Hello, since the last premiere update, the iPhone videos have blown out whites. Even changing the media color space of the clip or timeline media (rec709, rec2020, etc.) nothing changes. Not even inserting a LUT makes the video look bad. This didn't happen until recently. Adobe, we need a solution.
Color management is necessarily more complex with HDR having become A Thing. So the user needs to have a basic understanding of how it works, and set their system up so it performs as they need.
First, your iPhone 'natively' records in the HLG color space, in HDR dynamic range.
I work for/with/teach pro colorists, the majority of which still have not delivered a single paid program in HDR. It's so Wild Wild West yet. Many screens still have no HDR capability, and most of those that do only handle one or two of the numerous HDR formats, but don't even properly handle the one they do work with.
That said, HDR can be gorgeous. My first view of anything of mine on a full-on HDR panel was at NAB/Vegas 2019. I was a presenter in the Flanders/MixingLight booth, between Alexis Van Hurkman and the DolbyVision HDR expert from Dolby Labs. All our programs were displayed on a Flanders HDR reference monitor, like a 50" screen or so. Just ... wow.
I understand the attraction, and I am aware of the problems.
So ... whaddya want to deliver at the end, HLG, or SDR/Rec.709? We need to know that.
For SDR/Rec.709, still the more common workflow ... go to the Color Workspace/Lumetri panel/Settings tab. That's were all Premiere's CM controls can be found in one place ... this was my suggestion like three years ago, finally implemented.
For Mac users ... Display Color Management should be on, as well as Extended Dynamic Range where available. PC users might skip that second option, test it.
Set auto detect log to on ... go to the Sequence, set auto tonemap to on, set color space to Rec.709, and choose whether you only care about viewers on Mac or not by setting the Display Gamma to your choice.
Quicktime/1/96 ... is good for Mac-only worries. You'll see inside Premiere what Mac shows outside via QuickTime Player and Chrome/Safari browsers if the Mac user is not using Reference/HDTV mode.
But understand for those Macs using the Reference mode HDTV, and for nearly all non-Mac users, including especially those with broadcast spec Rec.709 systems ... the image will be quite a bit darker, and higher saturated, than what you will see.
Web/2.2 is kinda in-between, some use it as a compromise. I know a few colorists who use this for corporate web work for some companies. Though most colorists simply work Rec.709 with broadcast standard gamma 2.4.
Broadcast/2.4 is the full-on Rec.709 standard, used for virtually all professionally produced media you see on network or streaming services.
And finally, for export preset, you must match the export preset to your sequence color space/dynamic range. SDR/Rec.709 sequences must use presets without HLG or PQ in the preset name. Conversely, HLG and PQ sequences must use a preset with the correct HDR form in the preset name.
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