![]() ![]() I agree that these settings (project settings, timeline settings, monitor settings and scope settings) need to ALL be in same place and very straightforward. It honestly is very frustrating how Premiere is dealing with color management. There is more information about what Premiere 2022 is doing here: This makes it quite confusing at times and it’s easy to make mistakes or get an unexpected result. The color management tools are all small addons here and there and there is no single place where you can go for an overview of the start to finish pipeline and settings as there is in DaVinci Resolve for example. Instead different things are in different places and it’s not always obvious exactly what is going on under the hood. ![]() On top of this there are insufficient controls for the user to force everything into a known set of settings. There are too many automatic assumptions about what you want to do and how you want to handle your footage. 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. Premiere pro 2022 problems software#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. Premiere pro 2022 problems how to#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. However, while we might expect to see dropped frames when playing back LongGOP formats on computers that don't support hardware acceleration, you should not see error messages and it's this issue we'd like to get more information about.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. LongGOP formats can be challenging to play back smoothly, particularly if you are using 10-bit 4:2:2, as this format is only hardware accelerated by Apple silicon Macs, and 11th gen or later Intel Core processors that have Quick Sync enabled. We're particularly interested to know if customers are seeing this issue with LongGOP footage or Intraframe footage or both. If you're still seeing this error (or something like it), please post a question about it, with specifics about your Premiere Pro version, OS, and media format, on the main support forum: However, we do see some issues with playback errors like this that are machine specific. The issue that was originally causing this issue has been resolved. I've provided my computer specifications below. ![]() That work around works for now but isn't great. The only way I'm able to export is by changing the render settings from GPU to mercury playback engine software only. When doing so it will hang up at some point in the export and create an Accelerated Renderer Error - Unable to produce frame. It also has made it nearly impossible to export a finished project from both Premiere and Media Encoder. Once this error occurs I almost always have to completely restart Premiere. Most common error is "Unable to access resource "S ErrorXl svg)" Attached screen shot below. I've worked with these files fine in Premiere v15.4.1 and did not have this issue but since updating earlier this month to v22.1.2 I've had several issues with Premiere errors while editing and random crashes without warning or pinwheel of death. ![]()
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