This video helped but the menu options are all in the lumitri color panel since the last update not under modify. Update vide may be useful to your followers if you haven't done so already :)
Today, after years of misunderstanding how to color correct SLOG and obtain horrendous results, I've learned to do it the proper way and I finally understand it. THANKS!
WOW bro. One of the most usefull tutorials I have seen in years. I tried it. I used to put the lut in Lumetry panel, and the resaults were really good. But now, with this method... wow!! Colors are much more rich!! I dont know why. And the workflow much easier. Thanks mate
Im glad you discovered something new. To deal with your issue, remember to slightly overexpose when shooting slog3 and you still need to correct the footage - for example, decrease the shadows a bit etc and your noise should go away.
@@TomsJurjaks Hey there! Sorry mate, when I tested your way my settings were not on 10 bit, but 8. Thats why the issue with the noise. In ten bit this way works FANTASTIC! thanks again and sorry for the comment above. My mistake. Keep up the good work!
Great video, right to the point. Provided new information. Thank you for sharing. Lastly, if anyone chooses to do method one, I don't recommend using adjustment layer above the video. Just have the first lumetri incorporate the correction through the input lut for your technical color correction and then use the options below to adjust clipping -> creative lut to use a lut you downloaded -> hsl secondary to correct skin tones.
Maybe I misintepret what you wrote, but the 709 transformation lut must be placed at the very end of your pipeline. By putting it in the first lumetri tab under input LUT and adjusting hightlights etc. underneath you are already in rec 709 and not benefinting from your wider vlog or slog color space. You should actully put a second lumetri on the clip and add the transformation lut so all the adjustments are happening BEFORE transforming your footage to rec 709.
@@Bordsteinpflaster I think you read my comment right. So you're saying that if you make adjustments after you place the rec709 conversion, you're color grading with less data because it's already converted? So you're no longer (in theory) editing the raw colors/raw footage anymore? I've been doing it first for a long time but everything turns out fine. I will try that way if you are correct and see what results I get, then compare
@@CSPRfilms that's what I believe how things work in Premiere, Lumetri and the overall colormanagement is really messy compared to resolve. But, they just recently added a feature that premiere can auto detect the color space your footage is in and automatically transform it. It's in the preference menu under the general tab (auto detect log video...), so I think and hope that we don't have to mess around with lumetri anymore.
this actually saved a video im working on as we speak... its for a magazine and my 2nd shooter shot in SLog (I obviously dont) and a lot of the shots weren't exposed right for the log
Thanks a lot Toms, I really appreciate this insightful drive through , tell me can you b able to share your Picture profile settings? like Slog 2 and Slog 3 .thanks
Thanks a lot my friend! Its quite simple actually, I just use the PP (Picture Profile) which has the Slog3 and I don’t change anything else. Im using it as it is
the Lut is great to have in your monitor just to give you the preview that the gamma assist gives on your camera screen that is not transmitted to the monitor
Its been a while since I made this video and Adobe keeps updating/changing things. I think now these settings are under Lumetri Tab when you are in the Color Workspace.
Always useful information like usual !! Thanks man I was hoping that you make a video about slogs luts etc because the way you explain it are so simple !!
In a world of clickbaity titles “Wait till the very end” Ten minutes worth of filler I truly apreciate short videos like these that tell you exactly what you’re looking for
Does this apply the conversion before or after other Lumetri effects? Ideally you adjust the log footage and the transform happens at the end, right? I'm confused as to where I should make adjustments. In the past I've applied my CST to the creative LUT option to be able to control exposure, contrast, etc BEFORE the conversion to rec709. Otherwise you're adjusting a rec709 image and you lose all that data you have in the log video.
Hello, thanx for this tip man. My english is crap so i hope you will understand me. Once you interpret your footages, can you insert some effect layers to grade the footages? Like WB, Exp, Sat, skin and so on? thanx a lot
Yes of course! The interpretation is just to get the colors right for rec709 timeline so you dont have to use a LUT for it. After the color correction is done, you can go ahead and do color grading and apply a creative LUT, adjust colors, WP or whatever is needed. Interpreting footage is just the first and basic step.
