Unfortunately I don’t think the way Adobe are implementing their version of a colour managed workflow is very clear. It will greatly simplify workflows once you understand what is happening under the hood and allows you to output both SDR and HDR versions without having to completely re-grade everything. Arri Log-C will look like S-Log3 which will look like V-Log and then the same grade can be applied no matter what camera or colorspace was used. Colour managed workflows such as this new one in Premiere or ACES etc are the way forwards as LUTs are no longer needed for colorspace transforms, the edit and grading software looks after this for you.
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This is fine, but you do need to consider that it is likely that at some point you will need to learn how to work across multiple colorspaces and using LUTs as colorspace transforms is very inefficient as you will need separate LUTs and separate grades for every colorspace and every different type of source material that you wish to work in. The workaround if you don’t want to change. If you mix log footage from different cameras they will all look quite similar and you won’t need separate LUT’s for each type of footage or for each final output colorspace. For example S-Log3 and Rec-709 material in the same project will now look very similar. A big benefit of this comes when working with multiple sources. This isn’t a bug, this is Premiere catching up and getting ready for a future that won’t be stuck in SDR Rec-709.Ī color managed workflow means that you no longer need to use LUT’s to convert your Log footage to Rec-709, you simply grade you clips within the colorspace you will be delivering in. It won’t be long before delivery in HDR (which may mean one of several different gamma and gamut combinations) becomes normal. Colour managed workflows such as this are now normal in most high end edit and grading applications and it is something we need to get used to because Rec709 is no longer the only colorspace that people need to deliver in.
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