Imported video clips are colored differently than the original footage.

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The video clips I've imported into Premiere Pro are colored differently than the original footage. I have a Macbook Pro 2021. I've read through old threads and turned off hardware accelerated decoding, but the footage color is still changed. Let me know if anyone has a solution to this, thanks!

[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

[Peru Bob · Accepted solution]

See here, too:

https://community.adobe.com/t5/premiere-pro-discussions/faq-premiere-pro-2022-color-management-for-l...

https://community.adobe.com/t5/premiere-pro-discussions/how-to-set-monitors-for-hdr-work-in-premiere...

[cm bates]

I have similar problem. It seems if you right click clip from project window and modify interpret footage you can choose colour management at bottom and set override when I view vlog footage from camera it has rec709 but seems flat compared to when I override with vlog gamut. 

[R Neil Haugen]

Color managment is, of necessity, getting more complex.

That set of controls you show in the image is the 'base' color management setting for clips, and will soon be going from there to the Lumetri panel instead, in new tab there, with all the CM controls.

But there are other things. The Preferences now have an option for 'auto log detect', which if selected, will apply a normalization algorithm (vastly superior mathematically to a LUT process) to "normalize" the media to Rec.709 display space.

If that is selected, all log media Premiere 'recognizes' gets the specific normalization algorithm for that log form when the clip is placed on a Rec.709 sequence.

If that auto-log is not selected, it displays log media as ... not normalized. The gray stuff.

Of course you also need to be using sequences with the color management of the Sequence settings ... set to what you want, Rec.709, HLG, or PQ.

So ... you can choose to work with log-appearing media, by having auto-log detect off.

Or you can choose to work with normalized log media, with auto-log detect on.

And no, neither any transform LUT or algorithm from log to normalized is expected to be "the perfect and final" look. They're all, including the manufacturer provided ones, simply a process to get the pixel data from log back to linear space as safe as possible, with (always) aesthetic considerations also applied.

Which aren't expected to match anyone's expectations btw.

Neil

[cm bates]

Thanks. I'm wondering if it's worth shooting in vlog at all. The "scene 1-5" seem to cover the look anyway. I know xlog is great for dynamic range but can't see another reason 

[R Neil Haugen]

That's a good question. IF you handle the setup of the camera, lighting, and such correctly, "log" may not get you that much. And can be a pain in post work if the person shooting doesn't know how to exactly setup for that specific log form, and the person doing the post doesn't know exactly how to linearize that specific log form.

Colorist's discusssions, talking about handling log, can become amazingly long, detailed, and technical for a reason.

Neil

[cm bates]

Very good point thanks