MOV from IPHONE 14 shows up overexposed in Premiere Pro

Forum|Forum|3 years ago
November 20, 2022
4 Antworten
86081 Ansichten

Desperately need help it all shows up overexposed and I have tried this https://www.youtube.com/watch?v=UY8JZybCn7s. but I cant access to tick the color management buttom. Is it a bug for IPHONE14 movies or how can I get the videos from my IPHONE 14 with correct colors in Premiere Pro? Help is very much appreciated Jenny

Beste Antwort von R Neil Haugen

Still at it and trying to post my XMAS family video. Premnier is wonderful with my Red....hence the biggest most popular recording device, the iphone 14, on the planet and they have not just a small issue but litterally fail dramatically. pretty sure my iphone timeline footage today looks worst than my vhs edit bay of decades ago...while on my i phone it looks cinematically fantastic. I guess Adobe decided not to test thier software on the single most used recording device that existon planet earth. I made them aware of this issue and it is ignored.

Then why do so many others have no problem whatsoever with iPhone video in Premiere?

It's because you don't have your color management set correctly. Which yea, can be a bit of a pain, but once done works.

I've tested a bunch of clips for other users they insisted Premiere couldn't handle correctly. For all iPhone and A7s...x and most others, it was entirely up to getting the correct settings.

I'd be happy to test yours, of course.

But with iPhone, it seems always to be setting auto detect log and tonemapping on, DCM on for all Macs and most PCs, setting Premiere's viewer display gamma correctly for your wants, and making sure you use an export preset that matches your sequence color management.

MyerPj

Community Expert

In the APPS section, you'll see the Beta Tab

MyerPj

Community Expert

Neil is a saint! 🙂

R Neil Haugen

Legend

You have probably created HDR clips on the iPhone, using that device's HLG setting.

So if you intend to use those with SDR/Rec.709 "standard" sequences and exports, you need to do some basic color management.

Go to the Project panel, select one or more clips, then right-click/Modify/Interpret Footage.

At the bottom are the color management (CM) controls. Set the Override-To option to Rec.709. And if this is grayed out, then you need to give us more information as to your GPU and your OS version also. A screen grab of the timeline and the interpret footage dialog would be good.

Now go back to your seqeunce, and click in the Timeline panel so it has 'focus', that thin blue line. Got to the menu bar up top, Sequence/Sequence Settings. Make sure that the working space is set to Rec.709.

Do any color/tonal corrections as needed. Then export using the presets that do NOT have HLG or PQ in the preset name.

Neil

(ps ... might want to set your iPhone back to Rec.709/SDR recording for now.)

Everyone's mileage always varies ...

R

ROPA & BOARDAAutor

Inspiring

So how should the settings be to make this work from the IPONE. Next time should the settings be changed on the IPHONE or do we need over and record in ZOOM to make the edit easy and not to much work? Is Zoom better to record in on the IPHONE14 then using just the camera to do MOV? Or how should the settings be? Please help. I have tried this with Color management but unfortunately it didnt do the work on the clips so it needs to be something that need to be changed when recording? Help is very much appreciated and I dont know how I move this conversation to the Premiere pro foruma?

R Neil Haugen

Legend

Doesnt' make any difference what the capture device is. It's basic color management, which must be consistent through the project. And nearly all users should have the Preferences option "Display Color Management" clicked "on". If you do HDR, especially on Macs, the "Extended Dynamic Range where Available" should also be checked.

SDR Rec.709 Sequence/Export

ALL clips must be in the Rec.709/sRGB color space. Check the clip Properties in the Project panel. If Rec.709, skip next two steps. If HLG, next two steps are required.
ALL HLG clips must be transformed to Rec.709/SDR using color management settings in the Modify/Interpret Footage dialog. You can select many clips at once and do them in a batch.
Right-click/Modify/Interpret Footage, set the bottom CM setting Override-To option to Rec.709.
IN THE SEQUENCE, click within the Timeline panel so it has the blue line which is "focus", now go to the Main Menu system, Sequence/Sequence Settings.
Check the Video tab Working color space, make sure it is set to Rec.709.
NOW do any corrections for tonality/hue on your sequence.
When exporting, use ONLY presets that do NOT have HLG/PQ in the preset name.

HDR is actually much harder at this point, as so many devices still either do not work with HDR media at all or do so poorly. But ... if you like going into the Wild Wild West ...

HDR Workflow

Make sure your Project "graphics white" setting is 203. In the Project or Production settings dialog.
All clips MUST be set to HLG for color space, working in PQ is only a specialist thing at this point. As above, check clip Properties.
As above, for all clips NOT already HLG, select your clips, right-click/Modify/Interpret Footage. Set the Override-To option to Rec.2100/HLG.
On your SEQUENCE, click in the Timeline panel, go to the Main Menu, Sequence Settings, Video tab.
Make sure working color space is set to Rec.2100/HLG.
In the Scopes panel (if you don't use scopes, Heaven help you ... ) make sure the scopes show Rec.2100/HLG in the lower left corner. If not, right-click/set color space to HLG.
Set the scope values with the drop-down in the lower right corner to 10 bit.
Make sure your OS and your monitor are correctly set to and working in HLG.
Export using ONLY those presets with HLG in the preset name.

Now grade your image as you wish, and for checking out how bright your top values are in HDR terms, scrub or play through your sequence with the scopes scale (lower right again) set to HDR.

That's kinda rough at this point, as the bottom quarter of the scale is the darkest 25 IRE values. Scale midpoint is 100 ire. So if you need say 600 IRE top speculars, it's up to you to guess where that would be.

But it is possible to get something out that will probably be ok on the web.

Neil

Everyone's mileage always varies ...