Re: Color Settings Export Question

Shebbe · ‎Jan 25, 2025

Just to double check, are you actually trying to export a new HDR video again for delivering to an HDR supported platform for viewing in HDR on a capable device? Seems like a silly question but often gets overlooked or misunderstood. AE should be capable of exporting HDR files natively. Make sure you're using Adobe Color Managed with Rec.2100 PQ as the working color space. When exporting to AME make sure that in AME you use the same settings as in Premiere. Using the settings that came from AE initially will not be correct as they are way too limited. They are only practical for typical Rec.709 workflows.

Shebbe · ‎Jan 25, 2025

Good idea. I'd like to share some thoughts and experiences. - filmscans, especiallly 8 and 16mm will have a lot of grain. For image critical work it's probably not always ideal to use frame interpolation. - smearing at cuts/scene changes is unavoidable in any method of generative frame interpolation. You have to work around that by giving it footage that does not have any cuts to other shots. A solution could be nesting separate cuts if you have multiple in a single file. - Optical Flow as an algorithm can sometimes work well but the technique is flawed and can never improve much. If the scene has fast movement or large amount of complexity you are guaranteed to get image artifacts. - The next best step is AI based upsampling. I would welcome a new AI based model that can superseed Optical Flow as a native option in Premiere Pro. We use BorisFX's RetimeML tool wich has worked great for many shots so far but the nature of it being an effect makes it clunky to work with inside Premiere over it's regular speed/retime tools.

Shebbe · ‎Jan 24, 2025

non-HDR is a lot easier. Just select Direct SDR (Rec.709) as the preset in the Lumetri Settings instead of HDR PQ and leave the export settings to default. Premiere should auto convert the video to SDR in a nice way.

Shebbe · ‎Jan 24, 2025

I'm not fully sure. To be honest I never deliver HDR formats myself so don't have direct best practices. Perhaps the level needed to be 5.1 instead of 4.1? Or try again without the Include HDR metadata checked. If it still doesn't work maybe try H265 instead of H264. It could also be the video player itself, I believe you're trying to open in in Media Player on Windows? You could try open it in VLC player, a free media player that reads many more formats. Hope that helps. [edit] oh and btw, you should also check Use Maximum Render Quality and Maximum Depth in the settings to make sure it is actually encoding in 10bits instead of 8bits.

Shebbe · ‎Jan 24, 2025

Hey Mitch, Ok, what is the display you're viewing it on? What is the display set to as it's profile? And what do you intend to do with the HDR video once exported? Not all distibution platforms support HDR. To make an HDR deliverable the best option would be HDR10 since HLG (how your iPhone recorded it) is not well supported. In your timeline go to the menu Window -> Lumetri Color and switch to the tab Settings at the top. Apply the following settings there. In your export settings try the following (click More in the basic video settings section): You should now have an HDR video file that an HDR display can play back.

Shebbe · ‎Jan 24, 2025

Hi, It looks like you've shot in HDR on your iPhone. While Premiere Pro does offer HDR color workflows and delivery, it is good to ask if this is what you actually want? And if so where you also planning to view the videos on an HDR display? If not then you need to make some changes to your setup to prepare it better for SDR. If you actually wanted HDR you will have to change your export settings to a format that supports it. Let me know which is true and I can explain further.

Shebbe · ‎Jan 24, 2025

I'm not familiar with Trapcode but generally, ideally all 3D data for a single shot is happening inside a single composition so the data is always the same. Perhaps it is possible to create 3d nulls for the positions from that model you want particles to emit from and use those instead? That would eliminate the scale translation over to the 3d world that 'lives on it's own'.

Shebbe · ‎Jan 24, 2025

I believe it doesn't exist by default, but you can map "Reveal Sequence in Project" to a keyboard shortcut.

