Give us the option to have RED R3d files be imported in as either Log or Rec709 rather than have it chosen for us by the program. Having it default to LOG really impacts the speed of our workflow on shorter, less color sensitive projects. Granted we grade from log for a lot of our work but some projects just need to be pushed out the door with a minimum of clicks and time and having to open the master clips to make changes takes a lot of time on a quick turnaround. It would be great to be able to select either option (or rec2020 for that matter) with specific gamma project to project or at least in the preferences so that we can adjust the behavior of incoming R3D clips rather than have it chosen for us.

Since 14.4.0, when using Export Frame to export a JPEG, it is darker than a PNG or TIFF export, while they used to be consistent.

This can easily be reproduced by adding a HD Bars and Tone in a fresh project/sequence and using Export Frame to export a JPEG and PNG still, and comparing them in Photoshop.

That "darker" output is exactly the difference between sRGB IEC61966-2.1 and Rec.709 Gamma 2.4, for example if you open the "good" PNG in Photoshop assign it a Rec.709 Gamma 2.4 profile (Edit => Assign Profile) it now looks like the JPEG. But Premiere embeds a sRGB IEC61966-2.1 profile in the JPEG, and this makes me think that it should actually be Rec.709 Gamma 2.4 (it would still look darker but it would be properly tagged).

To go a step further, we can replace the sRGB profile that Premiere embedded in the JPEG by a Rec.709 profile using ImageMagick (here on macOS, the command would need to be tweaked on Windows but I do have that bug on both macOS and Windows).

convert test.00000000.Still002.jpg -profile /Library/ColorSync/Profiles/Recommended/VideoHD.icc test.00000000.Still002-rec709.jpg

(VideoHD.icc is the ICC profile for Rec.709 Gamma 2.4).

Now if we import that new file in Photoshop, and assign it a sRGB IEC61966-2.1 profile (which we couldn't do before because Photoshop thought it was already sRGB), it looks consistent with the PNG.

I believe that the JPEG exported stills should be embedded with the Rec.709 profile because it seems that they contain Rec.709 data and not sRGB, but it would be even better if they were exported as actual sRGB like the PNG and TIFF files are, so that it would be even easier to work with them out of the box in Photoshop and other apps while keeping a consistent look.

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.

This is a bug that has really annoyed me for years and I just got around to writing it up. So I use multicam sequences for all of my interviews (normally two HD or 4K cameras with synced audio, and a separate high quality wav file synced through pluraleyes and imported to premiere via XML). When I take the synced multicam sequence and cut pieces of them into another timeline to create a video with the multicam option enabled on each clip in the sequence - and then hop inside of the main multicam nested sequence to color my footage using lumetri - there is this annoying bug. So I select a clip, and then add a lumetri color effect to it and I make changes to the lumetri color effect, every time I make a change to one of the lumetri color properties (hue/saturation, exposure etc) the clip I selected looses focus and the Effects Control window says no clip selected. This issue doesn't occur if I copy the footage inside of the multicam nest, and paste it into a normal sequence - I can make changes no problem and then copy the footage back into the nest. Please fix this!

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.