We have a brand new look! Take a tour with us and explore the latest updates on Adobe Support Community.
I had Premiere 2020, but since I work with the new M1 macbook air, I thought it makes sense to upgrade. (Bonus question: It was also constantly crashing, not sure if cause of the processor, or because of using iphone footage with variable frame rates)
Now the vids I already edited seem all overexposed, while the origial is still fine. Very thank ful for hints, what to do here.
Copy link to clipboard
Edit: If I add new footage to a sequenz its fine, its just the vids I already edited. (For the edited material also this solution didnt do the trick: Right click footage > Modify> Interpret footage > Color space rec709 )
I have this exact same problem with A7iii footage with the HLG (1-18-1) colour profile, but not from my A7siii Slog3 footage or A7iii footage with the standard colour profile.
For me with the HLG colour profile it's happening even if I add new footage to the sequence. But it looks as it should in the source window.
I wonder if this has been caused by HDR features?
Copy link to clipboard
Hi, Stan, I also have the same problem. I updated to 2022. I had already followed the trick but it doesn’t fix the color. When I modify the color profile as you explain, the clip goes off in color. It can be seen in the screenshot in the yellow colors that turn greenish. The original in MOV is bright and vivid (center). When I import the file into Premiere it loses color and when you put it in the sequence it is overexposed. I don't know what to do anymore.
I think I figured it out: with my M1 macbook air I needed to follow this solution (footage > Modify> Interpret > Color space rec709), but use Rec. 2100 HLG instead. Also: I needed to go into every subfolder seperatly to do that with all the footage.
with this discussion I found how to solve and fix the problem. It's like you explain but entering each clip. I didn't understand. As he has shared a screenshot I have seen it better.
Copy link to clipboard
There are new color management controls in V22. And you may need to set color managment in both places.
First, for media in a project panel bin, right-click/Modify Properties, go to the bottom of the dialog box. There's a setting there now for color managment and you have several options from HLG/PQ to Rec.709.
Second, for every sequence, you should go to the Sequence settings and check the color space of the sequence, which has the same options as the Clip properties dialog.
It's new, it's potentially confusing, and there isn't it seems any way to set a 'default' behavior. So you may need to do this with all clips if you are working with other than Rec.709 media.
I was with the same issue here and the Interpret Footage totally worked here. Still kind of a headache doing this to every video file since I organize them in differente folders before importing to Premiere. But better than nothing.
A tip to improve this workaround and speed up this process: I created a shortcut to the Interpret Footage box then I don't need to right click>Modify>Interpret every time. Just select the clips and press control+i [my shortcut].
This is profoundly bad. Incomprehensible that this shipped. Adobe should be holding an emergency meeting to find out who gets fired over this. I can't even wrap my head around how this could possibly occur.
99.9999% of all video in 2021 is digital to digital. The fact that this doesn't default to not making your PNGs weirdly dark, making your exports weirdly saturated or desaturated, and making every colour setting names after a Dalek is beyond incomprehensible. You've completely made me lose faith that any of the colours my designer picks or my videographer shoots is in any way represented inside of Premiere.
The problem with the changes to color management and default behaviors are not with the program. They are that users are not made aware of the changes.
The changes are very necessary, though I do not feel they were rolled out in a best-case way. And they do work fine once the users understand the new process, giving far more flexibility to different workflows that include working with both higher color images (wider/deeper color space and gamut) and higher dynamic range images.
If you know how the new settings work, it all just works If you don't it will seem bizarre.
The following FAQ lists all the information you need to know. It includes the information on previous practices within Premiere, the changes, and the new steps to follow.
Thanks R Neil Haugen. Very comprehensive documentation you've put together there. I agree that this hasn't been rolled out in the best case way, and Adobe should try and remedy this, but this is a good resource in the interim. Thanks for this.
You're most welcome!
I've requested that we get an actual proper color managment panel ... they can't call it the "Essential Color Panel" because the acronym would conflict with the Effects Control Panel. lol
But they could simply call it the CMP .... color management panel. Right?
Which should have both an overall section of management for input media->to options, timeline, and display options.
Then a project-specific override for any of the above.
At one quick glance, we users could then see all color management settings.