#ADOBE PREMIERE CLIP H.264 HOW TO#
#ADOBE PREMIERE CLIP H.264 UPDATE#
#ADOBE PREMIERE CLIP H.264 FULL#

The more and more I read, it sounds like using color space override as a way to 'trick' HLG footage into being SDR has some consequences.

#ADOBE PREMIERE CLIP H.264 UPDATE#

Just an update from what I've seen from others, as I think I've answered my own question now:

#ADOBE PREMIERE CLIP H.264 FULL#

2100 HLG color space.įor the full HDR broadcasters workflow, see this page in the Premiere Pro User Guide. 709 color space & might result in an incorrect preview if used to export a sequence based on Rec. Please note that the Match Source presets use Rec. Set Export Color Space to Rec.2100 HLG.Set Profile to High10 (for H.264) or Main10 (for HEVC).Navigate to Video tab > Encoding Settings.If you have edited in an HLG timeline & would like to export in HLG, please ensure that you use the following export settings.

#ADOBE PREMIERE CLIP H.264 HOW TO#

How to correct saturated/over-exposed previews during H.264/HEVC export? Under Color Management, set Color Space Override to Rec.709. This will create a preview that matches the color of Premiere Pro v15.x.To do so, right-click on the HLG file in project panel & navigate to Modify > Interpret Footage.

You may also color manage individual media files.

Under the Video tab, set Working Color Space to Rec.2100 HLG.

Highlight the sequence & navigate to Sequence > Sequence settings.

You may manage the color space of the entire timeline made from HLG clips. Newer project files will have the appropriate color space assigned and will show the correct preview. Note: This only happens with projects (HLG media + Rec.709 timeline) created in the previous version. This causes the clips to look saturated/over-exposed in the newer version of Premiere Pro. However, in v 22 opening a project created in the previous version (which had HLG media on Rec.709 timeline) results in HLG to Rec.709 conversion. So a timeline created from HLG media in v 22 will automatically be assigned HLG color space. In Premiere Pro v22, H264 and HEVC are color managed, and the HLG media is treated as Rec.2100. In the previous version of Premiere Pro (v 15.x), HLG media was treated as Rec.709 & the sequence created from that media also used Rec.709 color space. So why do HLG files look saturated/over-exposed in Pr v 22? This allows you to return to a standard iPhone workflow.

Turn off HDR shooting on your iPhone by following the directions here.

Neil Haugen's in-depth article for the full pro workflow: Premiere Pro 2022 Color Management for Log/RAW Media

In case you do want to edit & deliver in HLG/HDR, please follow the steps mentioned below.

Sequence > Sequence settings, set Working Color Space to Rec. Select Modify > Interpret Footage > Color Management. Right-click on your media in the Project panel.

I n case you don't want or need the HLG/HDR workflow and want to return to the standard workflow, please follow these steps to avoid oversaturated and overexposed previews.

This FAQ will show you how to fix clips that appear overexposed or oversaturated due to these new features. With Premiere Pro v 22, new features around color management for H.264 and HEVC have been introduced.

Adobe premiere clip h.264