bunnhele bernika shanyta
Candi Ruman
I am trying to streamline my file system and organization by using dropbox as a main source for working files and exports so they are collaborative with teammates. I do a lot of graphic design and video editing. I am experiencing issues when importing footage files that are on our drop box (synced on my computer and even made them available offline) into premiere pro. It allowed me to import a few footage files, but when I try to import the rest I am hit with a "Import Error" message within premiere. Can someone please walk me through this issue?
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Thank you so much for your patience! We have a new solution for this available in Premiere 24.0. You can follow the workflow in this YouTube video to accommodate the QuickTime gamma shift between operating systems. Your image will look the same in QuickTime as it does in Premiere.
They look like Penguins, in human form in a junkyard with tarps and stuff. It might be nicer to see another sample with more compelling dramatic and story-telling elements. Like maybe Romeo looking at Juliet in a medium two shot ?
Now, on a personal note: I have a primary monitor that can be color calibrated. I also have a BM card ( SDI out to a video monitor). The video monitor has been set up (it has lots of controls on it that can be adjusted manually ) to show people on a shooting set what the camera is seeing ( like part of a DIT station ).
For the kind of stuff I do I'm happy as a clam just leaving things the way they are right now. It took a long time and some $$ to just get THIS close, so I'm not going to go bonkers about stuff at the level I work at.
If I use my laptop ( instead of editing computer ) I have basically NO CLUE what I am seeing on the screen. Oddly enough if I import a project from editing computer to laptop it looks very close to me as long as it's a rec 709 thing. If it's bmpcc or S log or something I color managed on editing computer it looks like something some alien might see if they had x ray vision ( like PREDATOR ).
I would go so far as to say ( check out the lounge and 'what you got cookin' thread ) that some people might complain about the type of fork they just got at Nancy's house deck party, to eat the most delicious meal ever cooked to perfection by the host.
this isn't making any sense... the laptop uses intel mobo chip and not discreet nvidia card and it's the thumbnails and so on that look like alien stuff, and the nodes can be adjusted easily.. you have to see it to believe it...just forget I said anything...
I spend most of my time with others in the trade being around colorists. Who live in Resolve and Avid, Mistika, "places" like that. Frequently all of the above, of course. A fair number work in ACES any time then can, another large group avoids ACES like the plague. As with anything else, it adds some nice things ... and makes other nice things unusable.
The Big Problem is the viewing environment is already fractured, and only going to be getting worse. Talking with folks from major colorists, the Flanders people, the calibration companies, the screen companies ... no one sees a common denominator coming anywhere.
Colorists are more frequently getting requests for doing the 'main' grade in either Rec.709/2.5 or a theater or cinema P3, AND ... a separate 'trim' grade in either HDR, web, or "YouTube" emphasis. Or two or three trim grades for different use.
But ... "web" ... ? What the heck is that? Is it for those watching a streaming service via their TV in a moderately lit room, their Android tablet in bright sun, a new Apple "P3-Display" with the wider P3 colors and that odd 1.96 gamma, PCs running a semi-but-not-correct sRGB/Rec.709 with over-bright whites ... what?
It's a totally and completely fractured viewing environment. And the screen providers in general rebel against the entire concept of ACES, as every single one of them builds their entire market base on how their screens provide "an enhanced viewing experience for every user" ... which adopting ACES would of course obliterate.
If the screen makers ... the folks creating the monitors and TVs ... won't cooperate on a common viewing environment, and the one of the two main computer systems insists on creating their own in-house viewing environment that is WAY different from everything else anywhere, well ... no, there isn't a magic bullet to cure all ills.
But with wider gamut screens coming in not only for the Macs but to Windows screens, and of course HDR racing down at us which is both higher dynamic range and wider gamut ... it's quickly becoming far more fractured.
Is it your contention that Sony Studios uploads a slew of differently colored movie trailers, one for Windows screens, one for mac screens, one for tablets, one for HDTV's and one for UHD TV's, all under the same YouTube listing, and that YT is somehow able to 'know' what screen is in use and adjust accordingly?
No ... they aren't delivering for different screens ... but different forms of marketing by the corporations buying the work. Some times, there needs to be an HDR broadcast, SDR broadcast, plus a version for web use. As so much corporate work gets used in whole here, part there ...
It used to be they just delivered either a broadcast version (vast majority of jobs) or a theatrical version if long-form. And the "web use" one ... that one can be nuts to get approval for depending on what kind of screen Miss/Mister Bigshot will see it on.
I watch YouTube pretty exclusively in the Home Theater. (The content and delivery method aren't relevant, moving pictures are always better on a bigger screen with good sound.) I also know that it's just not possible for me to accommodate the variety of different ways for watching YouTube, so my habit is to produce to 709 for HD, and 2100 for UHD, whether it gets delivered via thumb drive, Blu-ray, YouTube, Instagram, Facebook, etc.
Caroline... can you please ask the guy who made the LUT to have a 50% version of it as well- as I noticed that premiere doesn't have an option to change the intensity of the lut on export or shall I apply it before export and change it like that instead?? I really dig the way it comes out... but it makes it too dark... for my mac laptop retina 2015 edition once I check it out in quicktime and iphone. patlea...@gmail.com.
Unfortunately the "enable display color management" only makes matters worse on my iMac Pro, colors become even more dark & saturated. Although I appreciate the detailed explanation about the issue, the issue is still the same. When working in premiere your exports are a completely different look making it nearly impossible to color correct or "grade" anything. Why wouldn't Adobe acknowledging that technology and display environments are changing and not support these monitors in their program?
Premiere Pro has been built for the only game in town for many years ... the worldwide broadcast standards ... video sRGB, Rec.709, D6500 at 100 nits, gamma 2.4. And just works perfectly as long as one sets up that system. They have added some HDR capabilities recently, but you must have exactly the right gear to do so. (I presented on that in the Flanders/Mixinglight booth at NAB, and will have a tutorial up at mixinglight.com in the next couple days on that ... outside their paywall for all to view.)
Why in the world, a gamma of 1.96? I've no clue. Not saying it's "wrong" or anything, just ... an odd number. Especially to start using without informing either their users or other vendors that they were doing so.
So ... you now have the data. Your system is set for a gamma of 1.96, and the world of broadcast is still set for gamma 2.4. How you handle the interface is your choice of course, as it goes hand in hand with the gear you chose. As it does for all of us. Within your system set to stock settings, you can produce media that will look good ... for those using P3 Mac gear and QuickTime Player, Chrome, or Safari.
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