Footage in QT ok, in Premiere oversaturated.

Report · Jul 22, 2019

My videos are recorded with Atomos Shogun and Sony a7s2 with in 4K Prores 422 HQ. When i play it with Quicktime, it is all OK. But when i import the videos to Premiere pro then the videos are overexposed and the color seems different. What can i do in this situation?

[title edited by mod]

Report · Jul 26, 2019

oh brother

Report · Oct 31, 2020

I had this exact problem! this thread fixed it. enable "enable color display management" .. make sure that's on!

Report · Oct 31, 2020

Please Give us detailed specs of your system, including your storage configuration

Can you also to try to export the video from premiere? it will help us determine if is a display/color management issue, or some other problem

Report · Oct 02, 2021

I'm wondering if you ever got this resolved. I just had the EXACT same issue with somebody who sent me 4k footage shot on an I-Phone. I've had issues with mov files shot on phones choking Premiere to where my computer actually shuts down, so I'll run them through media encoder to turn then to MP4 files for editing and have no problems. This issue even occurs in Media Encoder, so it's definitely an Adobe issue and nothing to do with monitors. Would love to know if you solved this!

Report · Oct 02, 2021

What is your OS? Mac, perchance? As if it is, then there is an OS issue in the Mac ColorSync utility that would be in play.

If not Mac, what are your OS color management settings? Are you running an Nvidia or AMD GPU?

And of course, is the Display Color Management preference on or off?

Neil

Report · Oct 03, 2021

Running a Mac. Posting screen shot of stats.

DCM doesn't change anything as the issue even occurs in Media Encoder without Premiere even coming into play.

I first noticed MOV files choking my system about 8-9 months ago. This was definitely a first time for THIS issue. I'm having the guy who sent me the footage check the settings on his end.

Report · Oct 03, 2021

QuickTime on a Mac is not displaying that video file with full Rec.709 standards. That's a problem right there. ColorSync only uses the first of two required transforms, it leaves out the second one that is the display transform.

Plus it uses gamma 1.95 for Rec.709 video files properly NCL tagged 1-1-1. And should use 2.4.

Premiere Pro is applying full Rec.709 standards, so ... that's a major issue when working video on a Mac. A real right pita.

Neil

Report · Nov 18, 2021

To anyone who has found this discussion, try this discussion for a solution as well: https://community.adobe.com/t5/premiere-pro-discussions/iphone-12-pro-max-and-13-pro-hdr-footage-blo...

Report · Dec 13, 2021

I was just having the same issue. I'm not a Premiere expert, but I do a lot of photo editing so I solved this by manipulating the curves. (before and after are in the screenshots below) I saw someone else suggest this below, but they didn't describe how it works so here's a simplified guide.

Open the Lumetri Color panel and expand the Curves menu. The RGB Curves 'graph' is the first thing in that menu. Make sure the white circle is selected. The bottom left side is your blacks, the top right side is your highlights, and you can make points in the middle to control your midtones. If you're not used to messing with curves, I'd suggest making a copy of your clip and dragging the points around just to see what they do. I start by pulling the darks up and the lights down until neither are blown out, then add a point for the midtones and move that around bit by bit until the clip looks natural again. This is probably the easiest way to fix the problem without changing display settings and you can add more Lumetri Color edits on top of this.

Hope this helps!

Report · Dec 13, 2021

This thread was started before the current ... 2022 Premiere ... was delivered.

If you're having this on the current version it is likely the massive changes in color managment (CM) and default behaviors especially with some log-encoded media.

Can you just massage values back into "usablity" for an HLG or Log clip onto a Rec.709 sequence?

Well ... kind of sometimes. The issue is it may still blow weird on export.

So ... knowing why something happens, and how to properly handle your CM ... is necessary to repeatable, rapid results.

Neil

FAQ:PremierePro 2022 Color Managment for Log/RAW Media

Report · Dec 13, 2021

It's still an issue in 2022. Playing with curves and levels in Lumetri became a huge timesuck. My workaround is simply to load the footage into I-Movie and do an MP4 export. This somehow corrects the problem. While it's still a timesuck as I-Movie is slow to export, at least I can be doing other things while I-Movie exports in the background.

Report · Dec 13, 2021

And .... you might check if the clip shows as HLG color space in Premiere. If so, there's a good chance simply checking the file CM properties, and if necessary doing a Modify/Interpret footage/override to Rec.709 may fix without the need of the t-code step in I-movie.

Neil

Report · Dec 17, 2021

I just applied your advice here. The clip DOES show as HLG, but Rec.709 override doesn't work. In fact, none of the other choices work. There's something within the Adobe space that just doesn't like this footage. Converted through I-Movie has been my only working solution.

Report · Dec 17, 2021

So Modify/Interpret/Override to Rec.709 plus making sure the sequence is set to Rec.709 in Sequence CM settings didn't work? Wow.

Could you pass on that clip so I could test it on my PC?

Neil

Report · Dec 17, 2021

Worked fine for me, on Pr22.1.1.

It showed as HLG, variable frame-rate in Properties and in MediaInfo. The variable frame-rate ... if you can, I would ditch that and go to a set 24 or 30fps.

It created an HLG sequence for the clip on import, so I switched transmit out monitor to HDR, and I watched and did a quick bit with Lumetri. The blacks/shadows are really noisy I might note. And this is also clearly using auto-exposure on the camera settings, and as you move about the whole exposure of the image jumps. Best to go with a manual setting for exposure if you can.

But after working with this with Lumetri in HLG with my transmit-out monitor also set for HDR, and then trying working with this clip, modding the clip & sequence both to SDR/Rec.709 ... I think personally I'd stay with Rec.709 for this. It's a bit smoother image and there's no real need for HDR in this type of content.

So ... I'd suggest if you can, setting the camera to Rec.709/SDR, constant frame-rate, manual exposure. Test until you've got the exposure/contrast/sat down.

Neil

Report · Dec 18, 2021

Unfortunately, it’s not my footage. It's from a client shooting on his phone, so there’s not a lot I can do about it other than recommend the changes. I’ve messed with Lumetri ad nauseam and it never looks as good as just processing it through iMovie. (Trust me…I had this step in the workflow because iMovie is a hot mess and takes forever to process, but it give the best end results).

Report · Dec 18, 2021

Understood about the client issue. One tries, but then ... just deals with it, right?

Neil