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Why are my HD proxy files a different color than the 6K originals?
Hi. I am working with 6K files shot on a Venice shooting S-Log3. They come into Premiere with the color space Rec709, and then I change the color space to S.Gamut3.Cine/S-Log3 in the effect panel, since the files were shot that way and i want them to look raw until i add color. Then, I proceed to make 1920×1080 ProRes proxies of the 6k files, and this is where it gets weird. When I look at the original 6k files, they look like S-Log3 footage ready for color correction. However, when I toggle into proxy mode, all of a sudden the proxy file has a different color space, much more saturated, more blacks, just wacked out looking color…and then if i toggle proxies off and view the original 6k file, the original looks like the correct S-Log3 color again. Any thoughts on what I’m doing wrong? Why are my proxy files in a different color space than my original files? It’s like the proxies are ignoring the fact that I changed the color space on the originals to S-Log3. Any advice, gang?
Thanks for your help in advance!
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1 Reply
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this is probably related to premiere seeing the original clip metadata and applying the LUT automatically. In my opinion where you misstepped is when adding an additional look to revert that automatic LUT application. You should have REMOVED the automatic LUT.
Or to rephrase for clarity, in your case I think premiere is applying two corrections to the original footage and when you toggle proxies on the “auto LUT” is not being applied because the original clip metadata is dropped/lost on the proxies when they are generated/transcoded.
(yet another issue with Premieres proxy workflow)Also Premiere is not making proxies of your adjusted clips it is making proxies of the original clips before and adjustments or corrections. You will need to render out proxies manually I think via media encoded and apply the LUT there if you would like to make altered color space/gamma proxies.
hope this helps
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