When I export my video, the result is over saturated

[PokerToker]

This is how it looks BEFORE I export it.

... and this is how it looks AFTER I export it.

I thought it was just my laptop until I switched it to my desktop and got the same result. That made me think it might be my export settings.

Here are my settings. 

I've been stuck on this problem for weeks! Please help! I just want to release the video!

[Ann Bens]

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

[JonJackson500]

@Ann Bens nailed it. Long-term, your Sequence should be in a REC709 Color Space & bring your Exposure down in Lumetri Color until it doesn't look overblown.

If you're not exporting mixed footage, you might be able to get away with exporting in the HLG color space.

Under your Video Export setting, click the "..." for more settings. Change Profile to "High10", then you can change the Export Color Space to HLG 2100 (or REC 2020, whichever color space your footage/Sequence is).

[R Neil Haugen]

If the media is HLG or some log-encoded media, which Premiere is "seeing" as HLG, just changing the sequence settings will not help for exports. Premiere will still blow out the clips on export.

You must use the new color management controls on the clip ... found in the project panel.

Select one or more clips in the bin, right-click/Modify/Interpret Footage.

Go to the color management settings at the bottom, and set the Override option to Rec.709.

Now, make sure the sequence setting CM is set to Rec.709, and any adjustments you do to color/tonality will be respected at export.

Neil

[JonJackson500]

If the media is HLG or some log-encoded media, which Premiere is "seeing" as HLG, just changing the sequence settings will not help for exports. Premiere will still blow out the clips on export.

Premiere shouldn't blow out the clip if the Export settings are changed to HLG 2100 Color Space. Which can only be done by changing the Profile to High10, anything else limits the Color Space to REC 709 - resulting in the problematic image in OP.

You must use the new color management controls on the clip ... found in the project panel.

Select one or more clips in the bin, right-click/Modify/Interpret Footage.

Go to the color management settings at the bottom, and set the Override option to Rec.709.

Now, make sure the sequence setting CM is set to Rec.709, and any adjustments you do to color/tonality will be respected at export.

um... gonna respectfully disagree here. I see a lot of recommendations to do it this way, but IMHO Premiere just cuts off anything beyond the REC 709 luma limits - which results in an image that doesn't have much contrast. Adding supplemental contrast from Lumetri Panel only degrades the image further.

Premiere's "Color Space Override" should lower the Exposure by 2/3 (roughly) to keep the luma-to-chroma ratio intact instead of just cutting off anything higher than 110 IRE. Until that happens, I'd recommend users lower the Exposure manually to prevent image/contrast/luma loss. ¯\_(ツ)_/¯  I spent a couple hours trying to get an HLG 2100 clip looking right in a 709 Sequence (having applied the Override you mentioned) before giving up on the Override function altogether.

To your point, working in 709 Sequences is a lot easier to manage than jumping between Color Spaces with exports.

Best,

Jon

[R Neil Haugen]

Sorry, but I can't agree at all. It's not only not the behaviors I've seen in Pr2022 myself.

Your comments don't fit with any HDR/SDR information I've seen by anyone from the MixingLight.com folks to Warren Eagles and Kevin Shaw and their CSI International color training ... anyone.

MixingLight is a pro colorist's teaching site ... and I teach there, btw ... and they're the ones that produced the in-house training materials for DolbyLabs on how colorists should work with DolbyVision from setup through delivery to streaming services. They're used to delivering HDR for the major services as that's a regular part of what the leaders there do.

Granted, I've some issues with the way the Premiere team is going about adding in the color management capabilities/controls and UI especially. That said ...

Telling Premiere to use the Override to Rec.709 does not simply cut off data. I've never seen it do so, and I've worked with that for months. And that's pretty obvious in the scopes ... you'd see a hard line at 100nits.

I've never had it do anything but reduce the "outside" tonal range to within Rec.709's 100-nits range. Never, ever had a hard clip.

And I've never had it properly export a sequence with an HLG clip to a standard Rec.709 preset after 'only' bringing contrast within Rec.709 with Lumetri. (Which ... to me actually indicates something that Premiere isn't doing exactly to Hoyle. I would expect an image brought to Rec.709 display as X would simply export as X ... huh.)

Both behaviors exactly as expected by the devs. And as replicated by a ton of users. Some colorists I know on their fancy setups with their totally specced Grade 1 Reference monitors, run from a BM decklink card. And using outboard scopes of course.

The reason you don't see much 'contrast' is pretty simple: Take ANY image, reduce the tonal range by half or more, and well ... the visual perception of 'contrast' is severely reduced. Because that's the visual effect of lowering the dynamic range of the image. A loss of perceived contrast.

So you do what needs to be done ... increase the mid-range contrast to bring contrast "back". Which of course means both your deep shadows and your brighter highlights lose a lot of their 'local contrast' from the HDR image as there simply isn't the dynamic range to differntiate those values anymore.

It's a routine part of what colorist's do when they grade say a 1,000 nit DolbyVision show, and then produce the Rec.709 "trim" version.

Neil

[Dreamotion ®]

Perfect - this completely helped. The footage I brought in was iphone footage, and this happens every time. Thank you for the precise solution.

[PokerToker]

@Ann Bens thank you! This solved it for me!