When comparing method 1 with method 2 I see small differences in color and contrast. It must be because one LUT was made by Sony and the other by Adobe, right?
dont have sony s-log in the list "color space overrode", the last in list "DCIDM XYZ". Do u know how fix it? or download smth? (UPD: PR 2022 20.4.0 ver 57, do u have higher ver? )
For DJI products you still need to use the “old method” unfortunately where you gotta apply the conversion LUT. Not ideal but it is what it is. Hopefully Adobe will include their D Log in the list soon as they are constantly improving the product
Most of the times, yes. Especially outdoors. In these examples, I controlled the light with my studio lights so I didnt use filters. And when filming indoors I usually do the same - control the light with studio lights rather than with filters
Question. I follow this second method. And it blows out my whites and highlights like crazy. But I'm rec in the correct Slog 3 settings in PP8. I do expose 1.7-2.0 over. But that's because we are told so, when filming in Slog3
Does it blow out the highlights also when you use the first method? I usually use Zebras not to blow out the highlights when filming and then it works out well. I never follow that +2.0 rule, I rather use histogram and zebras 🦓
@@TomsJurjaks Solved! So in the sequence settings the Working color space Auto Tone Map Media check box had to be checked. It toned down all the whites after I checked it.
Very nice man… I always thought that color management was something exclusively about davinci… but what about export settings? Are the exported video colors going to be washed out as it always happens on the Mac?
Yes, it does still lift your shadows and midtones the colors on export. Its all because of the color sync on new macs. You have to use the Adobe Gamma Correction LUT but then videos look darker on non Mac screen LOL.
Hey ! Thanks for your video ! Unfortunately, i still have a problem : i can't change the color managment… the button is grey :( Do you have a solution ? Thanks ! I work with log from Canon C200
For some reason when I load slog 3 footage it’s automatically converted on the time line to 709. I can only see the original log in the source window 🤷🏻♂️ very frustrating
Technically its the preferred behavior for most, because you wanna work with rec709 in a most non-destructive way. However if for some reason you wanna disable this “auto conversion” you can do it in the project settings/color management tab (now i think its under Lumetri.
@@TomsJurjaks hey thanks! just saw this. but I just accepted it and started working with it that way ha-ha. I tried manually doing it and it just ended up looking very similar. my problem was I'm new to s-log and my fx30 so I was shooting it in cameras wrong. little research and I'm on track! thank you for the tip though!
Not sure, but I would not recommend using Slog2 on A7III because its an 8-bit camera and they work poorly with slog profiles. One of HLG profiles is a better option for you.
But you don't need to download it. Thats the beauty. Just shoot in Slog3 for example and Premiere will do the rest automatically (if you set everything correctly in the settings)
If you are grading then do this step half way through the footage you are grading from will be different from when you started grading. You need to do this step first before you start any colour correction, not half way through. :)
You need to make sure you select the right profile (same as you have in the camera). If you select the wrong one, the footage will look horrible. Also make sure your timeline is in e.g Rec709
No way this works properly. Image does not respond correctly in Lumetri. Highlights are terribly blown out beyond recovery. Looks like you have the same problem in this video too. Highlights are completely molten on your face. Thanks for putting the time in to educate about the features in Premiere, but I would advise against this method.
It actually does work properly. What you forgot to do is go to Sequence Settings and mark a checkbox next to “Auto Tone Map Media”. It should be on by default, but for some users its off. It fixes many problems, especially HDR footage and if you shoot in HLG format, so yes it does work, I even made another video going bit more in detail with this, you are welcome to check if you are not too convinced 😉
Thanks! I realized if you use curves to tweak highlights after overriding the color space, you can see the detail that was preserved re-emerge in the scope as you pull them down. Very cool!
I followed your steps, but when I go to overwrite the color space, I can't find the list you provided, so I can't select "Sony S-Log 3/S-Gamut3.cine." How can I get this list?
