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Premiere Pro 2022 Exporting to H.264 Problem

New Here ,
Nov 11, 2021 Nov 11, 2021

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I've recently completed a wedding edit and it's now ready to deliver to my client. I've edited/colour graded the piece within Premiere and exported using the same settings that I've always used. The preview of the render when exporting shows a clean and correct image but once the file has competely exported I try to open it and it says "The file contains some media that isn't compatible with QuickTime Player". It still opens the file but the quality of the video is awful and it has a horrible red/pink hue to a lot of the video.

 

I've attached a photo of what I can see within Premiere Pro and what it looks like after export.

Currently I've tried -

- Switching off maximum render qualities

- Exporting in different file formats (.mov, .mp4)

- Tried opening the file in an old version of Premiere but says it cannot be opened on older versions

- Created a new sequence and copied across the timeline to see whether it was the sequence that was corrupted.

- Opened on my iMac (2019) and my brand new Macbook Pro (2021) to see if that changed anything.

 

None of these have worked so far.

 

Any help with this would be much appreciated, I need to deliver this to a client asap.

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Error or problem, Export

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Adobe Community Professional ,
Nov 11, 2021 Nov 11, 2021

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What is the clip showing in Clip Properties in the project panel for color space?

 

Neil

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New Here ,
Nov 11, 2021 Nov 11, 2021

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Hi Neil,

 

It's saying;

 

Colour Space: Rec. 2100 HLG

Colour Space Override: Off

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Adobe Community Professional ,
Nov 11, 2021 Nov 11, 2021

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Adobe Employee ,
Nov 11, 2021 Nov 11, 2021

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Hi Jack,

What is the working color space in Sequence Settings? Is it Rec. 709 or Rec. 2100? If it is the latter, perhaps you need to export it with settings which respect your working color space?

 

You might try creating a new preset for H.264 HLG exports, which my colleague Sumeet suggests after performing tests with his Sony camera:

Encoding Settings

  • Performance: Software Encoding
  • Profile: High10
  • Level: 5.1 (or whatever is required)
  • Export Color Space: Rec. 2100 HLG
  • HDR Graphics (White): 203
  • Include HDR10 Metadata: Enabled

 

To see HDR video, you'll need to view it on a capable HDR monitor, as well.
The current Apple devices are a good place for a quick check for these settings. 

Let us know if these settings and the solution works for you.

 

Thanks,
Kevin

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New Here ,
Nov 12, 2021 Nov 12, 2021

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Hi Kevin,

 

Thanks for the reply,

 

Sequence settings were at Rec 2100 HLG as well so all should match. I tried the encoding settings and although the video is useable, it's still not the same as my timeline (attached image), it still shows a pink-ish hue to the image.

 

I have tried this on my iMac and my Macbook to see if maybe it was a hardware/software issue on one but getting the same results.

 

I've also created a whole new project in PP v.22 and imported the files into that and tried exporting following the post above from @Ann Bens but still producing the same results.

 

Thanks

Jack

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Adobe Community Professional ,
Nov 12, 2021 Nov 12, 2021

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Out of curiousity, what are you using the HDR for? Most of my colorist acquaintances have yet to deliver an HDR job, it's not very common yet in either b-cast or streaming. Most say they're starting to get queries but those are just queries and questions about having it available in the future.

 

Neil

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New Here ,
Nov 12, 2021 Nov 12, 2021

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To be honest I'm not hugely savvy on all the different capabilties and technical aspects behind PP but I shoot my weddings in a flat profile and then add my own LUTS to grade the footage to give it more dynamic range. I was just trying anything/any settings really to get the film to come out the same as the preview.

 

**WORK AROUND

 

I've managed to sort a work around for this now and have managed to correctly export the file.

 

- I switched back to PP 2021.

- My file then needed to be back dated so I could open in an older version (Using Keka).

- I had to change the preference settings and tick Display Colour Management.

- Also I had to add a gamma conversion LUT on export to correct contrast issues from the previous version of PP. (https://www.youtube.com/watch?v=t61b6Nk-YPw&t=182s)

 

It now works fine and I've managed to get this sorted but like I said, it's a work around and not really solving the problem of whatever was going on in PP 2022. I think I'll just hold off until more bug fixes are released and try again. I appreciate your help nonetheless.

 

Cheers

Jack

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Adobe Community Professional ,
Nov 12, 2021 Nov 12, 2021

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So you're not actually using an HDR workflow. Kind of expected that. As I noted, I work daily with a ton of pro colorists. The pros ... the people delivering for current broadcast, streaming, and movies ... rarely get a job that is HDR. The vast majority of pro colorists aren't even setup to work in HDR. And have never ever delivered an HDR show.

 

So the discussion boards for pro colorists dealing with HDR, are about learning about how to setup for it, for when they finally get some work in HDR.

 

Everything they deliver is still SDR, standard Rec.709, except for the long-form theatrical stuff which is P3-DCI typically. (I think that's the format ...). And the theatrical release format has a brightest nit value well below the SDR 100 nits standard!

 

So ... HDR is still the Wild Wild West, very few devices are fully capable of it, most of them juke the data values around so viewing on one device to the next may be dramatically different ... yea, it's a mess. Not even talking about PrPro's capabilities yet. Which are somewhat limited and not really completely 'linked' to my testing.

