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Question

4K footage showing up as overexposed on timeline exporting as overexposed, but source is good

Forum|Forum|4 years ago
November 27, 2021
3 replies
1368 views

I'm having a strange but serious issue with PP2022--4K footage shows up in source monitor with correct exposure and color values but when some of the footage is placed on the timeline; the color is stripped and becomes overexposed. I tried switching from rec.709 to 2100HLG which appears to mitigate some of the blown color values for some of the footage but is not a true fix--if you compare the source monitor to the program monitor (with 2100HLG setting) it is still not a true match, and exported file confirms the values are still stripped, for example instead of pale robin egg blue sky, a kind of stripped overexposed aqua, even after switching to 2100HLG. And some of the fooatge now has a "grey cast." Lumetri obviously doesn't work, because you can't restore value that has been stripped or irrevocably changed. I opened the same 4K video files in PP 2021 with exact same sequence settings but kept .709 and all the values are perfect, that is, as shot. So in Premier Pro 2021 the source and program views match in all values and an important point to add, is that (in PP 2021) the file exports with correct values as well. Again to reiterate, this same footage looks great in PP 2021, no problem, no overexposure and only minor adjustments needed, which is my desired goal for this footage So this seems to be an intrinsic problem in the software of PP2022. Or did I miss something simple? Any other suggestions? Right now, I'm going back to PP 2021; but I'd like to upgrade of course, to PP2022, but currently is unworkable. What do you recommend?

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Ann Bens

Community Expert

Short version:

Premiere Pro V22 - Understanding Color Spaces, HDR, and what that might mean to you - YouTube

seak080258Author

Participating Frequently

Thanks Ann, I did figure out a short cut by doing the manual override to 709 for each clip that is affected, but I appreciate the link and additional info so much. This is the first time I posted to the help forum and everyone has been amazing.

R Neil Haugen

Legend

You don't have to manage the clips individually. You can select a bunch and Modify/Interpret in one go.

Neil

Everyone's mileage always varies ...

R Neil Haugen

Legend

I added an FAQ to the forum after testing with a ton of clips from various users plus my own media.

FAQ: PremierePro 2022 Color Managment for Log/RAW Media

It's more confusing with projects brought forward from 2021 into 2022 as they've changed the default behavior with quite a number of Log and RAW media formats. But if you know where to control the proper settings, it all works.

They are now applying a 'default' to many Sony, Canon, and probably Panasonic Log media where it comes 'in' with the full dynamic range and wide color space/deeper gamut of the clip's data. So one of the Sony S-log-3 clips I tested when dropped on a timeline had a brightness range of 0 to over 4,000 nits.

SDR ... standard dynamic range, the Rec.709 we've all been working in, has a set range maximum brightness of 100 nits.

2021 had fewer media types where it applied a defaut. And where it did, the default was a manufacturer's transform to Rec.709, the SDR with the limited color space/depth we're used to working in.

Yea ... that's a change.

But the color space and gamut of the clip mentioned above were also 'bigger'. So when that clip was dropped on a Rec.709 sequence, the first view was blown out whites and saturation WAY outsided legal boundaries in the Vectorscope.

But simply going to the clip in the bin ... Modify/Interpret Footage ... set to Override to Rec.709 ... and it worked perfectly on a Rec.709 sequence. In fact, as it was Log media, that brought it in looking very log-ish: nothing near black or white, saturation quite low.

So on a Rec.709 sequence properly interpreted to Rec.709, the same clip had a brightness range of 18-82, and no color was anywhere near exceeding legal. It took both the typical contrast expansion and sat increase to fully 'normalize' the clip.

I actually could bring the HLG 'view' of the clip within SDR specs, btw ... something most users don't know, but the Exposure slider in the Basic tab has by far the greatest "range" of control function of any tool in Lumetri. I could pull that way back, then just use a bit of adjustment with the Whites, Highlights, and Shadow tools, to remap that 4,000 nit image within Rec.709.

That's not how I would recommed doing that. Change the clip's color management settings in the bin.

Neil

Everyone's mileage always varies ...

seak080258Author

Participating Frequently

Thank you so much Neil, what an incredible, wonderful answer, and yes, I did eventually figure it out, just as you described by manually changing the color specs in the control panel to 709. Looks good now. Whew! Stange day or two thinking about how this happened. I'm going to have to go through hundreds of clips this way; not too bad, just another step and perhaps, I'm may love it later as tech gets more and more precise. Thank you so much for taking time out of your day, very thoughtful.

Kevin-Monahan

Community Manager

Hi Seak,

It sounds like you need to follow a new protocol for this kind of footage to retain your previous workflow, which includes interpreting the footage to 709 at ingest (I would set up a custom ingest preset to save time). You also need a 709 sequence to make sure your clip interpretation matches clip settings. Check the proper settngs in Sequence > Sequence Settings. That way, standard export presets should work with this workflow.

New features were added in the new version around handling this kind of footage and it has caught users off guard—sorry about that.

We are on leave right now, but will return to the office Monday where we can help you further. Until then, we have an FAQ and other resources here in the community. Hope we can get you help ASAP.

Thanks,
Kevin

Kevin Monahan - Sr. Community and Engagement Strategist – Adobe Pro Video and Audio

seak080258Author

Participating Frequently

Thanks for quick reply Kevin, I appreciate it on an off day --I don't want to pull you in to a reply, so I'll wait for monday--but just to be clear, the 709 sequence setting is the problem in PP 2022--709 is the setting that is blowing some of the footage out. I only tried 2100HLG as an attempt to understand what was happening.

I'm using the same inital sequence settings as in PP 2021 DV NTSC 4800 (with 709) and then when I place the 4K on the timeline change the sequence settings to suit the footage. That's the workflow I used in PP2021 that works so well. Are there presets that would work better for 4K in PP 2022? I see there is ProRES RAW (which my Sony A6400 doesn't have) I tried that, just to see, but it didn't really matter, because I just select adjust sequence to suit video file. I have: Image Size: 3840 x 2160 Frame Rate: 23.976 so I'm not really sure I understand what you are suggesting. I'm currently using PP 2021 to do my work this weekend, so can wait until monday, thank you so much.

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