MOV from IPHONE 14 shows up overexposed in Premiere Pro

[ROPA & BOARDA]

Desperately need help it all shows up overexposed and I have tried this https://www.youtube.com/watch?v=UY8JZybCn7s. but I cant access to tick the color management buttom. Is it a bug for IPHONE14 movies or how can I get the videos from my IPHONE 14 with correct colors in Premiere Pro? Help is very much appreciated Jenny

[Ged_Traynor]

Moved to the Premiere Pro forum from Using the Community

[R Neil Haugen]

You have probably created HDR clips on the iPhone, using that device's HLG setting.

So if you intend to use those with SDR/Rec.709 "standard" sequences and exports, you need to do some basic color management.

Go to the Project panel, select one or more clips, then right-click/Modify/Interpret Footage.

At the bottom are the color management (CM) controls. Set the Override-To option to Rec.709. And if this is grayed out, then you need to give us more information as to your GPU and your OS version also. A screen grab of the timeline and the interpret footage dialog would be good.

Now go back to your seqeunce, and click in the Timeline panel so it has 'focus', that thin blue line. Got to the menu bar up top, Sequence/Sequence Settings. Make sure that the working space is set to Rec.709.

Do any color/tonal corrections as needed. Then export using the presets that do NOT have HLG or PQ in the preset name.

Neil

(ps ... might want to set your iPhone back to Rec.709/SDR recording for now.)

[ROPA & BOARDA]

So how should the settings be to make this work from the IPONE. Next time should the settings be changed on the IPHONE or do we need over and record in ZOOM to make the edit easy and not to much work? Is Zoom better to record in on the IPHONE14 then using just the camera to do MOV? Or how should the settings be? Please help. I have tried this with Color management but unfortunately it didnt do the work on the clips so it needs to be something that need to be changed when recording? Help is very much appreciated and I dont know how I move this conversation to the Premiere pro foruma? 

[R Neil Haugen]

Doesnt' make any difference what the capture device is. It's basic color management, which must be consistent through the project. And nearly all users should have the Preferences option "Display Color Management" clicked "on". If you do HDR, especially on Macs, the "Extended Dynamic Range where Available" should also be checked.

SDR Rec.709 Sequence/Export

• ALL clips must be in the Rec.709/sRGB color space. Check the clip Properties in the Project panel. If Rec.709, skip next two steps. If HLG, next two steps are required.
• ALL HLG clips must be transformed to Rec.709/SDR using color management settings in the Modify/Interpret Footage dialog. You can select many clips at once and do them in a batch.
• Right-click/Modify/Interpret Footage, set the bottom CM setting Override-To option to Rec.709.
• IN THE SEQUENCE, click within the Timeline panel so it has the blue line which is "focus", now go to the Main Menu system, Sequence/Sequence Settings.
• Check the Video tab Working color space, make sure it is set to Rec.709.
• NOW do any corrections for tonality/hue on your sequence.
• When exporting, use ONLY presets that do NOT have HLG/PQ in the preset name.

HDR is actually much harder at this point, as so many devices still either do not work with HDR media at all or do so poorly. But ... if you like going into the Wild Wild West ...

HDR Workflow

• Make sure your Project "graphics white" setting is 203. In the Project or Production settings dialog.
• All clips MUST be set to HLG for color space, working in PQ is only a specialist thing at this point. As above, check clip Properties.
• As above, for all clips NOT already HLG, select your clips, right-click/Modify/Interpret Footage. Set the Override-To option to Rec.2100/HLG.
• On your SEQUENCE, click in the Timeline panel, go to the Main Menu, Sequence Settings, Video tab.
• Make sure working color space is set to Rec.2100/HLG.
• In the Scopes panel (if you don't use scopes, Heaven help you ... ) make sure the scopes show Rec.2100/HLG in the lower left corner. If not, right-click/set color space to HLG.
• Set the scope values with the drop-down in the lower right corner to 10 bit.
• Make sure your OS and your monitor are correctly set to and working in HLG.
• Export using ONLY those presets with HLG in the preset name.

