No info showing under - Metadata/File/Dynamic Media/Video Color Space

ProRes, Cineform, and DNxHD/R are higher quality intraframe codecs ... each frame is a complete frame but compressed.

H.264/265 is long-GOP interframe format .. so most "frames" do not actually exist, they're just a data set of pixels that 1) have changed since the last "i-frame" ... 2) will change before the next i-frame ... or 3 ... both.

So H.264/265 can get massive reductions in file sizes, but ... they also require a lot more hardware or specialized gear for using for editing. They're great for some types of delivery.

And if you need a quality file, you have to use a high "Main"  option setting to get 4:2:2 and 10 or 12 bit color, which adds file size. If you compare actual similar quality of image, the H.265 when set high-Q enough to do so is still smaller than the intraframes, but not nearly to the difference that you get with 'standard' Q settings for H.X encodes.

Neil

What's the export for?

I mostly work with ProRes now that we can export that in PCs also, and of course Cineform and DNxHD/R, all of which have higher bit choices.

As to app choices ... I hear you. I much prefer editing in Premiere, the Resolve editing page just doesn't jive with my brain some how. Feels ... off. Color over there I can deal with well enough of course.

In the end, they're tools. Something to get the job done with. Whichever one works for the precise things you need is what you have to work with.

Neil

I do very little with HEVC or H.264 that I would expect a high-q file, so I've not actually checked bit-rates for those. On the intraframe format/codecs it works as I would expect.

Odd about the HEVC for you though ... wonder what's the issue there?

Neil

I'll pop in with another bit of info you might not have, then tackle the last question.

When camera's record in image file, they create a file header which has the basic information as to the nature of that media, which would be needed by any image display or playing app. Premiere would rely on that for the information that it parks in its own meta information and uses for working with the file.

Cameras also typically include a metadata section using one or more of the many schemas available ... but this is normally (according to everything I've ever seen or heard) a separate file in a different format than the file header mentioned above.

Which is part of why you may not be seeing some of the file meta info on one app or another.

Now ... as to exporting ... you need to export to a format/codec that is 10-bit, as Premiere exports according to the export format/codec's standards. Also, if you want a full 10-bit export, you need to avoid using any effects that modify color and/or tonality and do not have the 32-bit lego block beside them in the Effects panel.

When I export to ProRes, Cineform, or DNxHD/R for example, I typically am using a 10-bit combo, and ... get 10-bit files.

Neil

Premiere Pro is used by more pro broadcast people around the world than any other app. Period.

As to 'cinema', this year's Sundance festival statistics ... over 50% of the films were cut in Premiere, the first time in quite some time that one app has had a simple majority. Avid and Resolve fought it out for second/third.

Your concerns are actually completely misplaced. Premiere is hardwired to strictly follow pro video media standards ... which is why they didn't include as many color management options as some other apps ... and it does so under-the-hood. I am a contributing author at MixingLight.com, a pro colorist teaching subscription website. Premiere is my "beat" there, and of course, Robbie, Pat and many of the others are far more versed in Resolve than Premiere, but ... they still know Premiere pretty good.

This is a tutorial I made that is held outside the MixingLight paywall for all to see ... it's on color management within Premiere. I spent hours with then-color-engineer Francis Crossman on screen-shares and phone calls prior to NAB last April, then hours at NAB, and after that, colorists Robbie Carman and Patrick Inhofer, Francis and myself had a couple months of long detailed emails to make sure all Robbie & Pat's questions were answered. Some of the information in it hadn't actually been published by Adobe before. At times, Francis had to go into engineer's notes to find something out and test it for us.

How Do You Finish at the Highest Possible Quality in Premiere Pro CC?

Neil

Apparently you are under the impression that because Premiere doesn't show that camera metadata file in the meta-columns, it can't 'see' it and it's not applying it to your media.

Which is dead wrong. As I noted, Premiere is hard-coded to abide by the flagged metadata for color spaces/profiles according to all proper video standards. You're confusing whether it shows the color space in a metadata field and whether it applies the correct standards for the media.

It's the metadata display bit that it's not getting down. Different apps 'read' camera manufacturer's meta differently. I've seen the same file in meta displays in Premiere, Resolve, and a couple other video post-apps, and in every one, there were differences in what showed in their meta display from the other apps. But all correctly handled the file.

Neil

"Everything looks right, Just was wondering why Premiere reconizes that info for much cheaper cameras and not a pro video camera, makes me feel riped off."

It depends on how the camera puts the data into the various metadata schemas available, as to whether Premiere will show specific metadata from the camera. I would note, if you right-click on the headings bar in the Project panel, while the panel is in List view showing many different metadata columns ... you can go into the Metadata display setup and add and remove columns displaying a ton of different data depending on the source.

In fact, you might find depending on which of those schemas you go through, that you can show the colorspace for those files. Going through them, the Dynamic Media schema includes a color space option, is that the one you've been using? Exif Schema for Exif Specific Properties also has a color space option. Perhaps one of those will display your camera's color space.

Under the hood, Premiere is built to recognize and abide by the standards specified for every format/codec combination it accepts ... including of course bit-depth, color space, and frame-size/rate along with all other parameters specified in that format/codec's standards. So in operation, it will scrupulously follow the standards published for the format/codec it plays.

As to editing modes, well ... why should they include presets for every potential camera/format/codec made on the planet? Do you realize how unwieldy that list would be? When you drag/drop a clip to a blank sequence, Premiere automatically selects the first preset in the list that fits the media format/codec and specifications for frame-size/rate, number and type of audio channels and so on. Ignore the supposed camera it's set from. Useless info, actually.

If you want, you can easily make modifications to that sequence settings, and save them as a custom preset, which will appear at the top of the sequence presets list from then on. Many editors have their preferred audio channel setup, preview format/codec options, and will set those in their own presets.

And for working with the HDR media in the HLG color space, here's the crucial inforamation you need to know:

FAQ: Setting up for HDR work in Premiere 2020

Neil

Are you shooting Rec.709 or HLG?

Premiere is hardwired to be used with a Rec.709 system. And if your system is properly setup and color managed will handle any Rec.709 file correctly.

If you are wanting to use HLG in an HDR workflow, the search for my recently updated FAQ on setting up Premiere for HDR.

Neil