The new 2023 Premiere Pro app is blowing out properly exposed iPhone footage downloaded directly from my iPhone. It plays perfectly on VLC. It is unusable when I input it into Premiere Pro 2023! Please repair this ASAP. I have been editing this footage for years on previous versions (which of course were deleted when I upgraded).
First, users MUST go into the Creative Cloud Desktop app and set the preferences correctly for their wishes. So unchecking auto-update is wise, but is up to you, the user, to do.
Second, when it DOES update, there is an option shown to 'remove prior versions' ... uncheck that, and it leaves the old versions there.
Third ... you can of course download and install Pr2022. 2021 is no longer available of course with their "N+1" meaning current plus one older version process. Which is why carefully unchecking "remove previous versions" is so important. On my current machine, I've got through 2019.
On my older now secondary rig, I've got back through 2015.
Next, for migrating projects forward, follow this process:
Create a new project in the new version
In that Project, use the MediaBrowser panel to navigate to the old version project file
Right-click/Import (Ingest) the contents of the older version project file
Test working in the new project, to make sure everything transferred over correctly.
If there are any problems, simply continue working that project in the older version. As the project file is untouched and still usable in the original version.
iPhone "Blown Out" issue
This is a color space issue that you need to sort out. Your iPhone is defaulting to producing HDR media ... that's what the HLG setting is, a form of HDR. Do you want to work in HDR, or in SDR, standard Rec.709? That's the first question. SDR is a lot simpler to work in, and is correctly or at least decently shown on most screens. At this time, a lot of screens are not capable of HDR, and some that are do so rather ... off. HDR is still very much the "Wild Wild West".
I work with and teach pro colorists. Some of whom were the early adopters of HDR, including hired by Dolby Labs to create the official DolbyVision training materials for pro colorists in network and streaming work. And most of the colorists I work with have yet to have a single paid job for a client with an HDR deliverable. Although of course they're trying to learn it.
ALL consumer screens capable of HDR have two different processes that muck with the signal displayed ... first, they do things "to enhance the viewing experience", and you can turn off most of those if you know how. Second, they do things to protect the screen from burning out pixels, and so are constantly shifting brightness, contrast, and saturation on their own.
They do this even on relatively dark scenes, if the scene stays a similar brightness level for more than 20 seconds or so. This, you can't turn off completely on most screens even if you get the repair person remote control which gets you into settings normal users cannot even see.
And this is particular notable between pausing a frame to work on it, and playing that same area back at normal speed. Making it very difficult at times to know exactly whether the change in the image you see is due to the screen or your movements of the controls. As in while pausing playback to work on a frame, the screen will after 20-30 seconds start to slowly darken the image and probably lower contrast on its own.
User Color Management Processes
In the 2022 and 2023 versions and forward, the user has the ability and the requirement to set color management for their media and workflow needs. It is up to you to properly set the CM controls for your needs. If you do not have a fully calibrated and profiled monitor for either Rec.709 or HDR work ... you must have the Preferences option for Display Color Management set "on". And if you don't know what the above is, you don't have a fully setup calibrated and profiled monitor. Set the DCM option to 'on'.
If you are trying to work in HDR, you must make sure that your OS and your monitor are capable of this, and set to it. And you must also set the Preferences option for "extended dynamic range when available" to on.
Working HLG media in SDR/Rec.709 workflows
Go to the project panel, selecting one or more clips that are HLG for color space. Right-click, select Modify/Interpret Footage, and set the bottom "Override-to" option to Rec.709.
Click in the Timeline panel so it has the 'active focus' blue line around it.
Go to the Menu/Sequence/Sequence Settings, and set the Sequence CM to Rec.709.
Make sure the scopes are showing Rec.709 in the lower left corner. If not, right-click the Scopes panel, Color Space/Rec.709.
Use ONLY standard export presets that do not have either HLG or PQ in the preset name.
Working HLG workflows
Make sure all media used is set to HLG by right-clicking and selecting "Properties", looking for the color space of the media.
If any clips are not HLG, in the Project panel CM settings in the Modify/Intepret Footage, use the Override-to option set to HLG.
Make sure your Sequence CM is set to Rec.2100/HLG.
Make sure the Scopes color space is set to Rec.2100/HLG.
For exports, use ONLY those presets with HLG in the preset name.