PLEASE DO NOT DO THAT TO YOUR FOOTAGE, if you interpret your footage you DO destroy it, I have test this and with slog3 exposed to the right, when you apply this conversión it wil cut off the highlights and you´ll not tbe able to recover them as you can when you apply it as an adjustment layer or in creative part of the lumetri effect. THIS METHOD WORKS LIKE A DESTRUCTIVE LUT.
This video helped but the menu options are all in the lumitri color panel since the last update not under modify. Update vide may be useful to your followers if you haven't done so already :)
True yes (under "Settings" in Lumetri Colour). But don't you have to do this for every single clip, instead of batch?
Today, after years of misunderstanding how to color correct SLOG and obtain horrendous results, I've learned to do it the proper way and I finally understand it. THANKS!
This is a game changer for editing.
100%. So easy
This is exactly what I needed! I watched a lot of videos, but none helped, and after that I found this. Thanks!
Thanks Man! I was scared of using Slog mode but with this video it was very clear! Thaks
Great to hear that. Cheers 💪
Bro, this was a game changer. I can see such a noticeable difference in the quality of my footage. Thank you!
So glad to hear that 🙌
WOW bro. One of the most usefull tutorials I have seen in years. I tried it. I used to put the lut in Lumetry panel, and the resaults were really good. But now, with this method... wow!! Colors are much more rich!! I dont know why. And the workflow much easier. Thanks mate
hmmm now playing with this I noticed that it brings up a lot of noise. With the previus workflow from Lumetri I have no noise
Im glad you discovered something new. To deal with your issue, remember to slightly overexpose when shooting slog3 and you still need to correct the footage - for example, decrease the shadows a bit etc and your noise should go away.
@@TomsJurjaks Hey there! Sorry mate, when I tested your way my settings were not on 10 bit, but 8. Thats why the issue with the noise. In ten bit this way works FANTASTIC! thanks again and sorry for the comment above. My mistake. Keep up the good work!
@@blastfilmmaking3658 no worries at all mate, glad it all worked out well! Cheers!
@blastfilmmaking3658 where can I find those 10 bit 8 bit settings in premiere, mate?
Great video, right to the point. Provided new information. Thank you for sharing. Lastly, if anyone chooses to do method one, I don't recommend using adjustment layer above the video. Just have the first lumetri incorporate the correction through the input lut for your technical color correction and then use the options below to adjust clipping -> creative lut to use a lut you downloaded -> hsl secondary to correct skin tones.
Maybe I misintepret what you wrote, but the 709 transformation lut must be placed at the very end of your pipeline. By putting it in the first lumetri tab under input LUT and adjusting hightlights etc. underneath you are already in rec 709 and not benefinting from your wider vlog or slog color space. You should actully put a second lumetri on the clip and add the transformation lut so all the adjustments are happening BEFORE transforming your footage to rec 709.
@@Bordsteinpflaster I think you read my comment right. So you're saying that if you make adjustments after you place the rec709 conversion, you're color grading with less data because it's already converted? So you're no longer (in theory) editing the raw colors/raw footage anymore? I've been doing it first for a long time but everything turns out fine. I will try that way if you are correct and see what results I get, then compare
@@CSPRfilms that's what I believe how things work in Premiere, Lumetri and the overall colormanagement is really messy compared to resolve. But, they just recently added a feature that premiere can auto detect the color space your footage is in and automatically transform it. It's in the preference menu under the general tab (auto detect log video...), so I think and hope that we don't have to mess around with lumetri anymore.
@@Bordsteinpflastercan you do a video on all of this for us?
Thank you so much for the second method bro 🙏
Cheers buddy 💪
Such a helpful trick - thanks my guy!
For sure Jairus 🙌
Finally found what I was looking for. Thank you very much, sir.