Shebbe · ‎Jan 24, 2025

There is no bug present but I get the frustration. You have to understand that the mechanisms designed in Premiere to do speed changes is different from that of After Effects'. Because of this you wouldn't be able to get a perfect frame match due to precision differences and animation curves. If you need an absolute match the best approach would be to not have the timeremapping in AE at all. We sometimes nest footage in a native source clip resolution sequence and apply timeremapping outside of it. Then we can also place that source clip in AE to do compositing and whatever else and have it render back to Premiere inside that nest. Because it's still in the nest, the timeremap of Premiere remains there outside the nest. For the context of compositing it is also a very bad idea to work on timeremapped frames anyway. I would understand that if you need to do totally different things to the material, maybe more motion design related then it's not always the best approach. In those cases I would try to match the data in AE's timeremap.

Shebbe · ‎Jan 24, 2025

Hey Neil, I appreciate your efforts in explaining, but I think you're not quite accurate here. "Rec.709 standards require the screen/monitor to apply a display transform..." "ONLY Macs without Reference modes use a different, and very much lighter, display transform!" The term display transform means something completely different from what you're referring to, display characteristics and/or calibration. The standard also doesn't require anything to be applied by the dispay. It's a bit weird to explain it that way. "For some unfortunate reason, Apple uses essentially gamma 1.96 on all Retina Macs without Reference modes." Source? The non XDR retina displays have 2.2 gamma last time I checked. "Viewer gamma 2.4/broadcast should be used only if you are in a very dark, near to but not quite, blackened room. That is the required setup for broadcast quality grading with Reference monitors and a 'bias' light on the wall behind the Reference monitor." The specification requires a dim surround not dark. Dark surround is for cinema.

Shebbe · ‎Jan 24, 2025

I think that is a great solution. Thanks.

Shebbe · ‎Jan 23, 2025

Regarding the further improvement of readability, I think there are many options left. If a full color on the tab is not desired, these alternatives should definitely be possible and further improve information parsing speed.

Shebbe · ‎Jan 23, 2025

Hey @Clay Morris , Disregarding the various intricacies in color management and video content for web distribution (which can impact appearance a lot and isn't always in your control). The exact reason you're seeing value differences in your test case specifically is due to precision errors you cannot get around. After Effects and pretty much any other video/image/color manipulation software works in RGB but most video formats encode in YUV. When you work in 8/16bit RGB and export to 8bit YUV, then import it back converting that data to 8/16bit RGB again you lose some precision. This can be mitigated by exporting to an RGB format and/or higher bit depths. Try exporting to ProRes 4444 (RGB), or 422 (YUV) with Trillions of Colors (AE's way of saying 16bit... but it will actually encode a 10bit file which is what ProRes 422 is supposed to contain). This should return the same value once imported again. Your delivery format will end up being an 8bit H.264 MP4 so you will inevitably 'suffer' from this issue but this difference is so small against the world of problems in video distribution for web that it should be ignored. Keep in mind that compression artifacts can also cause color shifts especially with full solid colors that linger for a while, the frame time based compression algorithm (GOP) can actually shift the entire solid quite a bit if compression is high like with very low bitrates. The only challenge is trying to explain to clients what exactly is going on and why they shouldn't worry too much whilst keeping them happy:). Hope that helps.

Shebbe · ‎Jan 23, 2025

You can with third party transition. It would be a simple matter to make that possible.

Shebbe · ‎Jan 23, 2025

Fair point. You could keep them as presets but still merge the effects into single ones where global mechanisms overlap. That would mean that inside the effect you could still change Iris to all 4 types rather than swapping it out from the effects panel because it's an actual different effect. My own preference would be that the 'presets' would also be removed and users encouraged to make their own presets for things they commonly use. With presets you can save the preferred paramters for the effects along with it. If you now drag the effect itself you always get the default settings so you would need to resort to presets anyway.

Shebbe · ‎Jan 22, 2025

I appreciate your engagement but just because something has been present since version x does not mean it's a feature or intentional behavior. It would be better for actual developers to judge wether it was indeed a bug or should be moved to an Idea. Could you put it back please? Thanks.