Now grade your image as you wish, and for checking out how bright your top values are in HDR terms, scrub or play through your sequence with the scopes scale (lower right again) set to HDR.

That's kinda rough at this point, as the bottom quarter of the scale is the darkest 25 IRE values. Scale midpoint is 100 ire. So if you need say 600 IRE top speculars, it's up to you to guess where that would be.

But it is possible to get something out that will probably be ok on the web.

Neil

[ROPA & BOARDA]

Thanks Neil, I managed to get the Rec 709 but still the video is not as in the Iphone. The thing is that when I now managed to put Rec 709 on my clips all my TEXTs have change color. Do you have any tip on how to make them correct HEX again? Or is trial and error to make it look as close as possible? Help is very much appreciated. Best Jenny

[R Neil Haugen]

Every screen and every device will show a slightly to majorly different image of the same file. So ... what is "Correct"?

The only "correct" I know of, from working heavily with pro colorists for years now ... is a fully calibrated then profiled to check the calibration monitor fed a clean output signal from an AJA or BlackMagic device. That way, you have an image that is highly quantifiably 'standardized'.

Even then, two screens connected in the same  way to the same computer will not be identical. Which is why colorists work to get their suite's setup so that when clients attend the grading session, they ONLY see the screen provided for the clients. The seating is carefully arranged so the grade 1 reference monitor the colorist is using is not visible to the client.

And that's in a room where the colorist has spent more on his calibration devices than you and I combined have spent on our computer gear.

If you applied graphics while the sequence was set for say Rec.2100/HLG, that could be an issue in taking that sequence to Rec.709. Of course, check your project settings. The "Graphics White" option should be set to 203.

Neil

[lvwilke]

You're my hero ❤️

[Samuel29731249g175]

Hi Nell - I bought premier pro purely to edit an audition tape for an application for a TV show I've been working on for some time now. It is late at night and I finally ended up exporting the project but it was super washed out. I tried so many different tutorials I found on the internet but THIS IS WHAT HAS SAVED ME. I owe you so much and I really appreciate what you do here. Thank you from the bottom of my heart.

[Robert25217353bvxa]

Why are there no options under Modify > Interpret Footage > Color Management for my clips? All I have is Input LUT > None or Add LUTs.

Many thanks!

[R Neil Haugen]

What are the clips? Format/codec, and created by ... what?

Which version of Premiere ... 23.5 is the current one ... ?

And dragging/dropping a screen-grab onto your text reply area is often helpful ...

[Robert25217353bvxa]

Yes, current version of Premiere 23.5. Working on a MacBook Pro:

The problem clips are iPhone 13 b/c they were shot in HDR. But none of my clips have an option for changing the Color Management setting. All have the same Input LUT option. Please see attached screen shots. Thanks for your thoughts.

[Kate28409209yycj]

I had this problem. Make sure you have manually checked for adobe premiere updates and installed any available.

[shawnwelling1@me.com]

No matter how you try and work through this. Plain and simple this is a GIANT bug in Adobe Premier.  Just one of the big FAILS when you upgrade and everything is working great then bam you loose on the NEW version.   I have tried everything and plain and simple the wonderful IPHONE 14 footage looks like i just shot it on a iphone from a decade ago once in the new adobe premier. 

[R Neil Haugen]

I would love a clip to test myself ... so if you could put one on dropbox/wetransfer/whatever that some others could test on their gear, that would be very useful.

Neil

[Michael31691947nnxq]

I totally agree. I had an old Adobe premiere I was editing on from 2021 and everything from my iPhone 14 color corrected just fine. Now that I payed for 2023 premier, no matter what I choose in interpret footage and sequence settings, my beautiful iPhone footage looks like it was shot on an overcast day. They threw color correction out the window on the most common camera on the planet so they could support cameras barely anyone uses. Why is it that minimal iPhone editing apps like videoleap have no problem editing this footage? Its because Adobe wanted to add more features without thinking about where media is going. My whole project is ruined now and I'm wondering if I'll have to bootleg an old premier just to get this working. I shouldn't have deleted the 2021 version but I didn't expect this at all

[Profanity edited by moderator.]

