iPhone Footage becomes overexposed when added to Premiere making Premiere UNUSABLE.

[guayol53958307]

Title. Anytime I add footage from Iphone to Adobe Premiere it becomes overexposed, or just looks different. This was not an issue 3-5 years ago, what changed?

Yes I tried Tone Mapping. Didn't work.

Yeah I can work around it with color management, but this wasn't an issue a few years ago so this feels like a hug bug that I shouldn't have to constantly color manage to get around.

This isn't an issue with After Effects but AE is MUCH slower to work with when it comes to just editing footage, so again my work flow is slowed down significantly, meaning a software package that I used to rely on is now slow and frustrating to use.

Again, this is making the PR and AE softwares unusable. I want to work in PR but I'll have to lose time color managing footage for no reason. I want to work in AE to avoid the overexposure issue but then AE takes forever to preview videos and it's slow too. This was NOT an issue 3-5 years ago, is there any effort to fix this?

Very frustrated. Been frustrated for years. Been frustrated since iPhone footage was suddenly acting weird in PR for no reason.

[guayol53958307]

Update: AE has the overexposure issue too. This sucks.

[RjL190365]

The problem stems from the fact that the iPhone shoots in HDR by default, and that most of the presets in both Premiere Pro and After Effects are set up solely for SDR content. This mismatch will result in the "overexposure" that you mentioned.

Conversely, if you use SDR footage in an HDR timeline, the opposite will happen: The video will look muddy and gray.

[R Neil Haugen]

It works fine .... IF you set your entire color management settings correctly. As to what's changed?

You're using a phone, shooting an HDR format, and you're asking what has changed? Just everything, actually.

I work for/with/teach pro colorists. It's just stuff.

For working with an HDR clip in SDR/Rec.709, which I still recommend doing  ... set everything this way.

• Display Color Management on
• Auto detect log on
• Auto tonemapping on
• Sequence color space to Rec.709
• Export with Rec.709 presets, those that do not have HLG or PQ in the preset name.

The above are all found in the Color Workspace, Lumetri panel, Settings tab. The one named Settings.

I can give advice on how to work HDR if you wish to deliver to that. I don't recommend it yet, but it also can be made to work.

[R Neil Haugen]

Oh, and if you're on a Mac without Reference modes, after export, there's a problem due to the Apple decision to use the wrong display transform function on those computers.

They do use the correct display transform on the Macs with Reference modes, when set to HDTV. So it's only the Macs without reference modes that have this oddity.

Which gives a lighter view of the image than it should be, and would be on any other display. As Apple uses the camera transform function, essentally gamma 1.96, on those computers.

The Macs with Reference modes, and all other screens, use a power function roughly equivalent to gamma 2.4 as the display transform. 

You can't display an image at to different gammas, and of course get the same image.

QuickTime player, and Chrome and Safari browsers allow Apple's colorsync utiility to control color, and will display the files lighter.

VLC and Potplayer, and Firefox browser, do their own CM work on Macs, and so use the correct display transform for Rec.709 video, so they are better for use in viewing your export out of Premiere.

Or ... Mac users can set the Premiere viewing gamma option to gamma 1.96/QuickTime, and then do the color/tonal corrections ... and the file outside Premiere viewed in QuickTime player on Macs without reference modes will be the same as inside Premiere.

It will be much darker on all other systems with 'normal' Rec.709 display transforms, however.