Shebbe · ‎Jan 22, 2025

Currently the program monitor goes to black when there is no content to display with transparency. i.e. no media/clips under the playhead. This is incredibly jarring if you are making use of the grid while having fades for example because it jumps from black to instant transparency grid to an image fading in. See attached file for an example. The transparency grid should always be visible when enabled. I also think the transparency grid can use some QoL which I pointed out here.

Shebbe · ‎Jan 22, 2025

Hi there, I believe what you see is what to expect from a transition. A Fade In or Fade Out is intended to work on the beginning or end of a clip or span across two clips causing them to fade into eachother. This is made possible because the part that is actually animated from 0-100% is the alpha channel. So in the case the transition only applies to the beginning or end of a single clip with nothing underneath the image does actually get transparent. I believe what may be happening on your screen causing the confusion is that in your program monitor the transparency grid is enabled where in the tutorial it is not? If this is disabled the image appears as black but is technically transparent. Have a look at if this setting is turned on/off when clicking the wrench icon in the program monitor. The silly bug/oversight on transparency grid is that this isn't shown when there is no content on the timeline under the playhead. I hope Adobe fixes this in a future update.

Shebbe · ‎Jan 21, 2025

Hi @eric escobar , Always great to see things being moved over to GPU for typically much faster rendering. I have some feedback/thoughts a bit separate from GPU implementation specifically. Did the team ever consider consolidating and expanding existing tools? Consolidation: With this I mean e.g. remove all 4 Iris effects and consolidate them into an Iris Transition effect where the type would be chosen on the transition itself in a dropdown menu. The same could be done for a lot of other effects which could drastically reduce effect amount without removing creative freedom. The benefit of that approach would be to have more freedom to add more types of such a group without worry making the effects list even longer and potentially overwhelming/confusing for new users. Another good example of this would be creating a 'master' Blur effect for Gaussian, Box/Fast, Radial, Lens, Directional etc. Or put the many many 'wipe' effects together. Expanding: In the context of Iris a really common desire would be to have an extra slider to add edge feather to the mask. But the same could be said for many of the other transitions as well. Another really lacking part right now would be to control the transition curve for all video transitions. A system similar to the new audio crossfade would be very welcome.

Shebbe · ‎Jan 21, 2025

One thing you can try is importing the project into an empty one in your current Premiere version and saving that as a new file.

Shebbe · ‎Jan 21, 2025

Something odd happened mid December but we got busy with holidays etc. I'd like to come back to it. For one of our projects, in our usual workflow we ran proxy creation after importing into Premiere Pro. The editor assigned to this proj came back saying there is a faulty frame in one of the proxies. We noticed that the following frame was generated in the proxy file which wasn't present in the OCN. This is the weirdest bug I've ever seen. We do not have any other leads that could help understand what happened. My best guess is something related to memory/cache behaving unexpectedly. Or some other issue within AME perhaps. I wonder if this piece of text is present in Adobe's software somewhere in the code or anything? Hoping the team can look at this. I'm able to share additional files confidentially if needed. Thanks.

Shebbe · ‎Jan 20, 2025

The fact that Premiere and Media Encoder needs to extensively pre-process/analyze every single file in it's queue is the real problem here. This shouldn't take that long imo. Reading out the metadata could both be a ton faster and also partially moved over to only load once custom settings are opened in the case of AME. If you're only selecting a preset then just process them straight away. I think Premier & AME can improve by a lot on this front. I can load media of 5 cards and start the proxy process in Resolve faster than Premiere/AME takes to pre-process a single card.

