Premiere Pro CC crushing the blacks of my footage in new Mac OS Monterey update

New Here ,
Jan 27, 2022 Jan 27, 2022

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Hey my name is Andrew,

 

I use Premiere Pro CC everyday for my professional video work. I recently updated my Macbook to Monterey this week and since then have been expereincing some bizarre issues with my footage imports. 


The issue:

When I import my GoPro footage(HEVC) into PP I'm noticing that the software is completely crushing my blacks and darkening the image to the point where all the information in the shadows are lost. I can't pull them back or else the image gets grainy and discolored. I thought to myself; maybe its the footage, however the footage looks great in quicktime and on my camera. I then imported the footage onto a friends computer who wasn't updated to Monterey (using my creative cloud account) and no exposure shift was present, no issues.

Randomly, I decided to back up my computer to my Time Machine external harddrive and wipe the whole computer. I thought it might fix the issue if I started from scratch, it didn't hurt to try. Along with reinstalling the Mac OS Monterey driver. The issue still persisted once I downloaded creative cloud again and opened PP. I'm unable to edit this footage because of the exposure shift. The only thing I can think of is to unistall and reinstall an older MacOS. However with Mac, they make it so incredibly difficult to go back to older updates... 

 

For whatever reason, Adobe products are not yet compadable with the new Mac OS Monterey. If anyone has had a similar issue with this update please let me know! 

 

Thank you!

Andrew

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Editing , Formats , Import

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Adobe Employee ,
Jan 30, 2022 Jan 30, 2022

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Hi Andrew,

 

We're sorry about the poor experience. We can get this checked. Please share a screenshot showing the difference in the preview. Also, would you mind sharing a download link for one of the sample media with which you are experiencing this issue? It will help us to diagnose the issue properly.

 

Thanks,

Sumeet

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New Here ,
Feb 01, 2022 Feb 01, 2022

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Hello,

It's a very subtle change but it's actually quite drastic in terms of what it's doing to the footage. (Left)Image is the RAW shot previewed in Quicktime and the (Right) image is the footage imported into PP. You can see changes in the darks/shadows of the image. You can tell there are some details in the shadows (specifiiclaly the black snowpants against the black sky) in the RAW shot. But in the Imported PP timeline, everything is crushed and can't be recorded in Lumetri.

 

My current fix: Later versions of Mac OS Big Sur onward into the new updated Monterey expereince this issue. I've recently reinstalled Mac OS Catalina and that fixed the problem. I'd rather not be on Catalina, but until the issue is fixed I havent been able to edit my footage without it being so dark both on footage import and export.

 

FOOTAGE LINK:

https://www.dropbox.com/s/r8yhet60jh2buu9/GX012242.MP4?dl=0

 

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Adobe Employee ,
Feb 06, 2022 Feb 06, 2022

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Thanks for the details & the media. Please allow us some time to get it checked at our end. We will update you shortly.

 

Thanks,

Sumeet

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Adobe Community Professional ,
Feb 06, 2022 Feb 06, 2022

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That looks totally like the expectable Mac issues of ... the mess with Apple's ColorSync utility.

 

First thing, make sure you have the Display Color Management option checked in the Preferences of Premiere. That tells Premiere not to assume the image is on a proper Rec.709 system, and instead look at the OS/ICC profiles to choose how to remap the image within Premiere's viewers to get the best match to actual Rec.709 possible.

 

Next, with a file you've worked with the DCM option on, export it ... and reimport it into Premiere. If the file looks a match to the original within Premiere, you're good to go as far as proper Rec.709 viewing goes.

 

Outside Premiere on a Mac, it will be displayed differently because of Apple's choice to do their color management settings wonky from the long-established Rec.709 standards. In two ways.

 

First, they only apply one of the two required transforms, they leave out the all-important display referred transform.

 

Second, they use a gamma of 1.96, rather than the 2.4 required for Rec.709 work.

 

Between the two, outside of Premiere, all Rec.709 media on a Mac has lightened shadows and less saturation. Or, if you assume the mangled ColorSync image is correct, inside Premiere things are darker and more saturated. Same thing, same cause.

 

Except ... for VLC player, and Firefox browser. They don't allow Mac ColorSync to mess with the color, and tend to show a more accurate view of the Rec.709 image than Chrome, Safari, or QuickTime player. And NO ONE I know of considers QuickTime player a useful tool for checking color. Except to see how a Mac system will show it.

 

So on a Mac, to check your Rec.709 media, VLC and Firefox browser work far better than QuickTime and Chrome/Safari.

 

And understand ... I teach pro colorists, most of whom are Mac based, and this whole thing ticks them off royally. They tend to be livid with Apple, but ... it is what it is. And there isn't a fix to make a file display the same visually with two completely different settings applied to displaying file data. But the pro colorists have to stay with correctly displayed Rec.709, which ain't found on a Mac screen. Their reference monitors of course always go through a breakout device to get away from any OS tampering with the image.

 

Another thing to realize, is the view you're getting on your camera is not a high-Q Rec.709 image, and that would go for ever camera including up through Reds. Which is why movies and serious pro productions use carefully calibrated monitors on set to check the out-of-camera media.

 

And QuickTime player mis-displays Rec.709 media ... period. Including that not a single bit of pro produced media you watch through QuickTime will be shown as the colorist saw it on their screens. Not even close, and I'll bet you didn't realize that. Because you're used to QuickTime, and what it does to your files and everything you see. That image is "normal" to your senses now.

 

I wish it wasn't this mess, but there isn't anything we can do about it but understand the cause and how to work around it.

 

Neil

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New Here ,
May 17, 2022 May 17, 2022

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Hi Neil, I'm in a bit of a panic. I shot an entire feature in black and white. I've worked in FCPX until this week when I transferred everything to Premiere. IT NOW LOOKS AWFUL. The blacks are so black!! I've changed all the settings you recommended and it still looks like crushed black soup!! What do you recommend??? Thank you!!

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Adobe Community Professional ,
May 18, 2022 May 18, 2022

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So talk to us.

 

What's your monitor, what's it set to? Your OS? Do you have the Display Color Management option on or off?

 

Is this within Premiere or viewed via a video player app?

 

And what do the scopes show ... always use and rely on the scopes! A screen grab of Waveform (YC No Chroma) or the Parade RGB would be ever so helpful. As if according to the scopes, the signal isn't crushed, then something in your viewing chain is off.

 

Neil

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