Sequence Color Space?

[Angelo Lorenzo]

Premiere Pro processes video internally at 32bit. There is no rounding error with YUV/RGB conversions in 32-bit which, effectively, moves the color encoding concern squarely to whatever format you are exporting to. Premiere Pro’s design philosophy is to maintain whatever format the video is using up until playback where it’s converted to RGB on the fly. This eases CPU load because of unnecessary flip-flops.

The only issue arises when you use legacy 8 or 16 bit effects that don’t specifically support YUV (they lack both a YUV icon or a 32bit icon) because the RGB/YUV conversion can cause rounding errors. Plugins usually perform tasks in RGB, but that’s a choice entirely up to the vendor as they can also decide to support YUV. Again not an issue if the plugin is 32bit because any possible conversion is lossless.

If you’re really worried about some of the native effects, then you should look into moving up to an effects set like those offered by Boris or GenArts. The Boris effects are interesting in that they are 32 bit but don’t show the icon (they just don’t follow Premiere’s SDK).

R3D footage is raw, it hasn’t been debayered so the colors don’t exist in any actual way. I can only assume that it’s passed as RGB to Premiere once it’s debayered/decompressed because of reasons I mentioned in the above paragraph.

https://blogs.adobe.com/VideoRoad/2010/06/what_is_yuv.html
https://forums.adobe.com/thread/825920

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Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

ProRes 4444 is mutable in that it can encode in both RGB and YUV. With that said, Adobe is TERRIBLE at documenting the nuances of export.

I’ve looked at the frame headers for ProRes files produced by Premiere and at all bit depths it appears to encode in RGB.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Jef Huey]

Hi Angelo,

Very interesting information. May I ask where you found all this?

So, based on the information you pass on, how does Premiere handle a dissolve from a native RGB source and a YCrBr source?

Thanks,

Jef

[Angelo Lorenzo]

[Jef Huey] “Very interesting information. May I ask where you found all this?”

Well I did link to a few sources in my first post. The bit about RED is just general knowledge for me from being on Reduser and using RED footage on a regular basis.

[Jef Huey] “So, based on the information you pass on, how does Premiere handle a dissolve from a native RGB source and a YCrBr source?”

Based on nothing more than my personal understanding, I think it would depend on output as, from the comments by Premiere’s engineer, they like staying native for as long as they can in the processing pipe. If it’s for playback, YUV may be converted to RGB. If it’s for output to a YUV-based format then the native RGB would probably be converted on the fly.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Bernhard G.]

[Angelo Lorenzo] “With that said, Adobe is TERRIBLE at documenting the nuances of export.”

Hello,

what I’ve heard, Adobe is listening!

So please write Feature Request!

I’d also appreciate more consistency and clearness in terms of
professional quality concerns, e.g. 100% 32bit float processing and MRQ,
more control how a clip conforms to a sequence, etc.

Best regards,
Bernhard

[Jef Huey]

Thanks again Angelo,

I had not read all the way thru the resources you offered. Good info. Wish that was in the documentation!

Cheers,
Jef

[Tim Kolb]

[Angelo Lorenzo] “ProRes 4444 is mutable in that it can encode in both RGB and YUV. With that said, Adobe is TERRIBLE at documenting the nuances of export.”

Keep in mind that any nuances of ProRes are in Apple’s wheelhouse.

Premiere Pro will simply encode to whatever you’ve set up in QuickTime.

For storing over-brights, Walter’s post above shows the export dialog, which is relatively transparent.

Premiere Pro works in Y’CrCb, 32 bit float. Any effects that aren’t labeled as “YUV” (which is NOT the same as Y’CrCb…but that’s another discussion), will not only be restricted to operating in RGB, but they also only work at 8 bits, so if you have RED footage you just want to cut and send off to Nuke or a finishing station, stick with the color correctors and the effects that clearly indicate “32” and “YUV”…or in the case of some effects like Colorista, it’s RGB (so no “YUV” designation), but it’s still 32 bit float.

Unfortunately for the time being, AE is color-managed, and Premiere Pro has the scopes. It’s kind of an issue…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor