Premiere Pro LOG Color Grading INSTANTLY Without LUTs - Color Management Tutorial

[@MANGO-FILM]

Hi Matt, if you don´t want the final film in 709 but you want a total different look applied with a LUT, when do you apply the LUT? After converting into 709 or onto the S-LOG 3 (in my case) ?

[@Kaisernator]

Matt! What about PROXIES!? if proxies are made, and imported instead (remote editing workflow) how does adobe "auto" detect what camera / space a 720p version was sourced from? does it detect an 8 bit?

[@thinlinestudios]

Dude...... This is amazing!

[@baxslatton]

So I switched to PP from Davinci Resolve back in August(9-5 job required it) and for my own personal work I haven’t found a flow that I like when it comes to grading my log footage. This video helped me tremendously!! Thank you so much for making it🙏🏻

[@davidcebulla]

What an awesome video! Straight to the point, all necessary information! Thank you!

[@SagebrushFilms-sd3in]

TLDR: Be careful when using this with Multicam sequences. I recently used this and had a major problem when it came to multicam sequences. When I tried to add the white balance and exposure adjustments to the source clips, they looked terrible, over saturated and an insane amount of contrast. I tried over and over and over again to figure out the problem, and eventually got them to look right by messing with just about every setting related to this new feature. But when I exported them, the final clips looked different than it did in the timeline, even though the rest of the video was fine. On 3 different occasions, I had the timeline set to the multicam sequence shot while exporting, so I could see the frame that looked fine while the video was exporting. While exporting, the image on the premiere screen would shift back to the terrible over saturated/contrasty look and then it would like that in the exported video. I spent about 10 hours over the course of a weekend going crazy trying to figure it out. Nothing on any forum helped. Then I looked downloading the newer version of premiere (I have 2024), and one of the bugs that 2025 is supposed to fix is problems with multicam sequences that have lots of effects. So at this point I am just assuming I spent all that time messing with settings and exporting about 20 versions when really it just came down to a bug. I was too afraid to lose the project with the new update, so I saved a copy, went back and re-graded the entire video with this feature turned off, using my normal grading process. Sorry to be such a negative Nancy! But seriously this drove me insane and I don't want anyone to go through what I went through. Thanks for another great video Matt!

[@phrones]

Hi Matt, does this method retain all the dynamic range of the clips? In the previous version of premiere I found that with using a conversion Lut you could recover more information in the highlight compared to this method. For example: - First level clip, second level conversion lut. Apply -1 to the whites on the clip. Different result thank applying the same -1 on the clip transformed in the color space. I hope my English is good enough to explain this issue! Anyway I bought your luts and wedding courses, I do recommend to anyone 💜

[@KennethGreenCMP]

I appreciate this this. I tried to get it work in Beta but it would not auto correct. I film on my Nikon with Atomos Ninja. I have also read that Nikon / Ninja does something funky but I am looking for an answer for that. Anyways thanks again for the step by step.

[@mschocker77]

Great stuff man!!!! Keep it coming!!!

[@eawallach]

Thanks bro! Def reduced grain with the override.

[@alansarpy]

awesome video...! Ive noticed if you check auto detect Log, then apply a LUT.. the clip is basically ruined ... But now I see how you can pick clips individually with the sourced clip

[@whoismatt]

You’ll want to use luts made for just shifting the colors, not adding contrast :) My luts offer that as an option

[@PetriKoivistoPhoto]

Hi Matt. I can't get it to work. I have an R5 clog3 and a Mavic 3 d-log mp4-files. Under "source clip: use media color space" only rec.709 is shown and Premiere Pro does not detect the log file, as if the videos were shot in rec.709 format. Any idea why this is happening?

[@JPLUSLSTUDIOS]

Once set up...will this automatically transform according to log profile? I shoot in slog 2 and slog 3..for multicam edits...is there a benefit in this setup over using a slog 2 and 3 conversion lut?

[@DashMatin]

do you also work with davinchi?

[@ryanjamesvideo]

Thank you, Matt! Will this affect non-log footage that is on the same timeline as log footage? For example if I’m editing PP1 and s-log 3 together?

[@whoismatt]

Premiere will read the metadata of the log clips and convert them to rec709 without affecting the non-log (PP1) clips

[@skyrocker71]

please help , after editing beautiful colors ,exporting are with washed colors....helpppp

[@emotionss_wedding190]

You are great dude

[@anilaboutme]

Nikon Z6III here. Still can't get it to work...

[@mikydubYT]

Matt GOAT!

[@AlbertPalmer]

Any chance of a FCP course Matt?

[@whoismatt]

Still learning FCP 😜 once I’m an expert I’ll make a course

[@Drrezzin]

If they would add Black Magic, I'd sign up again!

[@Evapors]

Thank you

[@jasongurr]

Grading INSTANTLY Are you sure? I need to go into a dark room now!

[@SinghEditor1997]

I buy your luts but i dont like it as indian wedding editor💔

[@whoismatt]

So sorry to hear that, I have tested them on a wide variety of skin tones

[@paidomeufilho]

You are big, dont do shitpost... autocolor needs multiple scenes of same moment in diferent lights. You are goning down...

[@actionjacksonpromos]

You use “whenever” exclusively. Not every single “when” needs an “ever” behind it. Just say “when”. You sound like a 5 yr old. Anyways good tips. ❤