Very glad to hear that 👏
this actually saved a video im working on as we speak... its for a magazine and my 2nd shooter shot in SLog (I obviously dont) and a lot of the shots weren't exposed right for the log
Glad to hear that buddy! Every month Premiere gets smarter and smarter in the “color” area, so watch out for further improvements
Thanks a lot Toms, I really appreciate this insightful drive through , tell me can you b able to share your Picture profile settings? like Slog 2 and Slog 3 .thanks
Thanks a lot my friend! Its quite simple actually, I just use the PP (Picture Profile) which has the Slog3 and I don’t change anything else. Im using it as it is
First ever to the point and useful video. You a legend ❤
Straight to the point, no BS… love it. Well done 👏👏👏
This was super helpful! Thanks for such a nice and to the point tutorial on this :)
Glad to hear that! Cheers Alex 🙌
Thanks man, the 2nd method is GOLD. So easy and such great starting base for color grading.
Thank you so much!!! :)
You're welcome! :)
the Lut is great to have in your monitor just to give you the preview that the gamma assist gives on your camera screen that is not transmitted to the monitor
It's greyed out under the modification menu. So a nice tip that I can't even use. Thanks, bud
Its been a while since I made this video and Adobe keeps updating/changing things. I think now these settings are under Lumetri Tab when you are in the Color Workspace.
Even tho i don‘t use premiere pro!! Thanks for the info man!! Can be important in the future 🔥
DaVinchi Resolve actually has this by default if you are using it, but yeah, good thing to know :) Cheers Daniel!
Thank you for sharing. This was the best video I've seen!
Thanks Eric. Much appreciated 👌
Always useful information like usual !! Thanks man I was hoping that you make a video about slogs luts etc because the way you explain it are so simple !!
Thanks a lot. Its still an area that I am exploring myself, so as I learn, I will definitely pass it on in future videos too.
It works! It is highly useful! Well done! Thank you.
wow this is dope thanks man!
In a world of clickbaity titles
“Wait till the very end”
Ten minutes worth of filler
I truly apreciate short videos like these that tell you exactly what you’re looking for
Thanks a lot for kind words! ✌️
Dude that totally worked! Thanks!
Ay cheers!
This is amazing. Saved me so much time
So glad to hear that Jorge 🙏
Awesome! Thank you for this useful technique. Looking forward for more. Liked and Subscribed!
Thank you for your support Rennej 🙌
So so easy when you explain it like that! Legend thank you so much
Thanks for your kind words Luke 🙌
love you man!!!! Thankyou!
Thanks man! Big help. Love you🙏
So glad to hear that! Love you all righ back 🙌
this trick is sick :) made my day!
Thank you!! Epic information!!
Cheers Matt! Glad it was helpful
Thanks! :)
You are very welcome
Bro thank you, that helped so much!
I’m so glad to hear that Jake!
I don't have Sony Slog3 in the Colour Space Override. How can I add it?
Thanks
Thank you for this Video. It helps!!!!!
Very glad to know that 🙏
This is a game changer for sure 🤝🏽
Cheers buddy 👌
THANK YOUUU
You're welcome!!
Great help. Thanks.
Glad it helped!
Super cool
Thank you my friend 🙌
method two I don't have color management option at all? How come?
Massive help, such a small detail but will speed up my process massively 🙌
That is so nice to hear Tyler! Cheers 🙌
Amazing, thanks for the tip!
Happy to help!
Game changer
Does this apply the conversion before or after other Lumetri effects? Ideally you adjust the log footage and the transform happens at the end, right? I'm confused as to where I should make adjustments. In the past I've applied my CST to the creative LUT option to be able to control exposure, contrast, etc BEFORE the conversion to rec709. Otherwise you're adjusting a rec709 image and you lose all that data you have in the log video.
i dont see the options below the DCDM XYZ. how do i get those
I clicked interpret footage but but color management option unavailable. Any help?
Really helpful 🔥👏👏😊
Glad to hear that 🙌
thanks dude!
Cheers!