[R Neil Haugen]

They've made major changes because they had to make the app usable in multiple color spaces and dynamic ranges for wider workflows.

And that did add more complexity and more controls for us users to master.

And in testing a vast array of media for people, very few formats are actually horrible in Premiere at this time. Most work quite well, once you understand how you need to set things for that media. And there's several of us users happy to help with this.

[Shawn30843453k2qs]

Still at it and trying to post my XMAS family video.  Premnier is wonderful with my Red....hence the biggest most popular recording device, the iphone 14,  on the planet and they have not just a small issue but litterally fail dramatically.  pretty sure my iphone timeline footage today looks worst than my vhs edit bay of decades ago...while on my i phone it looks cinematically fantastic.  I guess Adobe decided not to test thier software on the single most used recording device that existon planet earth.  I made them aware of this issue and it is ignored.  

[R Neil Haugen · Accepted solution]

Then why do so many others have no problem whatsoever with iPhone video in Premiere?

It's because you don't have your color management set correctly. Which yea, can be a bit of a pain, but once done works.

I've tested a bunch of clips for other users they insisted Premiere couldn't handle correctly. For all iPhone and A7s...x and most others, it was entirely up to getting the correct settings.

I'd be happy to test yours, of course.

But with iPhone, it seems always to be setting auto detect log and tonemapping on, DCM on for all Macs and most PCs, setting Premiere's viewer display gamma correctly for your wants, and making sure you use an export preset that matches your sequence color management.

[Shawn30843453k2qs]

Niel the reason is becuase the color correction approach you mention and others on line take a rating from a 2 to a 8 on the fix.  This is great but the original footage form my iphone is a straight up 10 rating - so premier is still degraing it.  That same iphone if i go back to an older version of premier maintains perfect quality.  I also am clear, that while 90 percent of my footage editing is on a Red Ranger Gemini aka Red Raw and the new premier is far less buggy and great.  However for my home videos that are precious to me premier is a straight up fail.  Even is we could find a solution at this point with work arounds - customers should not be bogged down looking for a highly complecated  answer for something as vastly used and i mean vastly more thant any other recording device in the world than the  the iphone and for premier to fail.  I found capcut which somehow beats premier on quality for iphone editing  use so there is that - go fiqure.   Anyways love Premier for edinting my features so mostly very happy only slightly annoyed.  Maybe Adobe will wise up and fix was once was not broken. 

[R Neil Haugen]

I've tested a ton of iPhone clips, and never had one that looked 'degraded' in any way. So understand, I'm questioning to learn. What do you consider degrading in specifics in the image, and what steps you are using.

And I'd love to have screengrabs of the issue you're having. As if I could understand what you mean, what you're getting, and be able to replicate, that's great.

[Laura-Ellen28464560ad6d]

This worked like a charm! Thanks so much! 

[rachelcenter]

I drag iphone footage into premiere. looks overexposed in source monitor. i put it on timeline. and right click on timeline and choose “auto tone map media” and it looks a little better but its still goofy looking on the timeline. a lot of the blacks missing. so right click on the clip and choose modify, and change color from rec 2100 hlg (what it came in natively as) to Rec 709 and the rec 709 makes it look worse and flat. Why does it look so good on the finder level and terrible in premiere?

[R Neil Haugen]

Because you're setting the color management piece-meal, rather than getting it setup completely for your needs.

Do a screengrab of the ENTIRE Settings tab of Lumetri, the one named Settings.

That's where all CM options show in one place.

Display color management, auto detect log, and auto tonemapping should all be on.

Set your sequence CM to the color space you want to export to, so pick Rec.709 or HLG.

Then use export presets designed for that color space. Rec.709 export presets do not have the color space in the name. HLG and PQ presets do have that in their preset name.

[rachelcenter]

I've actually looked at this menu or messed with it before. If I set it to color settings that match the iphone will that mess with the professional broadcast video that I'm often working with? The professional broadcast ecosystem is usually Rec709. What settings do you recommend for this lumetri panel and do i have to change this for each project I do? let me go turn those 3 things on that you mentioned and update you on my results.