at the bottom, the Override-To option, either set to Rec.709 or for many log-encoded clips, select the appropriate camera log option.Check the clip Properties in the Project panel if unsure.Īny HLG or PQ clips need to have their CM setting use fixed in the Project panel. Make sure all clips are either Rec.709 or are managed to Rec.709 in the color management settings. SDR work can be done with Rec.709, HLG, or PQ clips involved as it is a smaller space/range so the large space clips can be remapped to work within it. HDR work requires HDR clips, either HLG or PQ. Worse than the old battle between Betacam and VHS for video tape formats.īut you can work either way, SDR or HDR, at your choice. and some screens auto-juke the image heavily into one or the other from whatever you worked in, many sceens don't yet handle HDR at all, and the others are all over the place. I work for/with/teach pro colorists, most of whom have yet to deliver a single paid gig of HDR.Īnd as there are many different forms of HDR. I highly recommend that most users stay in SDR at this time other than playing with HDR, as well. The same file will look correct on all non-Mac systems & screens.Ĭhoose whether you're working a Rec.709, SDR/standard video, or HDR. And that only affects the display of that file on a Mac.
#ADOBE PREMIERE PRO EXPORT COLOR DIFFERENT FULL#
I can give a full discusssion of that problem if needed. So the image looks lighter and less saturated outside of Pr than inside. There is a separate issue on Macs, which is that Apple doesn't apply the full Rec.709 standards to display video files. Match color management settings through the process.
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