Footage gets blown out on Export

[Chrissi83]

Hi there,

i am currently rendering some videos I took with a drone a year ago. Footage looks fine inside of Premiere. But as soon as I go to export ,the footage is wayyy to bright and the whites are blown out massively. Looks like some cheap preset was applied. I dont activate any editing and never experienced this problem before.

Footage was taken with a DJI 2 Pro and my pc setup is fine.

I am pretty sure this is some easy to solve problem with a automated thingy somewhere that I need to uncheck in a box or so. Not using premiere as much as to know what it might be.

any suggestions?

[Dean_Utian]

Hi Chrissi83,

Could you give more details of your Export settings?

Have you tried other export presets - like the standard H.264 one?

There are many videos that go through the export settings, like the one below:

https://www.youtube.com/watch?v=r-Ue3sgtj_s

[Chrissi83]

Hi,

I am currently on H.264

and in the lower field I have to go to "H264 - Match Source - HLG"

any other field used like "High Quality 2160 4k" or so, and the whites blow out.

"Match Source HLG" is the only field that does not destroy the looks.

I am glad I found this one field to work around the problem. Still not a durable solution though.

[Ann Bens · Accepted solution]

FAQ: How to fix saturated/over exposed HLG clips PPro v22 - Adobe Support Community

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

[R Neil Haugen]

It isn't clear nor obvious, but Premere 2022 has completely rebuilt color space capabilities and default behaviors, very different from previous versions. And from discussions with engineers, it isn't actually (for much media) handling transforms as they expected it would. Which leads to the problem you're having.

Any HLG color space clips, and much "regular" Rec.709 but log-encoded media, are treated on a timeline as if you expected them to be in full Rec.2100/HLG viewing. So to work with those on a Rec.709 timeline you need to go to the media in the Project panel, select one or more, right-click/Modify/Interpret Footage, and set the Override to Rec.709.

Then make sure your Sequence settings are also set to Rec.709. Do not use Rec.709 (Scene).

Then to export, you need to make sure you use an SDR format/preset, avoid anything with HLG or PQ in the preset name.

IF you do want to work in HDR, you need to make sure that the clips involved are either 'seen' by Premiere as HLG/PQ, and that your sequence is set to an HLG or PQ setting, and the scopes are set to HDR, and the scopes scale is set to HDR, and your monitor and OS need to allow for HDR work.

Then for exports you need to use the ones with HLG or PQ in the Preset name. And of course, those exports will only look proper on devices/screens that can detect and set for HDR work.

I've got a couple FAQs here laying out the changes, the practical ways of working with the new color spaces and options at this time, and the current problems with their implementation such as blown proxy operations with HLG/PQ media.

I'll also add a UserVoice request, to get ONE panel to rule them all, a unified color management panel so it's not such a pain in the tushie to handle HDR/SDR questions in Premiere.

Neil

FAQ:PremierePro 2022 Color Management for Log/RAW Media

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

Color Management Panel

[chrisg40454802]

Here is how you fix it (1 minute video):  https://youtu.be/GgVq2tL8khQ