For the Lumetri Color Effect’s curves controls (Hue vs Sat, Hue vs Hue, and Hue vs Luma), cyan is in the center, while red is on the far left and right sides. This is inconvenient, because most users will probably want to adjust skin tones more than anything else, and skin tones are almost always somewhere in the reds and yellows. Therefore, I propose that red be in the center by default, while cyan is on the edges.
NOTE: Because a horizontal scroll bar is already available, it is possible for the user to essentially do this themselves... but because skin tones are the most common thing I adjust, I find that I have to manually scroll that bar all the way to the left or right, 80% of the time I use these controls. So it would definitely be less hassle (for me) if red was already in the center.
There may be a good reason to have cyan in the middle, but I can't think of it.

ProRes RAW has been implemented inside of Premiere now but it is cumbersome. My workflow remains the same as before support has been added where I need to conform my footage to LOG inside of FCPX and then import that to Premiere. This makes all the work that went into implementing ProRes RAW into Premiere useless to me because I still have the same workflow as before.

I am suggesting taking an approach like FCPX where in the clip options there be a selector for “RAW to LOG Conversion” that allows you to conform the linear footage that ProRes RAW is into a more traditional LOG file.

This would make it exponentially easier to handle.

Premiere and After Effects seem to be misinterpreting some specific A7SIII footage.

When recording in XAVC-S (H.264, 422, 10-Bit), with an HLG picture profile everything works as expected. In all three programs the clip looks the same.

Premiere: Looks correct in timeline and export
After Effects: Looks correct in timeline and export
DaVinci Resolve: Looks correct in timeline and export

When recording in XAVC-HS (H.265, 422, 10-Bit) in an HLG picture profile...

Premiere: gamma is abnormal with raised shadows and pronounced grain in both timeline and export
After Effects: same as Premiere
DaVinci Resolve: Same clip looks correct
Exported from DaVinci Resolve and imported in Premiere: Looks correct

I recreated the issue on Windows and Mac, and it's happened in Premiere versions 14.7, 14.8 and 14.9. All timelines are Rec709 (though I tried the others and that didn't solve it). The Display Color Management checkbox and the HDR Graphics White settings didn't do the trick either.

The temporary solution: I'll shoot in H.264 when I need HLG and that'll be fine, but wanted to bring it to your attention. I also tested S-Log3 and Picture Profile Off in H.265 on the same camera and those work totally fine in Premiere.

The Lumetri white balance picker is fundamentally broken. - it doesn't do what it should be doing as far as I can tell.

When I use it to balance a video to something that should be white in a scene - it completely shifts the color to something that is not white in any way shape or form - it shifts the temperature and tint sliders seemingly at random and makes turns things into colors that clearly aren't white. If I have something that I know is white (like a wall) with a slight tinge of color and I click on it with the white balance tool - it shouldn't turn orange or blue - it should turn white!

The Lumetri white balance picker is fundamentally broken. - it doesn't do what it should be doing as far as I can tell.

When I use it to balance a video to something that should be white in a scene - it completely shifts the color to something that is not white in any way shape or form - it shifts the temperature and tint sliders seemingly at random and makes turns things into colors that clearly aren't white. If I have something that I know is white (like a wall) with a slight tinge of color and I click on it with the white balance tool - it shouldn't turn orange or blue - it should turn white!

When going back to a clip to adjust its Lumetri settings, there's no way to know which of the 6 categories or 6 subcategories have been previously adjusted, short of twirling them open one by one to see if anything has been changed. The lack of a visual indicator to show which categories have been adjusted is especially frustrating when working on a clip that has several instances of Lumetri. For example, if a user adjusted 'Curves' on a third instance of Lumetri, the user might end up twirling open and visually inspecting the 'Curves' category of all three Lumetri instances before finding the correct one for further adjustment!

Please add a simple visual cue (e.g. bold, underlined and/or different text color) so users can immediately know which parts of a Lumetri effect have been modified.

Although not essential, it would be helpful if the same visual cue were also used on Lumetri effects in the Effect Controls panel.

As always, thanks for listening!

Hi, I'm working with .R3D files in Premiere (which is great btw thank you for making it so smooth) but would love to request something. When I go into Master Effects for a .R3D clip, I can copy and paste the Red Source Settings to only one clip at a time. It's a bit tedious to have to click into every Master Effects of every clip and paste the source settings to each clip. Are there plans to be able to paste to multiple selected clips OR is there already a way to do this and I'm just a ******** :) Thanks!
Kevin