Hello, thanx for this tip man. My english is crap so i hope you will understand me. Once you interpret your footages, can you insert some effect layers to grade the footages? Like WB, Exp, Sat, skin and so on? thanx a lot
Yes of course! The interpretation is just to get the colors right for rec709 timeline so you dont have to use a LUT for it. After the color correction is done, you can go ahead and do color grading and apply a creative LUT, adjust colors, WP or whatever is needed. Interpreting footage is just the first and basic step.
Thankyouu very much 🙏
You are very welcome!
Nice!
my color override option is greyed out. How do you turn this on.
When comparing method 1 with method 2 I see small differences in color and contrast. It must be because one LUT was made by Sony and the other by Adobe, right?
The difference was because I forgot to enable “Auto Tone Map Media” 🤦 its a must and then they will look identical
Hello, thanks for the tip. How do I include Apple Log to the override color space?
there's a place where it says add lut
Hi . can i depend only on sony lut. to get the best results without making the color grading ?
man wish you could do this for Final Cut Pro....
Oh sorry buddy, never used FCP so don't know how it works, but should be quite similar
Does anyone have a recommendation for log profiles on Sony A7iii
dont have sony s-log in the list "color space overrode", the last in list "DCIDM XYZ". Do u know how fix it? or download smth? (UPD: PR 2022 20.4.0 ver 57, do u have higher ver? )
Its a fairly new feature so I think its a must that you have the latest version installed. I have Version 23.1.0 (2023)
In my case what should l do ,l habe a ronin 4 d D log und in the settings not appear from log to rec 709 ?.
For DJI products you still need to use the “old method” unfortunately where you gotta apply the conversion LUT. Not ideal but it is what it is. Hopefully Adobe will include their D Log in the list soon as they are constantly improving the product
when you videography in slog3 do you use filters? like nd?
Most of the times, yes. Especially outdoors. In these examples, I controlled the light with my studio lights so I didnt use filters. And when filming indoors I usually do the same - control the light with studio lights rather than with filters
Question. I follow this second method. And it blows out my whites and highlights like crazy. But I'm rec in the correct Slog 3 settings in PP8. I do expose 1.7-2.0 over. But that's because we are told so, when filming in Slog3
Does it blow out the highlights also when you use the first method? I usually use Zebras not to blow out the highlights when filming and then it works out well. I never follow that +2.0 rule, I rather use histogram and zebras 🦓
@@TomsJurjaks No it doesn't blow out the highlights using the first method.
@@TomsJurjaks Solved! So in the sequence settings the Working color space Auto Tone Map Media check box had to be checked. It toned down all the whites after I checked it.
Awesome @@troy962 so good to know! Thanks for sharing
@@troy962 Yass! Thank you for sharing this solution!
I don't have color management below the alpha channel
u have the recent version.look for it under color settings ....
Very nice man… I always thought that color management was something exclusively about davinci… but what about export settings? Are the exported video colors going to be washed out as it always happens on the Mac?
I’ve seen couple of videos regarding that issue but to be honest I’ve never noticed any difference 🤷♂️ worth a try
Yes, it does still lift your shadows and midtones the colors on export. Its all because of the color sync on new macs. You have to use the Adobe Gamma Correction LUT but then videos look darker on non Mac screen LOL.
Is anyone noticing this option is now greyed out?
Dis you figure it out Emory? I see more people are commenting the same thing. It shows up well on my Premiere so I cant help
@@TomsJurjaks no fix my end yet 🤷🏾♂️
how to download rec709 sir? i click the link but cant find the rec709
Hey ! Thanks for your video ! Unfortunately, i still have a problem : i can't change the color managment… the button is grey :( Do you have a solution ? Thanks ! I work with log from Canon C200
did you select "override media colorspace"? that might be your issue, hope that helps!
@@shawn-wallsthat’s also grayed out
What version of Premiere do you use? 'Cause my "interpret footage" doesn't show any color management option
23.2.0 (Build 69) 2023 - it is important to keep the program up to date.
