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J
James22321097quwa
Participant
September 8, 2022
Answered

Adjustment Layer Won't Export Properly in 22.5.0

  • September 8, 2022
  • 1 reply
  • 534 views

I'm on build 22.5.0, and I can't get my grade in a Lumetri adjustment layer to export properly. The same frames look radically different in the Program and Reference windows than they do when exported.

 

It doesn't matter if I export in Media Encoder or via Premiere's native encoder. I've tried many fixes (e.g., changing colour management in Premiere; ticking and unticking the "Import sequences natively" box; uninstalling, deleting preferences, and making a clean install) and nothing is working.

 

I'm at my wit's end, and would appreciate any help.

 

Here's examples of what I'm talking about (footage sent to me by the amateur DP; colour cast is part of a Halloween look).

 

Image as it looks in Program/Reference

 

Image as it looks exported as an MP4/H.264 and MOV/ProRes 422 HQ. Whites are clipped, colours are breaking, and the saturation is all wrong.

The same frame exported from DaVinci Resolve

This topic has been closed for replies.
Correct answer R Neil Haugen

I'm guessing that is phone media, shot in HLG, an HDR format. And you're working with it on an SDR/Rec.709 timeline. Can't do that. Basic color management.

 

Go  to the clip/s in the bin, select one or more, right-click/Modify/Interpret Footage, set the Override to Rec.709. Now redo your Lumetri, and a standard SDR/Rec.709 export should work as expected.

 

Neil

1 reply

R Neil Haugen
R Neil HaugenCorrect answer
Legend
September 8, 2022

I'm guessing that is phone media, shot in HLG, an HDR format. And you're working with it on an SDR/Rec.709 timeline. Can't do that. Basic color management.

 

Go  to the clip/s in the bin, select one or more, right-click/Modify/Interpret Footage, set the Override to Rec.709. Now redo your Lumetri, and a standard SDR/Rec.709 export should work as expected.

 

Neil

Everyone's mileage always varies ...
J
James22321097quwaAuthor
Participant
September 8, 2022

Thanks Neil. I wasn't aware that the nature of colour management had changed from 21.x to 22.x--at least not until I read your article just now: https://community.adobe.com/t5/premiere-pro-discussions/faq-premiere-pro-2022-color-management-for-log-raw-media/m-p/12553050

 

It's rudimentary, yes, and something I routinely handle every day in DaVinci Resolve. However, the new colour management paradigm hasn't been well publicized in the creative circles that I travel in.

R Neil Haugen
R Neil Haugen
Legend
September 8, 2022

The 2022 version shipped last November with a completely rebuilt under-the-hood color system. With the hours I've spent in phone calls, in-person meetings, and hundreds of emails with their color staff over the last few years I was still totally caught unawares.

 

The public beta hadn't seemed that different other than a few new user controls, buried in places I wouldn't choose. But au contraire ... and it's been a mess helping people sort out the new system. Especially as still, not all media will correctly work in Premiere.

 

And you're right, they didn't do a great job of warning us of this. Which I've communicated here, via emails, and in-person at NAB.

 

Neil

Everyone's mileage always varies ...
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