properly tagged HLG clips, both clips produced by cameras AND clips produced by export from Premiere itself. I have to manually reset scope color space to HLG, and set the scales (lower right corner dropdown in the scopes panel) to HDR.Īnd. I can have an HLG timeline and clip, with the scopes still showing Rec.709 both for graticles and scales.
It says there that the scopes will auto-adjust to the clip or sequence color space. Now there are presets for HLG and PQ for all the formats/codecs that can work for exporting HDR. īut some sections of it are already out of date, as they've changed so many things so quickly. and would appreciate upvotes on this:įor some of the other comments, Ann Bens linked this pdf file in another thread. I've posted all over the place a UserVoice request for a proper color managment (CM) panel. This is the main problem people have with setting up this very color space and the color that the community forum is full of here.Ĭouldn't agree more. Your brain is focused on creating a product, and here we have to navigate through the software and spend this precious time. It's not just inconvenient, but you really forget to put it all right everywhere.
And with all this, everything is in completely different places. Can you imagine how many steps the user needs to go through in order to correctly display their material on the monitor:ġ) setting up the sequence, there is a color space ģ) correctly set the value in the Lumetri Scopes panels to work with the color correctly Ĥ) set the correct color space in the material export settings.
We need to strive to minimize and unify some work processes. If it is HLG, then accordingly Scopes changes automatically to the corresponding space.
Here's what developers need to pay attention to: why not make it so that if you are working with Rec 709 material, the color display panel on Lumetri Scopes automatically exposes the correct color space. Neil, I noticed now, for some reason I didn't pay attention earlier and many write that you need to look for settings in disparate places for the correct display of material on the timeline.
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