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Troubles getting lumetri consistent with Premiere
I’m working with some footage given to me from a Red camera in ProRes. It has zero correction applied, so I first applied the “SL Neutral Start” Lumetri Preset. I then added another lumetri color effect just to make my own adjustments, and I used the “SL clean straight HDR” look in the creative tab, but no basic corrections.
So I had a sequence where I needed to do a zoom in to show some particles in the air, then zoom back out to another clip, so right click the few clips I need to be sure timing is right and “replace with after effects composition”
Well, AE right away asks me which LUT I want to use. This is Right away where I hate Adobe. But I found the first one here: C:\Program Files\Adobe\Adobe Premiere Pro 2022\Lumetri\LUTs\Legacy
Of course, AE has its own profiles, but they Seem like duplicates?
I’ve never been great at color in video, but this is just bad. The video in AE, looks Really contrasty. And it looks the same in Premiere through direct link. The lighter of these two images is the same footage directly in premiere with what Seems to be the same lumetri settings.
Both AE and Premiere are set to Rec 709 working color space, as far as I can tell. Both are set to trilinear 3d lut interpolation.
It Seems to me that anything footage making a round trip is getting darker and more contrast. Anyone have a good resource on telling me what might be going on, what I’m doing wrong, and how to fix/avoid it?
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3 Replies
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Try toggling the color bit depth in AE between 8, 16, and 32. Premiere might be using a different bit depth than your AE default. Let me know if that works.
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I forgot to mention that I tried that. It doesn’t change anything at all.
I just tried it again, for good measure though. The footage actually looks wrong in AE also. So it’s not happening Only at direct connect. It’s just not looking correct in AE with the same settings.
I haven’t tried one suggestion I found elsewhere on a semi-related field, but I’m not going to try it because of time.
Their suggested was related to premiere where it was adjusting the saturation/brightness slightly any time a title came on screen in media encoder. Well the way that Premiere handles titles, is it’s actually creating an after effects file for every single title you use. So that means direct connect.
Their solution was to disable GPU everywhere and use only software encoding/acceleration.
Well, even if that Is the solution, I wouldn’t have the time to actually render this project if that were the case. For now, lowering the contrast all the way gives me Pretty similar results, so I’ll stick with that just so we can get this thing done on time. -
Call me old school but I really dislike Dynamic Connect for color-intensive projects.
Now as far as titling goes, I would try and stick to one option that works.
I myself still render with Alpha and bring it into the NLE for final.
That would assume I am working mostly in Mograph.
All the heavy film work is usually singular titles, credits etc..
So it all ends up in someone’s NLE and there really is no way of knowing if QT Gamma is the issue.
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