Exported clip comes out overexposed and tinted blue

[Hamed-J]

I'm trying to export my edited video that was recorded on a Sony A7III. My edits look perfectly fine the premiere preview window but when I export it get blown out highlights that also have a blue hue to them. 

I can't fingure out what's the cause of this.

I've attached an image to show what I mean. The left one is the exported clip and the right one is the premiere preview window. I'm completely lost as to how this is happening.

The only change I've made recently was in using the HLG color profile in the camera as opposed to cine4 but I can't imagine that would be the issue but I figured it's worth a mention.

[R Neil Haugen · Accepted solution]

Well, the HLG is actually the problem. If you're going to use HLG clips, a form of HDR, you have two choices.

First, make sure your timeline color space is HLG, and your OS and monitor are set for HDR, and that any export is using an HLG/HDR preset.

Or, easier, select the clips in the Project panel, right-click Modify/Interpret Footage and set the Override option to Rec.709.

Make sure your timeline panel is Rec.709 and use regular export presets.

Relatively few screens really do HDR yet, though that is changing over time.

Neil

[Hamed-J]

So I have completed the edits and moved everything in place already. Is there any way to convert the clips in my timeline to Rec.709 or just export my project without having to replace all the clips??

Also should I no be using HLG at all then if I don't have an HDR monitor? The only reason I am using HLG is because I was watching a video by Gerald Undone comparing the color profiles available for the sony cameras. I am still very new to video editing and color grading in general.

[Hamed-J]

Would you reccomend that I still use HLG but just convert it to Rec.709 everytime before I start my project?

[R Neil Haugen]

For now, yea, I typically recommend keeping things in Rec.709. I know a lot of colorists. And most of them have still not delivered a single HDR deliverable to a client.

Some of the colorists I know were the leaders in getting fully setup and certified DolbyVision HDR production qualifications. Which required ... two years ago ... $35,000 reference monitors. Now, it's down to only about $17,000 to $25,000 for a pro reference monitor.

An issue with the more typical consumer screens, both monitors and TVs, is that even if they say they're "HDR" ... most cannot sustain even 800 nits let alone the 1,000 that is the minimum for "pro" HDR work deliverables. And so they change screen brightness to match the scene.

If you're trying to grade on such a screen, you never know for certain how much of the brightness/darkness is from your actions, and how much is the screen.

So ... yea, we can't afford the pro reference monitor, right? But if your monitor can handle 100% of the P3 color space, and if it can sustain 500 nits, well ... then it's a lot of fun to work with HDR imaging. We can't know exactly what it's going to be like elsewhere, but ... it's still fun.

The SDR ... standard dynamic range of Rec.709 still covers most anything we do actually need to do, and covers what most screens can show. So it's more reliable and easier.

Neil

[Robert30930468r9ih]

I'm having the same problem and have tried all the steps you've mentioned above and I still have the same problem. I've hit a deadline and am desperate for a fix!

[R Neil Haugen]

Can't help as you don't give any information. IF you do have everything set correctly, this will work for maybe 99.99999999% of users. 

So you say you're on a deadline ... why not actually give the data so we can help you?

Please post, in detail, 

• Your OS, and the media, created by what.
• Make screengrabs of the ENTIRE Lumetri panel Settings tab ... every section, top to bottom.
• Drag/drop them all directly onto your text reply box, not the little 'attach files' box' at the bottom.