Washed out Bright Video

[FlyWithKay]

I posted earlier about video exporting being really bright. Work around after work around and I'm still struggling to the point of canceling Permier Pro. 

I help create videos on Tiktok for, "FlyWithKay." Everything worked great until the last update. I was told (no this forum) to set the sequence settings to rec2100 HLG. This fixes the bright washout in PP while I'm working on it. Then I go to export and it washes out again. So I hit the, "Match Sequence Settings," button. This changes it back to NOT washed out BUT, it only lets this export as a QuickTime file. I can't change this setting. When I export the video, Iphone will no longer play it or even DL it. It shows it as a file, not a video. This wasn't happening at first. 

So if I don't click, "Match Sequence Settings," when I scroll down to the video resolution, it's set at REC 709 and REC 2100 HLG is grayed out and can't be selected. 

This is INSANE! Adope literally has me trapped in to settings I DO NOT WANT. This all worked fine in the previous version. ADOBE apparently doesn't expect people to use Premier Pro for Tiktok or just doesn't care about it. 

HELP, I'm drowning!

[Ann Bens]

Dont choose Match Sequence Settings. Choose H.264 under format.

[FlyWithKay]

Selecting H.264 washes the video out again and I can't correct it back to normal!

[Andy 1968]

You might get a slight gamma shift when exporting. I use an adjustment layer to compensate for it as seen in the video below. 

https://www.youtube.com/watch?v=K7EGNJop_HE

[FlyWithKay]

Also NOT what I'm talking about. Your videos are slightly duller in color. 

My videos look great in the timeline, and completly washed out at export. I don't want to have to do an adjustment layer very single video. 

Your videos both look okay to post although it's a little dull. I wouldn't care if it were that minor. 

Thanks for the post, just looking for a different answer. 

[Andy 1968]

You can save an effects preset for the adjustment layer or save a custom lut at export. Either way is very quick. 

[R Neil Haugen · Accepted solution]

Your sequence and your export need to both be in the same color space. You chose to work in an HDR sequence using the HLG space, but exported to "SDR", the standard dynamic range of Rec.709.

Had you scrolled the export presets to select an HLG option, the color space would have been the same between the timline and export.

But ... there's not that much actual use for HDR yet, so it might be advisable to consider going to the clips in the bin (and you can do this with a single clip or many at once). Right-click, Modify/Interpret Footage, and use the bottom Color Management (CM) option to "Override to Rec.709".

Then use a Rec.709 export preset ... which is any that doesn't have HLG or PQ in the name of the preset.

Neil

(And here's a FAQ on the massive changes in CM and default CM behaviors in Pr2022: what changed, why, and how to work within the new setup.)

FAQ: Premiere Pro 2022 Color Management for Log/RAW Media

[FlyWithKay]

So I tried to walk through this. When I set the override under teh Modify Tab, it looks better. 

BUT, I can't export it using Rec.709. That option is still greyed out. 

How do I set the entire workspace to SDR? Or, how do I get the export to work. 

Still don't have an answer to this. 😞

[FlyWithKay]

This actually works! I had to set all the clips to the override, now it exports right! Thanks so much Neil!

[Playmaker]

How does this affect proxies?

[R Neil Haugen]

Unfortunately, the entire proxy workflow with HLG clips is broken at the moment. That's been acknowledged by the engineers, and is being worked on.

The only way to get this media so you can work with proxies is to transcode it, to get it into Rec.709. Then use the newly transcoded clips in the bin to make proxies. I'll give the process;

• Select all the clips in the bin, right-click, Export Media.
• In the Export dialog, select the Quicktime format, Apple ProRes 422 preset (or your choice here of a good intermediate editing codec, NO H.264).
• In the Effects tab below the Summary section, click the box for "SDR Conform", probably leaving the default values as-is.
• Make sure that "Import into Project" is also checked.
• Queue to MediaEncoder, and when that launches, click the right-facing green arrow in the Queue panel to start the transcoding.
• When all clips are t-coded and showing in the Project panel, put in a new bin.
• Select all, right-click, Proxies/Create Proxies. ME now creates the proxies from the t-coded clips.

You now have Rec.709 media that will probably play without needing proxies, but if you do, the proxies created from the transcoded clips will work normally.

Neil

[Playmaker]

This did not work because my starting clip is h.264

[R Neil Haugen]

Explain what didn't work, where did it fail?

Neil

[Playmaker]

I think part of the problem could be that when I import my h.264.

I click modify > Interpret Footage > Color Management > Color Space Override > Rec. 709.

After that I followed your step and when I clicked SDR Confirm I loose detail from the original shot.

[R Neil Haugen]

Ahhh ... notice that in my steps, I didn't have Override to Rec.709 on the exporting process. Just the SDR Conform. Don't do both ...

Neil