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R
R223301230cu0
Participant
December 20, 2021
Answered

Colors of footage change after import and export

  • December 20, 2021
  • 4 replies
  • 3488 views

When I import my footage into Premiere Pro 2022, the colors significantly change (more exposure, more lights, strange colors). Then, after I edit the footage and I export the video "as media" (I make yoga videos for youtube), the colors change even more (way too much exposure). I edit on a MacBook pro. Does anyone know how to solve this problem? I see many of you faced the same problem, but I could not find a solution.

 

Thank you in advance!!

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

There are two major areas for the OP ... first, using a Mac, and second, the major changes in Premiere's color management that came with the 2022 version.

 

And I mean completely rebuilt CM for the 2022 version. It ain't the same app for CM at all.

 

Mac ColorSync Issues

 

The Mac ColorSync utility mis-applies display standards for Rec.709 or "SDR" (standard dynamic range) media. It does not apply the second of two required transforms, and it applies a gamma of 1.96. The standards require the Bt.1886 display transform which ColorSync does not apply. The standards also set the gamma as 2.4 in a semi-darkened room, 2.2 for bright-room working environments.

 

There's no easy way around this. Macs with Retina monitors simply display Rec.709/SDR files differently than the "intended" by standards display. Premiere is expecting that Rec.709 rules will be applied to the display.

 

Mac users need to check that the "display color management" option is checked in Premiere's preferences. That tells Premiere not to assume proper Rec.709 rules are being followed, and it instead checks the monitor ICC profile, and remaps the image as shown within Premiere to correctly show a Rec.709 image. This helps the user to set their video closer to proper Rec.709 settings.

 

It does not make the video look the same outside Pr on a Mac ... you can't. There are two different and incompatible display settings being used. It does make the video look correct on systems that do apply correct video standards.

 

There are some long threads explaining the issues here on this forum. And I've taught the CM of Premiere and the differences between Premiere and Rec.709 standards versus the Mac ColorSync at NAB and on the MixingLight colorist's subscription website. I've got hours with pro colorists, the Adobe chief color scientist and others on the issue.

 

New Premiere Color Management in the 2022 Release

 

Premiere has been built totally around a Rec.709/SDR "pipeline" or sequence processing math. They then added the ability to add "extended" Rec.709 values a couple major release back. This allowed under certain circumstances, and with the right external gear, being able to do minimal work in HDR, high dynamic range.

 

But HDR isn't just brighter ... it's a vastly larger color space requirement. So they had to rebuild Pr's color "engine" to enable real HDR abilities. Which they rolled out in the 2022 release. It no longer is built around Rec.709/SDR.

 

And without having most users know about it, that's been frustrating.

 

They've added new controls for the user to set CM and color spaces in several locations. They've also changed a number of default behaviors for how especially many log-encoded clips and most HLG clips are treated in Pr. Which has really fouled up a lot of users.

 

I wrote a couple FAQs on this ... the first on the changes that Pr2022 has for CM, and how to work with this. The second is covering what I can tell by testing with the use of monitors and HDR media in Pr2022, which has also changed a lot.

 

Neil

 

FAQ:PremierePro 2022 Color Managment for Log/RAW Media

 

How to Set Monitors for HDR work in Premiere Pro 2022?

 

 

4 replies

A
Andy 1968
Inspiring
February 14, 2022

All editing systems can look awful if not setup correctly as seen in the video link below. There are settings for the graphics card as well as the Adobe software that need to be tweaked. 



https://www.youtube.com/watch?v=njiGU7jNdJk

R Neil Haugen
R Neil HaugenCorrect answer
Legend
December 20, 2021

There are two major areas for the OP ... first, using a Mac, and second, the major changes in Premiere's color management that came with the 2022 version.

 

And I mean completely rebuilt CM for the 2022 version. It ain't the same app for CM at all.

 

Mac ColorSync Issues

 

The Mac ColorSync utility mis-applies display standards for Rec.709 or "SDR" (standard dynamic range) media. It does not apply the second of two required transforms, and it applies a gamma of 1.96. The standards require the Bt.1886 display transform which ColorSync does not apply. The standards also set the gamma as 2.4 in a semi-darkened room, 2.2 for bright-room working environments.

 

There's no easy way around this. Macs with Retina monitors simply display Rec.709/SDR files differently than the "intended" by standards display. Premiere is expecting that Rec.709 rules will be applied to the display.

