[Weston Jones]

Thanks so much Chris, this is really great info. The way I’ve been working is with the 2nd option you describe, as is also outlined in the https://generalspecialist.com/ link.

The only difference is I haven’t been setting and input LUT on RBG sources to convert from Video to LogC, but instead have been turning down contrast and saturation as necessary so the composite works under the top layer adjustment layer. Is this destructive to my RBG footage? Isn’t an input LUT on the layer from Video2LogC effectively doing the same color work on the RBG footage, just as a quicker way to get there?

Blending modes behave differently with the input LUT on. Screen no loner makes black transparent (because black is more grey from the LUT). Though the “lighten” mode seems to work like screen using this method. Is that normal?

Thank you.

[Weston Jones]

This video was super helpful and demystified this whole process: https://www.provideocoalition.com/after-effects-and-alexa-part-2/

The bottom comment also address mixing colorspaces in the composite.

Still unclear how this works in Premiere, but I guess I will do any FX work over in After Effects then.

[Weston Jones]

Thanks Chris. I’ve spent a few dizzying hours reading about ACES. This video shows the ACES workflow using OCIO plugin for After Effects: https://www.youtube.com/watch?v=QdoV5is9zMg

That workflow is correct right? Once the color management is setup with the plugin, and the proper input and outpost settings are used (either on adjustment layers on a clip by clip basis), then one can work within AE as they normally would. Meaning all LOG + Rec709 elements +blended solids and effect, etc, can be composited to the eye in a desired LUT, and then exported in a flat color look for later grading.

My only question is how do I the same within Premiere? I cant find any documentation on OCIO implementation with Premiere. If thats true, then is any visual effects work with LOG footage in premier not able to be combined and output in LOG?

Thank you.

[Weston Jones]

Thanks Chris.

So what you’re suggesting is anything that isn’t supported with XML (or EDL right?), then I would want to make sure the composite image is in the same color format, LOG in my case. The method for doing this is placing an adjustment layer on top of everything, footage + composite VFX elements, and creating the image. This is the same thing as working with a “viewing LUT”, as you mention, right? This is the method I’ve been following in both AE and PPRO: https://www.rocketstock.com/blog/tips-for-log-color-space-compositing/. Your explosion example is in there.

Makes sense to me, but this is also where my problem is. I’m finding it really hard to create the effects with the heavy contrast caused by the viewing LUT (adjustment layer) over the effects work. Blending modes, opacity, fades, gradients, are much harsher. Effects that looked great before, I’m finding nearly impossible to recreate.

Am I over thinking this or something?

I’m planning to speak with a colorist soon, which I wish I would have done much earlier, but I haven’t hired on yet.

[Weston Jones]

Thanks Chris.

The stuff in #2 about gamma an export makes sense.

But regarding the LUT’s, I am not finishing the movie in Premiere. It will be going to a colorist who is likely using Davinci Resolve. So I’m planning to have the movie flattened before sending to color. I can’t put the effects above the color in a layer order this way. Maybe its possible to send layers to the colorist, but sending PPRO cross dissolves to Resolves sounds dangerous. And I would prefer the colorist to be able to adjust color for everything, including the dissolves and effects. Does that make sense?

[Weston Jones]

For others interested, here is the multicam work around

video tutorial: https://vimeo.com/123657864

Longer discussion on Adobe’s help site where I found the above: https://forums.adobe.com/thread/1067749

Works fine so far.

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[Weston Jones]

Nice thanks guys

[Weston Jones]

Sorry i wasnt subscribed to this thread and didnt see your response.

Yes my audio and video has the same timecode. I used a digital slate.

The only work around I saw was to batch sync the audio/video using a workaround involving multicam sequences. There are some tutorials around, where you can select multiple audio and video files and create multicam sequence based on timecode, and select new multicam sequence for each clip. This sounds a little wonky to me, adding another step, but maybe the best way?

Thanks.

[Weston Jones]

Uhhhhh. Really? There is not way to sync picture to audio using timecode? isnt that the point of timecode?

Is there some other software people use with premiere?

[Weston Jones]

is it really a bug! https://forums.adobe.com/thread/1857824

any help on a work around?