The video color changes once I drag a video to the timeline.

[LinkNYC]

The source video is a .mov video. when I drag it to the timeline, the colors dramatically change to overexposure that I cannot fix or use. Image attached

[Kevin-Monahan · Accepted solution]

Hi LinkNYC,

Sorry about that. There was a new feauture introduced in v.22 around HDR/HLG footage - commonly shot with iPhone and Sony Cameras. Is this you? If so:

1.  Select all clips from the same camera in the Project panel.
2.  Choose Clip > Modify > Interpret Footage
3.  Override the color space to Rec709 (bottom of the panel)
4.  Add the footage to a new sequence

You should now have your footage looking the same as you shot it in Rec709 color space. 

Is all OK now?

Thanks,
Kevin

[Ann Bens]

Premiere Pro V22 - Understanding Color Spaces, HDR, and what that might mean to you - YouTube

[Kevin-Monahan]

I just love this video too. I'll embed it.

[Phillip Harvey]

Great video. I'm curious - do you still need a dedicated video out box to properly monitor HDR media? Or is that something that changed with 2022 as well?

[R Neil Haugen]

Welll ... that's an interesting question, "innit"?

I'm playing with my BenQ PD2720U monitor, which claims it makes 96% of P3 and has HDR10 support. According to the profiles I've run after trying to calibrate it for HDR/P3 in Lightspace ... it's only capable of 358 nits brightness, not particularly HDR, though significantly brighter than the 100 nits my Rec.709 settings enforce properly.

And I'd guess from the profiles generated from that monitor, that covering 93%-94% of P3 is more 'actual' after setting white point & calibration. So ... it's kinda sorta close there, definitely a lot farther out though than the sRGB of Rec.709.

Colorists will note that using any monitor that is not capable of sustained brightness of 1,000 nits while giving a true black for that monitor and giving 100% of P3 is not actually acceptable at all for producing professional HDR content, fully "colored". So my BenQ is a bit lacking in all respects.

But I can hit the toggle button to HDR for that monitor, while in Pr, and set Pr for HLG sequence and scopes, and the Transmit Out image shown on that monitor is definitely HDR output. Dramatically brighter and more colorful. (And this is without touching the Windows control to turn HDR on for the OS to that monitor.)

So, basically, yes, you can probably go direct and get ... something ... out to an HDR compatible monitor. And it might even be sort of accurate.

But ... until you've found some way to test it, confidence is perhaps ... dicey.

I must say ... the image is so spectacularly more beautiful even just going from a very tight 100 nits, sRGB/Rec.709 profile to 358 nits in a mostly-P3/HDR presentation ... it's just wow. I WANT to work in HDR!

But all HDR screens apply their own tonemapping to any HDR signal. This is partly to make the signal 'fit' their hardware, but they also mess with some things to match that manufacturer's "ideal color" for a best viewing experience. And every screen is different, even between production lines of one company.

The only monitors that don't do this are of course ... above $20G USD at the current time. A very few models by Sony, Eizo, and Flanders FSI.

So ... on any other screen we work on, that screen's software controls will be changing things. What? Oh ... contrast, saturation, white & black points, total brightness range, darkness of blacks/shadows, and other things ... even if we turn off all the things we can in the controls.

That's the issue: the screen is fudging the image constantly, at least a little if not a lot. And you have no way of knowing what fudging it's doing. Not an ideal situation. At. All.

But ... for many of us rank amateurs, especially when we're trying to just get our feet wet in HDR ... that's probably acceptable mostly sort of. But if you're trying to really learn say grading for HDR ... this is not a good situation.

And for anything professionally delivered ... it's highly doubtful.

Neil

[Phillip Harvey]

Great, thanks for the added insight, as always, Neil. I saw your other comment on this post after I made my comment and I read through that article as well. Even though the accuracy is in question - as it always is outside of professional calibration - removing the need for the video out box does remove a barrier to entry for people to even mess with HDR, so I suppose that is good!

[R Neil Haugen]

Yea, it's good, no question!

And I've been messing with HDR on my little setup. I can totally nail the deltaE variance within pro specs for Rec.709 with my BenQPD2720U monitor, calibrated with an Xrite i1 Display 3 Pro puck & software, then with a calibration run between Lightspace and Resolve to check the end results of that calibration.

At that monitor's "HDR" setting though ... I can only get 358 nits brightness and about 94% of P3 primaries space after calibration for P3.

So it's not nearly a "real" HDR monitor.

But even then, the images are so far more colorful and detailed than in Rec.709 with the same clip.

Yea, I want HDR bad!

I've got a new post on HDR monitors and Premiere Pro 2022 here, a top quick-answer part, and then a full explanation of what's going on, and what we're missing on prosumer HDR monitors compared to a full pro Grade 1 Reference HDR monitor.

And for those wondering, yes, that is a particular grade of monitor, not something I just created ... and the HDR ones are above $20,000 USD at the moment ...

Neil

How to Set Monitors for HDR work in Premiere Pro 2022?

[Mariam24925475gq6d]

Thank you, Kevin. I tried your suggestion and am still ending up with this. Though unlike the initial question and what Karl describes in the video, my colors are ending up muted rather than blown out. (Left is source footage, right is timeline) Please help, thank you!

[R Neil Haugen]

To understand what's going on in your computer, we need answers to a couple questions.

What is the color space of the original media? And what created it, camera, screen capture like OBS, what? You can check by going to the clip in the bin, right-click/Properties.

What is the color space of your seuquence? That's found in a different place ... (of course ... sheesh ...  ) in the Sequence settings dialog, which can only be accessed from the main Menu bar while you have the Timeline panel 'in focus', with the blue highlight around it.

So click anywhere in the Timeline panel to make it the active/selected panel, go to the main menu bar, Sequence ... and Settings is the top option.

If the media is say HLG/PQ, both HDR forms, and you are using it on a Rec.709 sequence, you may need to apply tonal/saturation corrections to the file to get the best SDR/Rec.709 image out of it.

Neil

[Arnav5CDE]

Thank you this worked!

[Zytomir34469084wk4v]

It didnt work for me. after following the steps you outlined i went to brighten the video and it is all green and blacks square blocks. Im going to try converting the video to an mp4 and then re-import.

[R Neil Haugen]

That is a video driver issue. Update and if Nvidia, use only Studio drivers in a "clean install".

[Zytomir34469084wk4v]

oh i see. that makes sense. i had the same problem after importing an mp4. i need to get a better graphics card too, a more modern one. i decided to use after effects and it handles the mov and mp4 with no problem and i can just do everything in after effects. i tend to prefer one stop shopping lol but i will follow your instructions because it would be cool to use premiere for simple edits.  Thank you for the assistance Neil!

[R Neil Haugen]

As noted, there are a ton of new color management settings spread all over the app. And some new intended default behaviors. That sadly, are not entirely consistent.

So I wrote an article for this forum that specifically lists the changes to settings and defaults. And shows what is happening, and how to work within the new setup.

There are a lot of changes, and it can be confusing at first. Once you understand however, we do have many more options than we had before.

Neil

Premiere Pro 2022 Color Management for Log/RAW Media

[johnsproof87]

Go to sequence settings, and click on both Maximum Bit Depth & Maximum Render Quality check boxes  :ballot_box_with_check:

[Peru Bob]

@johnsproof87 

Maximum Render Quality is only needed if the sequence pixel size is different from the export pixel size.