Effect Controls panel

For RED, ARRI, CinemaDNG, DPX, and Sony F65 media files, you can adjust Source Settings by using the Master tab in the Effect Controls panel.

Load a master clip in the Source monitor, and adjust Source Setting parameters, like while balance, saturation, and exposure. You can save the adjusted Source Settings as an Effect Preset to easily apply the same settings to other clips.

You can also copy Source Settings from one clip to another, or to multiple clips. For example, you can adjust Source Settings on one clip, and apply the same settings by copy-pasting the settings to a multiple selection of other project items.

Peter Garaway
Adobe
Premiere Pro

[Martin Hickford]

Did anyone have any joy with this?

I’ve had the same problem where Sony F5 footage is having a Rec709 LUT automatically applied as a master effect, but the ‘Sony Raw Source Settings’ effect that’s automatically applied only lets me choose between Rec709 or Slog-2. My footage was shot in Slog-3, so how do I tell that to Premiere? When I disable the ‘Sony Raw Source Settings’ it just defaults back to the ‘Rec709’ look. This begs the question… What’s the point of having an Slog-3 Input LUT on the Lumetri Colour Panel, if Premiere is incapable of identifying any footage as being Slog-3?

I’ve had to apply the LUT in Resolve and transcode to ProRes, which kind of negates the point of using Premiere slightly.