 

Mac users need to check that the "display color management" option is checked in Premiere's preferences. That tells Premiere not to assume proper Rec.709 rules are being followed, and it instead checks the monitor ICC profile, and remaps the image as shown within Premiere to correctly show a Rec.709 image. This helps the user to set their video closer to proper Rec.709 settings.

 

It does not make the video look the same outside Pr on a Mac ... you can't. There are two different and incompatible display settings being used. It does make the video look correct on systems that do apply correct video standards.

 

There are some long threads explaining the issues here on this forum. And I've taught the CM of Premiere and the differences between Premiere and Rec.709 standards versus the Mac ColorSync at NAB and on the MixingLight colorist's subscription website. I've got hours with pro colorists, the Adobe chief color scientist and others on the issue.

 

New Premiere Color Management in the 2022 Release

 

Premiere has been built totally around a Rec.709/SDR "pipeline" or sequence processing math. They then added the ability to add "extended" Rec.709 values a couple major release back. This allowed under certain circumstances, and with the right external gear, being able to do minimal work in HDR, high dynamic range.

 

But HDR isn't just brighter ... it's a vastly larger color space requirement. So they had to rebuild Pr's color "engine" to enable real HDR abilities. Which they rolled out in the 2022 release. It no longer is built around Rec.709/SDR.

 

And without having most users know about it, that's been frustrating.

 

They've added new controls for the user to set CM and color spaces in several locations. They've also changed a number of default behaviors for how especially many log-encoded clips and most HLG clips are treated in Pr. Which has really fouled up a lot of users.

 

I wrote a couple FAQs on this ... the first on the changes that Pr2022 has for CM, and how to work with this. The second is covering what I can tell by testing with the use of monitors and HDR media in Pr2022, which has also changed a lot.

 

Neil

 

FAQ:PremierePro 2022 Color Managment for Log/RAW Media

 

How to Set Monitors for HDR work in Premiere Pro 2022?

 

 

Everyone's mileage always varies ...
    S
    stretchdavea
    Participating Frequently
    February 13, 2022

    Thanks for this piece. I understand, but think Adobe's implementation is badly handled. Opening a project created in 22.1 should NOT be wrecked in 22.2! I have had to go through folder after folder modifying. Previous projects shuld have the previous colour space flags set - if not then default to 709.

     

    I was just on to support and I dont think they fully understood the ramifications of deadlines - if you need to open a project that was created a few weeks agao and tweak and output - all need rerendering(many effects/noise reduction).

     

    They need to make the import of older projects seemless, or they will lose a lot of long time users who need a degree of certainty. Happy for new and better features - just seem to be implemented by a system that doesnt take into account real world issues. After all I only upgraded from 22.1 - 22.2

     

    Also on my 72 gig ram 16 gig graphics imac(from last year) I dont expect worse performance than I was getting on my 2013 imac with prem 2019. I should not be seeing beach balls when I nudge a clip on a timeline! I just hope the 350 gig memory leaks have stopped - aparently i was foolish to leave the scopes window open...

    Dave

    A
    Andy 1968
    Inspiring
    February 14, 2022

    Definitely want to hear anything you figure out.

     

    Neil


    Niel, 

    Your wrote the following below in one of your links. 

    And the pro colorist's I work with daily tell me it can be very informative, to see the differences between their screen and a TV. Because they often have a large-screen TV set for their client's viewing screen in the room. Most typically they're the LG C9, CX, or C1 series TVs.

     

    I agree. I always tell people to connect their camera to  their TV. A TV can be used a a reference point. An iMac cannot. The Canon T3i and Sony A7 III are designed to be connected to a TV using the HDMI output of the camera. In my latest video I connect a Canon Vixia to a TV. I then connect an UltraStudio Monitor to the TV and then use Premiere Pro and Avid's Media Composer to output to the TV using the UltraStudio Monitor 3G. Media Composer and Premiere Pro both match the video straight out of the camera 100%. I could have used the Ultrastudio Monitor with FCXP and an iMac and the end result would be the same. The iMac may not match my computer screen 100% but FCPX would look identical on my TV when using 3rd party hardware. For $115.00 the UltraStudio is worth the price of admission. 

    M
    Mr. Friesian
    Participant
    December 20, 2021

    same here, also my auto correction (for simple and some fast corrections) doesnt work at all anymore.
    no solution found so far

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