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

[rachelcenter]

I turned on the 3 things you discussed. Looks like it helped with the overall exposure issue when the clip is on the timeline. when its in the source window though, it's still pretty overexposed looking. Any recommendations for fixing source window?

[R Neil Haugen]

The Source shows original image, not with modifications for any sequences.

[R Neil Haugen]

And the detect log, tonemapping duo will match the image to the sequence color space. You could have one in HLG, another sequence Rec.709, and you're good in both.

And this is designed for use in broadcast workflows.

[shaydbeats]

Was having this problem with my new iPhone, updated Mac iOS and updated Premiere. Tried everything under "Modify > Color (used to be under Interpret Footage, I believe)" and none of that was working. Found this thread, clicked the boxes under Lumetri Color - "Display Color Management" and "Auto Detect Log" - didn't see Auto tone mapping but it worked without it. Thank you so much for this!!

[R Neil Haugen]

Auto tonemapping is in the Sequences section of the Settings tab. It uses algorithmic processing to transform (essentially) data from one space to another, far safer for pixels than say LUTs or other processes.

[shaydbeats]

Found it! Thank you!

[Alchemisstic]

Hi Neil!

This is a bit of a dead thread, and your previous responses look like they were very helpful for others, but I'm still encountering a bit of an issue with color on my end and I wonder if you can help. 

I am new to using premiere pro and I uploaded some iphone 14 HDR footage into a rec709 project without knowing anything about color spaces! I'm attaching screenshots of my experience- when I override the iphone footage's color space to rec709 it totally dulls out all color and makes it look worse than when I keep it in the 2100 HLG space- but neither of them look like the source footage that I have pulled up in the windows media player tab right next to it. Do you have any suggestions to help me keep the color and mood from the source footage? I definitely will be recording in rec 709 from now on, hahaha

[MyerPj]

I'm sure Neil will be here soon, but what version are you using? 25.1? The shipping version. Not all the color features are in the shipping version yet. 

[Alchemisstic]

Ah! Hi Myer, I'll take any help I can get!

I *think* it is 25.1, but I actually don't know where to check those specifications. Could you tell me where to look? and if it is 25.1- do you recommend I switch to an older version? If so- how would I go about that?

Thank you so much!

[MyerPj]

Hi AC, You can look in the essentially same place in all software, in the HELP/About... screen, ie: the help menu in PP.

It's in the beta software, you will find a more complete version of the color changes going on in PP. The Premiere Beta forum is where you can look to see the happeinings with the Beta software, and you can download the latest version of the Beta using the CC Desktop app, just like when you installed PP. 

The Beta software has their own Tab, but you can have both version (25.1 currently) and the latest beta versions on your machine at the same time. 🙂

[R Neil Haugen]

Here I is!

Ok ... you have to have a complete set of color management options for the specific workflow/media needs at the moment.

In your case, using those HLG  clips (a form of HDR), it is probably wisest to use them still on a "standard" Rec.709 sequence. As HDR is still the Wild Wild West out there.

Ok ... Lumetri panel SETTINGS  tab ... the tab named settings ...

• Display color management on.
• Extended Dynamic range on (for Mac users primarily).
• Auto detect log on.
• Auto tonemapping on.
• Sequence CM set to Rec.709.
• Use only export presets that do not have HLG or PQ in the preset name.

That will get you remapped, with a pretty nice algorithmic tonemapping, within the Rec.709 color space and dynamic range.

One other issue  .... especially important for those on Macs without Reference modes for the monitor. But this is knowledge you need to have and to use.

Viewing gamma setting in Premiere is another necessary thing to set.

Viewing Gamma setting for non-Mac users (and including Macs with Reference modes set to HDTV). For all PCs, broadcast compliant monitor setups, and Macs with Reference modes set to HDTV:

Are you doing your color corrections in a nearly dark room, as for "professional" grading standards, or in a more normally lit room?

If a doing color corrections in a normally lit room, like most people, USE GAMMA 2.2/WEB.

Not because you're sending to the Web, but because that is the proper professional standard for working in a normally lit room.

Only use gamma 2.4/broadcast if working color corrections in a near darkened room. 

Viewing gamma settings for Macs without Reference Modes for their monitor.

Ok, thanks to Apple, they built a color management utility that uses an incorrect display transform for Rec.709 media ... but only on Macs without Reference modes!

So in QuickTime Player, Chrome, and Safari, the image will essentially have a gamma of approximately 1.96, and the saturation and hues aren't completely correct for the native P3 display space of those Retina monitors.

On those rigs, a typical Rec.709 image will be lighter especially in the shadows, have an apparently low saturation, and perhaps a slightly notable hue shift. There ain't no fix, but there are options for which pick of poison you prefer.

Set the viewing gamma to 1.96/QuickTime  and the image outside of Premiere will be similar to that within Premiere ... but only in QuickTime Player, Chrome, and Safari, on Macs without Reference modes.

On those rigs when using VLC, Potplayer, or Firefox, and on nearly all other screens from TVs through PCs to Androids and Macs with Reference modes! ... the image will be too dark in the shadows, and oversaturated.

Set the viewing gamma to 2.2/web working in a normally lit room ... and the image will be too light and a bit low in saturation in QuickTime player, Chrome, and Safari, though only on Macs without Reference modes! ... but will be essentially similar to what you saw in Premiere on everthing besides Macs without Reference modes. And will also look similar in Macs without reference modes when viewing in VLC, Potplayer, and Firefox.

[parth5CCF]

Thank you soo much for this! It actually worked ❤️

[Fergus H]

@R Neil Haugen:

"Set the viewing gamma to 1.96/QuickTime  and the image outside of Premiere will be similar to that within Premiere ... but only in QuickTime Player, Chrome, and Safari, on Macs without Reference modes."

Two updates for you:

1. 1.96 is the gamma for all Macs. You could update your post to say "on Macs without a reference mode enabled". It's reference modes that enable a Mac user to switch to a gamma other than 1.96.  Reference modes are available on any Macintosh with a Liquid Retina XDR display (the display on recent laptops), a Studio Display, or a Pro Display XDR. 

2. You mentioned QuickTime Player, Chrome, and Safari. It's actually any application on macOS that uses macOS ColorSync color management, which is most apps. Firefox is one of the exceptions, which is why an export from Premiere Pro will look different in Firefox than when viewed in other apps. 

Hope this makes sense!

Regards,

Fergus

[R Neil Haugen]

I do list all that at times, Fergus. But the entire tale is lengthy and I don't always include everything in every post.

I'm probably not over 190 posts listing this as "Macs with Reference modes set to HDTV" ... but I'd bet at least 150. That phrase comes up sequentially on the suggested words on my phone, I've done it so many times from my phone alone.

Let alone my tablet, laptop, and desktop.

And yes, including quite frequently the full data of the ColorSync control and which apps typically allow it to control CM and which don't.

Again, probably nearing a couple hundred posts. And, again, I don't list everything all the time. When I do, of course, it's a long post.

Hope to see you in Vegas next week, there's always questions and clarifications needed. Especially as the CM is more complex and complicated than ever.

And the supported formats lists, options, and related behaviors keeps growing also.

[Reg_Olav]

THIS! This is what worked! Thank you!!! You are a Godsend

[MyerPj]

Neil is a saint! 🙂

[MyerPj]

In the APPS section, you'll see the Beta Tab