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iPhone 12 Footage Colour Completely Different When Imported into Premiere Proi

Community Beginner ,
Jun 25, 2021 Jun 25, 2021

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I've just been recording on my iPhone 12 and I've just imported the videos into Premiere Pro, and the colour is completely different to the original file?

 

It is really saturated and bright, but I haven't even touched any colour grading settings. I even tried to export it without touching any colour settings, and it outputs the video with this weird saturation,

 

This is the original file from the iPhone:

 

Screenshot 2021-06-25 at 11.08.39.png

 

This is what happens as soon as I load it into premiere pro:

 

Screenshot 2021-06-25 at 11.08.25.png

I've tried uploading the iPhone 12 footage to an old 2017 version of Premiere Pro that I have and I don't have this issue at all.

 

Has anyone seen this issue and got any advice? 

 

Thanks!

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correct answers 1 Correct answer

Community Beginner , Aug 31, 2021 Aug 31, 2021

I just was on support chat and found a work around. If you import the footage into iMovie, when you're exporting, unselect HDR. Then it imported with accurate coloring. They said they are working on fixing this within the Adobe programs and it will hopefully be fixed in the upcoming updates. 

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LEGEND ,
Mar 13, 2022 Mar 13, 2022

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Ignore the "scene" option. You're working in a display space within Premiere. (And that's a technical discussion boring as Hades.)

 

Neil

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Community Beginner ,
Apr 06, 2022 Apr 06, 2022

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Hi there,

 

I'm also having this issue. I tried the modify - interpret footage option and that does stop it being so washed out, etc but it looks different to the original footage - any support or thoughts on this? Or perhaps it's something i need to work on with the colour grade afterwards -is ther a particular LUT that might help this footage come back closer to the original?

 

I'm working with footage that has already been somewhat edited on iMovie and then trying to import the exported version from iMovie along with going through all the original iphone files (from iphone 12, i phone 11 and ipad!) It's a bit messy at the moment..! 

 

Thanks! 

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LEGEND ,
Apr 06, 2022 Apr 06, 2022

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Ahh, that's a complicated workflow! But what can be even more convoluted is getting it displayed correctly.

 

Because how a video or other digital image file "looks" depends heavily on the equipment it's viewed on. And the player used. As there are standards, and if those are not followed, the image will look different.

 

As for Rec.709 video, it's white point of D65, 100 nits brightness, sRGB color primaries, gamma 2.4 (unless for bright-room then 2.2), and two transforms, both the scene and display referred ones ... but for some reason the Apple ColorSync color management utility uses gamma 1.96 and leaves off the display referred transform.

 

So on a Mac, when in QuickTime player a video is shown at 1.96 gamma and without the display transform, it is much lighter and less saturated than when that same video is properly displayed at 2.4 gamma with the display transform applied.

 

Premiere works with Rec.709 at full broadcast specs. Within Premiere on a Mac is rather a different thing than outside Premiere on a Mac ... due to Premiere following broadcast specs, and Macs ... not.

 

So that's one example. And past that, about every maker of screens out there does stuff to "enhance the viewing experience" that mess with the way the image SHOULD be displayed.

 

So ... what's your setup?

 

Neil

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Community Beginner ,
Apr 07, 2022 Apr 07, 2022

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Thanks so much for your response Neil! 

I have to admit I'm not the most tech savvy editor! So some of this is kind of going over my head. 

 

My set up is a new Macbook Pro M1 Max 14' 2021 with Premiere Pro CC. I guess I'd just like to know how best to workflow this for myself. By changing all the files in the Modify - Interpret Footage to Rec 709 I guess this is a workaround that allows me to edit without the overexposed look but how then would it be best for me to work with the colour so that it will be exported in a way that allows it to look closer to the original (of course I will be grading it as well but it will be me doing a basic grade rather than a colourist.) 

 

Really appreciate your support! If you can explain the basics in as simpla a language as possible would be amaizng 🙂 

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Community Expert ,
Apr 07, 2022 Apr 07, 2022

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Community Beginner ,
Apr 07, 2022 Apr 07, 2022

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Thank you that's really helpful!! 

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New Here ,
Aug 16, 2022 Aug 16, 2022

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As a stopgap measure as of August 2022, Adobe has suggested importing the iphone video into Imovie. Then exporting as a ProRes file. If you import that new file into Adobe Premiere Pro, the colors should be more accurate in Premiere Pro (relative to the original iphone video file.)