 

Working with HDR in any format at the moment is a major challenge. Not for the faint of heart nor the less experienced among us. As for the rest of it, hope you've got a good cuppa something. Sit back, and here's some hard-won lessens. Real world stuff.

 

But things you really need to get some grasp of to deliver material to paying clients. Weddings or b-cast, whatever.

 

First ... that YouTube is just totally and completely WRONG in the last section! Where he says to set your system to "full" for Rec.709 video. This is because he hasn't a clue what that actually means and does.

 

All Rec.709 media (with one rare exception) is encoded in "limited" range, the 16-235 thing. That doesn't mean it will DISPLAY as 16-235 on any properly setup system. Your monitor will know to display that media as 0-255. If it is set correctly, and yes, that means using limited range 16-235 in the GPU settings if you have them. Period.

 

My system is properly setup, the Rec.709 setup is set to limited, and my system shows full diplayed 0-255 imagery as calibrated and profiled to check the calibration.

 

The only 'full' range media is the 4:4:4:4 12 bit RGB media ... and very, very few cameras shoot that. Guaranteed you don't have one. Most that use that format rent those cameras! (They typically cost far more than your car did new.)

 

And your system will automatically know that standard Rec.709/YUV files will have been encoded 16-235, and display those as 0-255. It will also know that the 4:4:4:4 12-bit RGB encoded files were encoded as 0-255, and will show them as 0-255. All of which are correct behaviors.

 

If you set your display to 0-255 for all media, any pro produced media will be shown incorrectly on that display, period. No delivery of those massive 12-bit 4:4:4:4 files is done via streaming or anything I've ever heard of. They are acquisition and post-processing formats. Never delivery.

 

Mac and the ColorSync Problem

 

The contrast 'correction' LUT mentioned in that video is provided by Adobe, to 'fix' the improper color management choices of Apple when they designed their ColorSync color management utility. That very broken Apple CM app does two very bad things to Rec.709 media.

  • First, it applies one of the two required transforms in the Rec.709 standards. Apple chose to apply only the camera (scene-referred) transform but not the also-required display referred-transform.
  • Second, for some also unknown reason, they selected a gamma of 1.96 rather than the gamma of 2.4 as specified in the Rec.709 standard. This "lifts" the shadow image data higher than it should be, so the image appears brighter in the shadows.

 

Most users, and especially anyone with a Mac, should have the "display color management" option turned on in the preferences. Premiere has been a straight Rec.709 app, and that 'switch' tells Pr to look at the ICC profile of the monitor, and remap the image within Pr to get to as close to a proper Rec.709 image as it can.

 

But of course, outside of Pr, the exported image (due again to ColorSync) will look lighter in the shadows and a bit under-saturated when viewed in QuickTime player, or with Safari or Chrome.

 

But as VLC tends to ignore ColorSync, the VLC player will perhaps show a nearly-correct Rec.709 image. Firefox may also show the 'correct' Rec.709 image on a Mac.

 

That same file, when viewed on a properly setup system, including most PCs, will look as you saw it inside Premiere. In other words, rather different than the same file viewed in QuickTime player on your Mac.

 

There's no real "fix" to Apple's mis-application of CM, such that a file looks the same on Mac and all other devices. So between Adobe and BlackMagic, there are two options for attempting to get around this sort of kind of ... but not really.

 

Adobe provides that LUT for application on export, to set the file to a higher gamma so that when ColorSync applies 1.96 to that file, it 'cancels' out sort of.That file viewed in outside of ColorSync controlled apps will be quite dark.

 

BlackMagic's Resolve provides an export option of "Rec.709-A" and yes, specifically, that A is for Apple.

 

That option changes the second NLC tag ... so rather than the normal 1-1-1 tagging of Rec.709, it applies 1-2-1. "2" is officially listed as "unspecified" in the standards, but the BlackMagic engineers realized that for some reason the ColorSync CM utility applies gamma 2.4 with any file tagged 1-2-1.

 

Sounds like an easy solution, but wait ... there's more!

 

Many properly setup systems following the Rec.709 standards will see that 1-2-1 tag, and ... apply a much darker gamma setting to the display. Making the image dark and over-saturated. Exactly like the results with  the Adobe "compensation" LUT.

 

So you sort of have to pick your poison. You can't get the same view on either side of that canyon in one file.

 

I would note, my colorist buds, mostly all total Mac geeks, are really ticked at Apple about this mess. And ... they deliver all their content straight up according to Rec.709 standards. So the media they produce for b-cast/streaming all has full-on Rec.709 settings.

 

And your Mac naturally mis-plays some of that. And ... you don't even have a clue, do you? Because that's how you saw it, you assumed that was what was expected.

 

Every device out there is different, period. Between the screen type, settings, viewing environments, apps, whatever, you have no control of that file after you release it. And you can't force it to be 'correct' anywhere.

 

The pros can't ... they can only make it correct on totally high-end properly setup expensive kit. And then you just let it go. Everyone seeing it on any one device will see at least a slightly if not very different image than another person even on a somewhat similar device. Watch it on a park bench on a sunny day, or in a dark room at night, two completely different images.

 

Here's an interesting addition that though ... if you know which models and how to go in and turn off a bunch of things ... some iPads can actually have pretty solid color represetation. Not outta the box, mind you ... but after you set them up correctly.

 

Neil

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