That way you can do radical exposure corrections without clipping, because the correction is done BEFORE the 709 conversion, while the data is still log.Īnd yes, you CAN add a Lumetri effect to the source clip. Then, add an adjustment layer with another Lumetri effect, with a LUT added in the "Basic Correction" setting, to convert to 709. The thing is that if you set your RAW footage to be treated as Log, then in your timeline, you can apply a Lumetri effect to adjust the exposure while the data is still in the Log domain. However, I don't think I'll be using this feature. There might be some things in the picture profile that have an effect, but I don't know what.Īnd it looks like the "Canon Cinema RAW Light Source Settings" panel can be used to get the RAW footage directly into whatever colour space you want, like straight to REC 709, for example. So your premise is correct in RAW shooting, at least as far as Log goes, what you record is not affected by the picture profile. So applying my normal de-log LUT in an adjustment layer worked. I wasn't seeing this because I always shoot Log, and by default Premiere treats the RAW from the R5C as Log 2. It looks like you're perfectly correct the settings in the "Canon Cinema RAW Light Source Settings" panel determine, after the fact, how the RAW data is treated by Premiere Pro. UPDATE: I found the "Canon Cinema RAW Light Source Settings panel"! It was not obvious to me that there was an effect controls panel for the source monitor normally effect controls only apply to clips in the timeline / program monitor. Does anyone want to confirm this or perhaps you have a counter example? When shooting RAW, what is recorded on the card is not affected by the "Custom Picture" setting. So, I'm concluding that what the YouTube video said about RAW format for still images basically is valid for RAW format for video files. I set the Color Space and Gamma in the Premiere Pro Canon Cinema RAW Light Source Settings panel to BT.709 / Wide DR and put both clips side by side in a sequence and I can't tell them apart. So, if the metadata is different between the two clips, Premiere Pro doesn't see it. Selecting a clip in the source monitor, picking Effect Controls, under Canon Cinema RAW Light Source Settings, the color space and Gamma of both clips showed up as Cinema Gamet / Canon Log 2. When I import them into Premiere Pro, both show up exactly the same. Changing the CP mode after the fact did not affect things. Viewing the clips with the camera, the two clips looked different. One with CP set to CP1 which is BT.709 / Wide DR and the other with CP2 which is Canon Log 3 / Cinema Gammet. With the R5C, I shot two short clips, both in 8K RAW. Why is the camera giving me these choices? But they still have either "Custom Picture" in the case of the R5C or similar options such as "Canon Log" submenu with the R5. Both the R5 and the R5C can shoot RAW videos. Now we come to the same question, I think, for videos. ![]() The first part I knew, the second part I had never thought about. It does not affect the image stored but it does affect how the view screen displays the image. ![]() A YouTube video enlightened me on "Picture Mode" when shooting RAW still images.
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