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New Here ,
Oct 21, 2022 Oct 21, 2022

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Hi, I've read through this thread but I'm still not sure how to go about solving my issue. I am working with footage from an iPhone 12, editing on a PC, and trying to get the finished product back onto the iPhone for posting. I am getting really frustrated though because when I export there seems to only be one setting that will actually save to the iPhone photo library properly, every other codec fails even if it still output the same file type. I'm not super familiar with color spaces and codecs etc. so sorry if I missed something in this thread

 

This is what the footage looks like on my phone:

image_123986672 (2).JPG

This is what it looks like in the premiere pro preview:

Screenshot (301).png

When I match sequence settings or use HLG it exports looking much better but won't save on iPhones properly. This is what that looks like:

Screenshot (298).png

When I export with QuickTime it's super overexposed and there are parts where you can't see anything, but it will save on iPhone. This is what that looks like:

Screenshot (299).png

 

Is there anything I can do or am I just screwed to using horrible export settings so that it will work with iphone storage system. 

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New Here ,
Nov 07, 2022 Nov 07, 2022

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I'm really frustrated too... im about to get fired just beacuse my client do not understand alll this technical stuff... for her is "if i can do it in my baby editing software as is iMovie" why you can't get the same result in you super pro software?... you can't... well bye!".... Do i need to run and buy an iMac and do my stuff in dumb iMovie???? This is just uuuuugh!

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LEGEND ,
Nov 07, 2022 Nov 07, 2022

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First, HDR is still the Wild Wild West. Seriously!

 

I work for, with, and teach pro colorists. Some of them were the first adopters of DolbyVision for streaming/network use, and were hired by Dolby to produce the in-house training for professional use of DolbyVision.

 

But most of the colorists I'm around have still never delivered a single HDR show for a paying client. They're studying & practicing at it, but ... haven't had a client pay for it yet.

 

And most screens do a poor job of displaying HDR if they can handle it at all. SDR/Rec.709 is still the most reliable game in town.

 

Next ... if you need to deliver HDR for a client ...

  • make sure that you have the Preferences options for both Display color management AND Extended range monitoring when available checked
  • make sure your OS and monitor BOTH show you are working in HDR
  • check your clip properties and use the clip-level color management to set them to Rec.2100/HLG
  • check your Sequence settings, and make sure that is set to Rec.2100/HLG
  • make sure the Project settings for Graphics White are set to 203
  • make sure the scopes are in the Rec.2100/HLG color space in the lower left corner of the Scopes panel
  • probably set grading while using the 10 bit scope scales (lower right of scopes panel)
  • keep the 'general' content below 200 IRE on the HDR scope scales, or around 750-800 on the 10-bit scope scales, the only thing above that should be the speculars without detail
  • check your grade with the HDR scale (lower right corner) prior to export
  • use ONLY the presets with HLG in the preset name.

 

Doing the above should get your project through the pipe.

 

And no, the players outside of Premiere will not normally show anything exactly like in Premiere or anything else for that matter. Which is something pro colorists suffer with all the time, and they work mostly in Resolve or Baselight. But what they see on a proper Reference monitor and what the client sees within QuickTime on a standard computer monitor will not precisely match.

 

Because it's near impossible for any consumer screens to actually be correctly set for color management.

 

Neil

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Adobe Employee ,
Nov 07, 2022 Nov 07, 2022

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GraphosDiseno,

Sorry for the frustration. This issue can be dealt with by selecting clips and then choosing Clip > Modify and interpreting the footage as Rec709. See Ann Bens' link for all the how-tos.

 

It is happening because your client is shooting HDR, as that is the default setting for current iPhones. I have told others to switch off HDR recording on the phone itself, and your workflow is back to the way it was for you and your client. Easy! It's what I do too! An HDR workflow is not essential at this stage of history. iMovie has custom settings for handling HDR (probably), but you still need an HDR screen to see any difference, and these are not too common, frankly. 

 

Thanks,
Kevin

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New Here ,
Apr 03, 2023 Apr 03, 2023

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I had same issue, but fixed it:
1) In settings turn on Display color management

2) On video file: modify->interpret footage->color space override to rec 2020

3) when you export video use hevc(h265), otherwise in premiere pro colors will look fine, but exported video would be wrong again

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LEGEND ,
Apr 03, 2023 Apr 03, 2023

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In that export, you need to use the HLG variants of the Hevc/H.265 export to keep consistent color space.

 

That's actually THE issue here ... you have to have consistent color spaces from clips through sequence through export.

 

Then it ALWAYS works.

 

Leave out one part, it breaks.

 

Neil

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New Here ,
May 08, 2023 May 08, 2023

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One thing I tried was importing the footage inito After Effects, because I needed small portions of clips in a sizzle reel I was making. I also sent it to Media Encoder and set the export option to be Match Source High Bitrate, that seemed to keep the color and intensity relatively similar. Obviously working in AE isn't practical for video editing, but it was handy in a pinch. 

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