2100 HGL has become the default color space in sequence presets

[braydon]

[Edit: since posting this, I've learned my assumption that Adobe has changed the color space in the sequence presets is incorrect. It seems to be a bug. The title of this post has been edited accordingly. This is no longer a PSA. However, if you're experiencing different colours in your source and program monitors, read on...]

I haven't found anyone else discussing this yet, so I'm putting it out there as a community PSA. With the Premiere 2024 update, we're given a much more simplified list of choices when making a New Sequence. (I'm actually a fan of this change).

One thing to note, that is NOT OBVIOUS, and that took some of digging to get to the bottom of, is that now ALL the new sequence options are in the 2100 HGL colour space. Thanks for the notification, Adobe!

So if, like me, you notice a colour difference between your source monitor and your program monitor, you'll need to change the sequence settings to match the colour space you actually want to be in.

The good news is that if your footage is Rec 709, and you want to get your sequence into Rec 709 instead of the new 2100 HGL default, all you have to do is go into the Sequence Settings and choose Rec 709 from the Working Color Space drop-down. Problem solved.

Hope this helps!

[Chetan Nanda]

Hi @braydon,

This is not obvious, and there is no (intentional) recent change to cause this.

By default a Rec. 709 timeline should be created with Rec. 709 media. Or Rec. 2100 HLG timeline would created from Rec. 2100 HLG media.

Please share you build information and sample media to check further on the behaviour you are observing.

Thanks,

[braydon]

Hi @chetan 

I'm running Premiere 24.2.1 (Build 2)

To be clear, I make my sequences by either going to the File menu or right-clicking in the project panel, then New.../New Sequence, to open the dialogue window where I chose the sequence preset. I typically don't drag the clip down to the button that turns it into a sequence. I understand what both you and Neil are saying about how that function operates.

But yes, something strange is going on, and has been happening for about a week now. Yesterday, when I drilled down into why each new sequence I created looked different to the source material, I discovered that every preset option in the New Sequence panel was set to the 2100 HGL color space (with the exception of the presets in the 'Custom' and 'Legacy' folders). I clicked on each one, and the colour space was 2100 HGL. For the social media presets. For the vertical presets. For the HD presets. And the 4K non-HDR. 

Today, now that I'm trying to get screenshot evidence of this, they're all suddenly Rec 709, with the exception of the 4K HDR sequence presets (which should be 2100 HGL). So, I can't show you what I'd encountered and look a bit foolish.

When I changed the 2100 HGL colour space to Rec 709 for a particular sequence in the Sequence Settings yesterday, could that change have applied to all presets as well? I can't imagine it would work like that, but it's the only change I've made, regarding colour space.

Here's a screenshot of the New Sequence panel I've been mentioning, with the color space info highlighted. I'm aware the selected preset should indeed have this color space. But yesterday, all the presets looked like this. 

Finally, I will edit the title of this thread so that it's less misleading, seeing as this seems to be a bug rather than an actual change by Adobe.

[Chetan Nanda]

Hi @braydon ,

Thanks for your reply.

I do not see any reason for Non-HDR sequence presets to have HLG as color space.
4k HDR presets correctly setting up timeline to HLG color space.

But, If I am reading your reply, then this issue is not occuring for you now.

Please do connect with us back if you encountered this weirdness again.

Thanks,

[braydon]

Thanks Chetan. The problem seems to have resolved itself for now. I'll let you know if it reoccurs.

[R Neil Haugen]

Chetan is right, it isn't that HLG is the default ... as it's only the default if you create a new sequence for HLG media. Make a sequence with PQ media, you get a sequence, and with Rec.709 media, a Rec.709 sequence.

[braydon]

Thanks Neil. I've elaborated upon this in my response to Chetan, but it's not how the offending sequences were made. It seems there may have been some aberant behaviour in my program, rather than this being a change made by Adobe.

[Joel33803914whny]

You just saved my life! I wasted hours trying to figure out what was going on, and your post fixed it. It seems like overnight, something changed or a bug appeared or something caused this setting to be different. I edit videos every day and export every week and never had this problem until two days ago. 

I shoot in slog 3, use the sony rec709 lut, do my grade, and export no problem. But on this project, my exports were blown out, over saturated, and pink. Completely unusuable. I don't ever change my sequence settings from project to project, so the only thing I can think of is that Premiere had some bug-fix or update that I was unaware of and this setting got changed. Unfortunately, on top of the headache, I've lost around 6 hours of valuable editing time just to find out there is a random drop box I needed to address. 

[braydon]

I'm glad my post was helpful for you, but I'm sorry to hear you had to endure that. So frustrating when small changes within the program translate into many hours of lost work time.

[R Neil Haugen]

I so understand the frustration. With the advent of multiple HDR formats along with SDR, it's far more complex than it used to be.

If using a LUT, where are you applying that? There are three different places possible.

And when using a LUT based normalization you should probably have auto detect log on, but auto tonemapping off.

Those settings are not some random thing btw. They are the basis for any color processes, and every editor needs to know how to use them. All gathered together on the Lumetri panel Settings tab. EVERY color management option is there.

They haven't changed since maybe 24.1, around 10 months back. As we haven't had a new public beta build in around a week, I'm guessing that we've seen the last 24.x build for the public beta. The next public beta build may be the first 25.x build.

With Alexis Van Hurkman now in charge of color for Premiere, I'm wondering what changes we'll see in color management and correction tools.