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Premiere Pro Overexposing iPhone clips

New Here ,
Nov 02, 2022 Nov 02, 2022

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Has anyone figured out why Adobe isn't rendering the proper color with imported iphone clips?

 

I have tried:
-setting the color space override to rec. 2020
-putting the footage on my desktop on then dropping it in premiere
-changing the file from .mov to .mp4 and then dropping it into premiere

 

All of the footage looks sickly. As if the person in the video is a sickly blue zombie color when in the original shot you see the natural warm peachy tones of the skin. I've tried making up for it by color correcting too but I can't seem to get it close to the original video. 

 

 

TOPICS
Editing , Error or problem , Export , Import

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Community Expert ,
Nov 03, 2022 Nov 03, 2022

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New Here ,
Nov 03, 2022 Nov 03, 2022

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I've done all of this. I stated above that I changed the color override. My footage isn't blown out, it's dull and sickly. 


I compared it to Final Cut Pro and Final Cut does not have this issue. It reads exactly as the footage was shot. 

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Community Expert ,
Nov 03, 2022 Nov 03, 2022

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All needs to be the same color space. Footage, sequence settings, export settings.

Post screenshots.

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New Here ,
Nov 03, 2022 Nov 03, 2022

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Screen Shot 2022-11-03 at 5.02.17 PM.png

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New Here ,
Nov 03, 2022 Nov 03, 2022

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Is there a way to just use the old Adobe? I never had this problem before. 

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Adobe Employee ,
Nov 03, 2022 Nov 03, 2022

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Cat,

I have found it easier to simply switch off HDR recording on my iPhone. Then, everything is easy once more! Can you try that? HDR is not ready for prime time for many of us.

 

Thanks,
Kevin

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Community Expert ,
Nov 03, 2022 Nov 03, 2022

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"Original color" ... determined how? That's actually a serious question ...

 

So I take it you want to work in HDR, which realistically is still the Wild Wild West. I work with and teach pro colorists, some were the earliest adopters of DolbyVision and teach it ... but most have yet to deliver a single paid program in HDR. Most screens can't handle it correctly if at all, which is another problem.

 

It's coming in, yea, but ... it's currently all over the freaking place for what you or others will see. So as long as you're cool with that ...

 

That footage is almost assuredly HLG, and so you should be making sure the footage is "seen" as HLG in the Project panel, Properties dialog. If not, right-click/Modify/Interpret Footage, and set the Override-to value to Rec.2100/HLG.

 

Do NOT use the Rec.2020 setting.

 

Then of course make sure the sequence setting CM is set to Rec.2100/HLG, and ONLY use export presets that include HLG in the preset name.

 

Neil

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New Here ,
Nov 03, 2022 Nov 03, 2022

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Original meaning uploaded from the camera and imported into the 2 platforms. I had actually tried every single color override too just to compare but ultimately, I called Adobe and they sent me the old version again so now I'm working back on the 2021 premiere. I'll miss the captions/titles from 2022/23 but I'd rather not fuss with color. They did tell me Adobe is aware of the issue and working on it. 

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Community Expert ,
Nov 03, 2022 Nov 03, 2022

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I've tested a ton of iPhone and other clips for users. Have only found one ... from a camera make not well-known ... that I couldn't get working correctly. So I'd be quite happy to test your clips and see what I get.

 

I will comment that it is not expectable that all apps will display the same HDR clips with the exact same 'look' off the bat. Why? ALL HDR is log-encoded. It's built on a curve of data, and how to most properly 'uncurve' that is a matter of settings in every different app.

 

Plus, there are major considerations in how to pack or unpack color volumes between color spaces. And every app does that a bit differently.

 

And for those, the Adobe folks have decided to go with the least mod to the original data. So they will use less 'curve'. Which is why when you say use the clip color management and Override-to option in Premiere to set to a specific log format and place that in Rec.709, you won't see a "log" grayed-out image. It will be actually a bit blown out in the highlights.

 

Because they don't apply a curve ... you actually can recover all that data but ... you actually see the dynamic range of your media easily. And can craft your own presets for various media and shooting situations. Very different, but in its own way, works very well.

 

So again ... if you can dropbox me a clip or two, I'd be happy to test them out.

 

Neil

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New Here ,
Nov 03, 2022 Nov 03, 2022

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Sure happy to do that, but also I'm not an expert colorist so unless it's some basic contrast, exposure and saturation boosting... I don't do much more. Although it's worth noting that Adobe's previous version didn't treat my iphone footage the way it is now. Literally Tuesday at midnight it was fine, it updated at 3am wednesday and the color was all wonky. 

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Community Expert ,
Nov 04, 2022 Nov 04, 2022

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LATEST

The 2021 version was very different in behavior. But for the 2022 shipping version, they completely rebuilt the underlying color management and all math and default handling.

 

So the 2022 and 2023 should actually be very similar in behavior.

 

For most log footage given the CM log controls in the Interpret Footage dialog, then using the bottom Override to Rec.709 option prior to using on a Rec.709 sequence ... you'll want to bring the Exposure down a bit first to get the highlight within the 100 IRE/nits limit, then adjust contrast and exposure a bit more to get the contraalst working as you want.

 

Contrast always centers action at the 50IRE/nits line ... so using exposure to 'slide' the image data up or down allows you to place the image midtones correctly, so the Contrast slider moves the midtones towards the highlights & shadows evenly, giving better visual feel to the image.

 

Then tweaking with Shadows and Highlights controls works to finish basic normalization.

 

And you can save that as a Lumetri preset, then drop it on a bunch of clips in a bin in one action. Getting fast normalization to your taste, with easy adjustments per clip still available.

 

Neil

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