Shebbe · ‎Jan 20, 2025

I made similar requests a long time ago. My idea was to split Lumetri into separate effect modules so each would be able to be loaded as it's own thing rather than loading the entire Lumetri effect stack per plugin instance. This would make managing it much much more efficient. I still think that idea would help for a lot of projects/workflows. I also think your idea is very good. Given the fact that Adobe wants users to use the Lumetri Color Panel rather than the Effect Controls, upgrading this to be fully modular would be a huge help. You could start with having only Basic section active and be able to add more modules on top of it like Creative, HSL etc. This mechanism would allow for a stack that looks like this for example: Basic HSL Curves Creative Creative We'd be in full control over the order of the stack and the amount of times certain sections appear all within a single effect. The only 'problem' is that currently Lumetri Color is built to reflect it's sats on the Effect Controls side which is not able to be dynamic. They would need to discontinue that method and have a "Open Lumetri Color Panel" button there instead.

Shebbe · ‎Jan 20, 2025

Any tracking related data should ideally be on unaltered frames. Having time skips or repeats due to timeremapping can give undesirable or impossible tracking results. The right way would be to nest the clip without any remapping or clip speed adjustments on it and apply Warp Stabilizer on it. Then place the nest in the timeline and apply timeremapping to the nest instead. This method will also enable you to change your mind about the timeremapping after stabilization because once stabilized this is not a variable that can/should change from a creative perspective. Hope that helps!

Shebbe · ‎Jan 18, 2025

That's great, will do some tests soon. Hope OCIO support will follow soon. AE's ICC based ACM is also really dated at this point. Hope it is fully swapped with Premiere's new color management in the very near future and kept in sync with it's updates.

Shebbe · ‎Jan 17, 2025

This is a great addition. Should be on by default imo. @Francis-Crossman In the original post, the sentence at Known bugs ends abruptly.

Shebbe · ‎Jan 16, 2025

I think it should be removed because: 1. The config is LUT based so is less accurate than the analytical implementation. 2. Due to the many LUTs required the installation size is 430Mb. If 1.2 config is removed only ~100kb remains. 3. ACES Reference Gamut Compression is only available in the OCIOv2 configs. 4. OCIOv2.x has long superseeded v1 with more flexibility. 5. ACES 2.0 is around the corner and will cause 5 total entries to the OCIO config list for just ACES as color management option. ACES 1.2 ACES 1.3 Studio ACES 1.3 CG ACES 2.0 Studio ACES 2.0 CG This is way too much imo. ACES 1.3 should remain there for legacy reasons. The DRT is completely different and many productions may linger for a bit more on 1.3 once 2.0 has arrived. But we don't need 1.2 there anymore for a long time already. For projects created with the pre-installed ACES 1.2 configuration a message should pop up that this config is depricated along with a link to where it can be manually downloaded from to be loaded into AE via custom path.

Shebbe · ‎Jan 15, 2025

Hi, I welcome the "Accessible Color Contrast" mode and use it in After Effects because without it feels to have way too little contrast for text/icons compared to previous UI design. What I really struggle with in Premier Pro though is the fact that row lines are accentuated too much making it actually harder to read imo because the lines distract you. It would be nice to adjust this to match the appearance of the Accessible Color Contrast from After Effects instead for the project panel and Effect Controls window.

Shebbe · ‎Jan 14, 2025

Please improve the appearance of the transparency grid icon when enabled because you can not read it otherwise. The checkerboard pattern disappears cognitively while it's enabled. Observed in both dark and light modes. See below the differences. Contrast on the icon is actually reduced while in accessible contrast mode compared to that mode being turned off.

Shebbe · ‎Jan 13, 2025

I agree that this needs improvement. I personally think a simpler mechanism can be deployed. One that is already present in After Effects is locking the two dimensions so when one is changed the other changes proportionally. With a frame aspect ratio dropdown menu you need to fill it's list with "industry standard" ratios that possibly need to be maintained and theoretically can become obsolete. It also doesn't provide a mechanism to use certain abitrary ratios with any resolution without precalculating it elsewhere, which the other method does. note: technically you don't need a calculator or Google because Premiere's input fields are calculators too just like After Effect's. So if you know what ratio you want, like 5:3 with a width of 1800 you can input 1800/5*3 in the field for vertical resolution.

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