For some reason when I load slog 3 footage it’s automatically converted on the time line to 709. I can only see the original log in the source window 🤷🏻♂️ very frustrating
Technically its the preferred behavior for most, because you wanna work with rec709 in a most non-destructive way. However if for some reason you wanna disable this “auto conversion” you can do it in the project settings/color management tab (now i think its under Lumetri.
@@TomsJurjaks hey thanks! just saw this. but I just accepted it and started working with it that way ha-ha. I tried manually doing it and it just ended up looking very similar. my problem was I'm new to s-log and my fx30 so I was shooting it in cameras wrong. little research and I'm on track! thank you for the tip though!
Is work with SLog2 ? Because I have the Sony A7 III
Not sure, but I would not recommend using Slog2 on A7III because its an 8-bit camera and they work poorly with slog profiles. One of HLG profiles is a better option for you.
Why I cant download the sony convertion LUT? :/
But you don't need to download it. Thats the beauty. Just shoot in Slog3 for example and Premiere will do the rest automatically (if you set everything correctly in the settings)
After I use this method and export, my whole color grade is messed up. Do you know why?
If you are grading then do this step half way through the footage you are grading from will be different from when you started grading.
You need to do this step first before you start any colour correction, not half way through. :)
hello man i dont have the color managment option in modify
Are you using the latest version of Adobe Premiere Pro? Because they introduced it only recently
i use 2022 softwere version. my softwere dont show camra log. only rec 709 and rec2020. tell me bro how can do it
Please update to the newest version. I am using V23.5. Its possible that in your version there is no such feature.
@@TomsJurjaks ok bro. thanku
🔥🔥🔥🔥🔥
I don’t have that option in color space override, there’s no slog option how do I add ?
It should be there by default. First ensure that you have the LATEST Premiere Pro version and second, that you shot in Slog
@@TomsJurjaks must be because it’s not latest version. Can’t update to latest cause I have iMac late 2013…
Why are the options greyed out?
Do you have the latest version of Premiere?
You are my private Jesus from this day.
haha cheers to that 🙌
Doesn't work, the option isn't even there. And I'm on the newest pp version.
I think Adobe recently moved this under the Lumetri tab when you choose "color" layout. They keep moving things around all the time.
@@TomsJurjaks thanks, I look into it. ✌️
This actually breaks my image completely idk how u can do that
You need to make sure you select the right profile (same as you have in the camera). If you select the wrong one, the footage will look horrible. Also make sure your timeline is in e.g Rec709
No way this works properly. Image does not respond correctly in Lumetri. Highlights are terribly blown out beyond recovery. Looks like you have the same problem in this video too. Highlights are completely molten on your face. Thanks for putting the time in to educate about the features in Premiere, but I would advise against this method.
It actually does work properly. What you forgot to do is go to Sequence Settings and mark a checkbox next to “Auto Tone Map Media”. It should be on by default, but for some users its off. It fixes many problems, especially HDR footage and if you shoot in HLG format, so yes it does work, I even made another video going bit more in detail with this, you are welcome to check if you are not too convinced 😉
Thanks! I realized if you use curves to tweak highlights after overriding the color space, you can see the detail that was preserved re-emerge in the scope as you pull them down. Very cool!
I followed your steps, but when I go to overwrite the color space, I can't find the list you provided, so I can't select "Sony S-Log 3/S-Gamut3.cine."
How can I get this list?
Hmm, not sure. Do you have the latest version of Adobe Premiere Pro?
PLEASE DO NOT DO THAT TO YOUR FOOTAGE, if you interpret your footage you DO destroy it, I have test this and with slog3 exposed to the right, when you apply this conversión it wil cut off the highlights and you´ll not tbe able to recover them as you can when you apply it as an adjustment layer or in creative part of the lumetri effect. THIS METHOD WORKS LIKE A DESTRUCTIVE LUT.
It destroys if you have not selected “Auto Tone Map Media” in Sequence settings. Mark the checkbox and watch for magic to happen 😎
Grat video!!
Thanks!
why is the color management greyed out on mine? thank you