![]() If you have a camera LUT for the footage you are using, apply that using Color Space Override.Right-click them and choose Modify > Interpret Footage.In the Project panel, select the HDR clips you want to integrate into the timeline.Make sure Working Color Space is set to Rec.Select a sequence in the Project panel in Premiere.Complicating matters, Premiere may or may not recognize existing clip and sequence settings and it may or may not import clips correctly.įor these reasons, it is a good habit to get into checking color settings before editing a project. There are now color management settings for sequences and clips in Premiere. NOTE: Here’s a link that describes how Adobe maps video colors to a P3 Mac monitor, which is the default setting for all current Macs. (Windows users will find Preferences under the Edit menu.) This setting displays colors correctly on P3 and sRGB computer displays (i.e. Open the Premiere Pro > Preferences > General panel and enable Display Color Management.It’s turned on by default, slide to turn off. So, for this article, I’ll work with other HDR material. NOTE: As I was writing this article, I discovered that my iPhone is too old to shoot HDR video. 2020 / 2100 is the color space used for HDR projects. 709 is the color space used for “normal” HD projects. 709, with iPhone video which is shot using HDR, you will have problems. It is easier to add HDR to an SDR timeline than the reverse, because it is easier to throw away highlights or color that you don’t need than to invent highlights and colors that aren’t there in the first place.Ĭomplicating matters, HDR is the default video recording setting on recent iPhones, which means that when you integrate traditional video, shot using Rec. HDR (High Dynamic Range) video has brighter highlights and richer colors than SDR (Standard Dynamic Range) video. ![]() This is further complicated by all modern iPhones shooting HDR video by default, making it very difficult to integrate iPhone video into HD projects using video shot by traditional video cameras and maintain consistent colors between clips. This hopefully will get better in the future, but for now, it’s a mess, with multiple setting changes, inconsistent software behavior and inconsistent results. Integrating HDR media into Premiere is not easy. Why? Because in the 2022 releases to Premiere Pro, Adobe made MAJOR changes to how color space is set for both sequences and clips. What I found, instead, is a highly confusing morass of new settings and inconsistent results. I thought the answer to Rob’s question would be fairly straightforward. When I try to then tweak the “matched” HDR footage, it still doesn’t look right.” In spite of that, the HDR footage still looks pretty different-desaturated and with weird tints. I made a 709 sequence, made all the footage in the 709 color space, and used the color match operation in the Lumetri panel on the HDR footage. “I’m not looking for perfection, all I am trying to do is make each camera footage have roughly the same color / tone. When I tried to put all the footage in a sequence in Premiere 2023, though, I ran into all sorts of color problems because the iPhone footage is HDR. There is footage from a Canon mirrorless camera as well as footage from multiple iPhones. “I volunteered to put together some videos of my sister in law’s wedding after her videographer dropped out. Rob asked an interesting question that opened a rat’s nest of issues:
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