How to render Full Color Range in Premiere Pro CC

[Drumvisio]

With H.264 ?

My Panasonic GH5 produces Full Color Range (0-255) Files and I am getting only Limited from Premiere output,

How to go about changing this to Full on Output?

Can I make The Preset YouTube 4K 2160p My default preset when opening Premiere?

Or put it first on the list of presets I NEVER USE (And can't delete!!!). ?

Thanks

[excited_Genie16B8]

What are you exporting to, and how are you testing it?

[Drumvisio]

Premiere's YouTube 4K 2160 Preset (H.264), you can find it in your Preset lists, it's down last.

I am viewing the File info with a program called MediaInfo

It says Color Space: Limited

?

Please help guys

[R Neil Haugen]

PrPro is straight BT. (Rec.) 709 ... period. 0-255. Exports get "seen" by QuickTime Player and some YouTube upload re-encoding as 16-235, but that's an error situation. And fixable in both cases ... not by changing the PrPro export, but by changing either the codec exported (YouTube normally takes the DNxDH/R in mxf, and doesn't do the initial-look of 16-235) or by going into your YouTube channel, selecting the vid, going to "retouch" mode, then saving without retouching. YouTube will re-encode it correctly then.

I've not had an issue with H.264 uploads to either Vimeo or YouTube, many don't.

And though you say this is showing as "Color space: limited" ... that's showing "Color space:YUV".

Not the same thing.

Neil

[Drumvisio]

Hey! Thanks for the detailed version!!!

Um, this is Softpedia Image, Mine says Limited on Desktop MediaInfo Information

Can you please give me the Dumbed-Down version of what you explained?

Thanks mate!!

[Drumvisio]

General

Complete name               : C:\Users\Windows 7\Desktop\New folder (2)\PWID1021.mp4

Format                      : MPEG-4

Format profile              : Base Media / Version 2

Codec ID                    : mp42

File size                   : 483 MiB

Duration                    : 1mn 43s

Overall bit rate mode       : Variable

Overall bit rate            : 39.0 Mbps

Encoded date                : UTC 2017-10-29 18:54:16

Tagged date                 : UTC 2017-10-29 18:54:23

©TIM                        : 00;00;00;00

©TSC                        : 60000

©TSZ                        : 1001

Video

ID                          : 1

Format                      : AVC

Format/Info                 : Advanced Video Codec

Format profile              : High@L5.2

Format settings, CABAC      : Yes

Format settings, ReFrames   : 4 frames

Format settings, GOP        : M=3, N=59

Codec ID                    : avc1

Codec ID/Info               : Advanced Video Coding

Duration                    : 1mn 43s

Bit rate mode               : Variable

Bit rate                    : 38.7 Mbps

Maximum bit rate            : 40.0 Mbps

Width                       : 3 840 pixels

Height                      : 2 160 pixels

Display aspect ratio        : 16:9

Frame rate mode             : Constant

Frame rate                  : 59.940 fps

Standard                    : NTSC

Color space                 : YUV

Chroma subsampling          : 4:2:0

Bit depth                   : 8 bits

Scan type                   : Progressive

Bits/(Pixel*Frame)          : 0.078

Stream size                 : 479 MiB (99%)

Language                    : English

Encoded date                : UTC 2017-10-29 18:54:16

Tagged date                 : UTC 2017-10-29 18:54:16

Color range                 : Limited

Color primaries             : BT.709

Transfer characteristics    : BT.709

Matrix coefficients         : BT.709

Audio

ID                          : 2

Format                      : AAC

Format/Info                 : Advanced Audio Codec

Format profile              : LC

Codec ID                    : 40

Duration                    : 1mn 43s

Source duration             : 1mn 43s

Bit rate mode               : Variable

Bit rate                    : 317 Kbps

Maximum bit rate            : 416 Kbps

Channel(s)                  : 2 channels

Channel positions           : Front: L R

Sampling rate               : 48.0 KHz

Compression mode            : Lossy

Stream size                 : 3.93 MiB (1%)

Source stream size          : 3.93 MiB (1%)

Language                    : English

Encoded date                : UTC 2017-10-29 18:54:16

Tagged date                 : UTC 2017-10-29 18:54:16

[R Neil Haugen]

PrPro only puts out the full 0-255 ... as it's code is written straight to the specs of the BT (Rec) 709 standards. The old 26-235 is from a previous standard way back in the ancient days of tape. It's been dumped for years in most pro work, though some systems in use in network environments still use tape for part of their process. PrPro is just 0-255. There once was a preset you could choose that was the old settings for SD tape ... something like 480i, that was also 16-235, but I don't know if that preset is still there.

Everything in that list for your file is as it should be.

Neil

[excited_Genie16B8]

Everything in that list for your file is as it should be.

Not quite.  Premiere Pro is limited to Rec.709.  UHD calls for Rec.2020, which the GH5 is capable of shooting (mostly).

He's not getting accurate colors from Adobe.

[R Neil Haugen]

We're in a transition period, painful as that always is. Very few monitors show past Rec709 much of any note, though some of the last year or so do have a wider color ... capability. Including all those P3 Mac monitors in that intriguing but very unique color space: bigger than Rec709, not as big as Rec2020 ... so when you go 2020, that monitor isn't "there". But our cameras are coming more and more with wider-space capabilities, so yea, you do want to utilize that. If you can.

HDR and the accompanying Rec2020 are coming fast to a screen near you ... although, "fast" defines differently for everyone. I've looked at monitors that can support full 10-bit/2020, and they're quite a bit more dough yet than my current monitor set me back. I'm planning on getting that BM Pocket Cinema 4K on launch, what ... 12-bit & 2020 at full capability? I'll be in that situation soon myself. I'll have a camera with significantly wider gamut than my "confidence" monitor is capable of providing. NOT my biggest joy to contemplate.

Although most of the people I deliver to don't really need nor want anything past 1080/709. Except for some of their phones that can show a wider gamut, but on a 4 inch long screen.

As to the limited/full range, I've seen a number of tutorials by noted teaching colorists who naturally are based in Resolve, which defaults to video levels, 16-235, for its Rec709 work. And they all teach leaving the app set to "auto" for clip color spaces, as there are a very few Rec709 codecs that are set to "data levels" of 0-255.

What's the difference between a 16-235 or 0-255 file in post? Nothing in any practical terms. Export the file from PrPro, load it into Resolve, and ... gee ... it's exactly what it should be, even though the two apps do slightly differ in the way they attach nomenclature. Export Rec709 from Resolve in 'standard' configuration, you will get what they consider the proper video levels file of 16-235. In some apps, PrPro exports show as "limited", and in others "full". Whatever.

One of them is rather a front-line teacher of DolbyVision HDR setup & grading. (Yea, total gear-head, and I'd love half of his suite!). He's already delivered a few jobs in DolbyVision, but even for him ... big majority is Rec709.

So as to the comment that he's not getting "accurate" colors from Adobe ... well, for what, seen on what? That's the question, isn't it?

And of course ... I'm hoping for wider gamut color management for PrPro as soon as they can ship it. I'll live till they do, of course.

Neil