So many processes in video post are really workarounds. That iMovie to ProRes workaround you discuss sounds like, in general, a good workaround. there are some issues that aren't as easily resolved, like the non-standard color management settings for SDR/Rec.709 video files in the ColorSync CM utility that ship on all Mac products.
Most of the team are Mac users, and so more comfortable with the Mac OS than with Windows.īut, Apple being so noted for being. And in most situations they produce beautiful video footage - footage that you just might not be able to get any other way at that moment.īy "Adobe" I expect you mean here the Premiere Pro product team? If so, that they have a fairly close overall relationship with Apple, is probably a good statement. I'm sure Adobe hates collaborating with Apple, and vice-versa. They look "ok" unless there are bright highlights, like sunlit clouds, which blow out with no detail. Importing iPhone HDR clips straight into PP required significant Lumetri correction. But it's a workflow for now that will give you nice looking videos.
Yes, this is inefficient, and the Pro Res files are HUGE. This may not satisfy purists with calibrated screens etc - but for the vast majority of viewers is will look just fine. They will look pretty much exactly like they looked in iMovie, and you can then polish them, if needed, in Lumetri. Export those clips at maximum quality Pro Res, and then import those clips into PP. If you import iPhone HDR footage into iMovie it's going to look real good. I know what looks good, and that is what's important to me. I do color correction in PP CC using Lumetri color. I'm not a colorist, but I've been a photographer for 30 years, and a videographer for 8 years.
How to Set Monitors for HDR work in Premiere Pro 2022? as the monitor settings/setup and use are also different from Pr2021.įAQ:PremierePro 2022 Color Management for Log/RAW Media The second is on the changes to monitoring in HDR workflows, if you do wish to work in HDR.
the first on the massive changes to color management/options/behaviors in Pr2022, and how to work within the new system, plus what's currently broken and awaiting fixing. That will get all of them working in a Rec.709/SDR timeline correctly. Right-click/Modify/Interpret Footage, and use the Override option set to Rec.709. In the project panel, select all the clips. There is an easy way to "fix" all of those clips in one action. but we're still on the 'bleeding edge' of it at this time. And the vast majority of screens out there don't work well/properly if at all with HDR. Note, I work with a lot of pro colorists daily, most of whom have still not delivered one HDR job.
So until you have a full setup including monitor for working in HDR, it's probably wiser/easier to make sure the phone is set to SDR/Rec.709. Shooting in HDR formats, unless you actually have need of HDR, is an issue for certain. I found that doing that meant I had to redo the color corrections, as those I laboriously came up with when I was testing with the 4K clips no longer were applicable. I can't explain why the above worked for me, or whether it will work for anyone else, but it's perhaps a framework to come up with your own workaround.īTW, I had 4K video to start, but will end up with an HD end product, so I used Media Encoder to downsize all the video clips. I am anything but a pro, but I've been using Premiere for over a dozen years. Now, of course you may be exporting to some completely different format, but I *think* the important things here are the HDR Graphic setting of 300, and the Export Color Space. Then I rendered the sequence with the following settings as a final check so I could open the original and the rendered product in Quicktime to compare: brightness -40, contrast - 10, colors +110. Then, I created a preset with corrections to brightness, contrast, and color, to apply to every imported clip to the timeline: These were arrived at by matching a scene in the timeline (not the source window, because that won't reflect the preset corrections) to an original clip shown on the same screen in Quicktime. Preview file format: DNX 1080p60Codec: DN圎
Set the sequence to: Editing Mode DNX 1080P
It took the better part of a day in trial-and-error to come up with this here is a workaround that might work for you: My files from the iPhone were 60fps 4K, with the HDR switch turned on (unfortunately, this might be the source of the entire problem).