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How to Color Correct HLG in Premiere Pro 2022 | No More Blown Highlights!
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- Опубликовано: 14 авг 2024
- 📜 Blown out highlights with HLG in Premiere Pro? In this video I'm showing you how to color correct and grade HLG footage out of a Sony camera. With the recent updates on Premiere Pro and Da Vinci, the workflow changed and it is now much simpler to grade it if you know what you're doing.
HLG is a gamma originally designed for HDR delivery, but that works incredibly well on recording as well, being one of the best picture profile options in Sony cameras especially. In the video you'll see me using HLG3 with the BT2020 color space, and correcting it in just a few seconds.
If you'd like to keep a LUT workflow or simply use a grading LUT to give your footage a twist, you can use the link below to download it for free:
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⌚ Video Timecodes
0:00 Intro
0:38 What is HLG
2:22 Nerdy Graphs
3:02 How Color Correct on Premiere Pro
4:14 Da Vinci Resolve Workflow
4:57 HDR Workflow
5:34 Conclusion
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#Sony #colorgrading #colorcorrection
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Grazie mille!! La tua LUT è davvero fantastica! 🙂
Felice che sia stato utile Fabrizio !! Grazie mille !
THANK YOU SO MUCH. Now I understand why I always get those funky-looking colours.
You're welcome Hugh!! It's a nightmare without understanding this thing! :D Glad it helped!
God. Thank you so much! Everyone else had this wrong and you nailed it. MUCH APPRECIATED! It does make me want to learn Davinci more and more everyday though... ughhh
Glad it helped! HLG is super useful !
Wow! Very well explained. Thank you Enri! Your videos are always above standards.👊🏽👊🏽
Thank you so much !! Hope this makes it easier on the edit !
Absolutely time and energy saving tutorial! THANKS A LOT for this:)
Super glad it helped !!
Thank you bro!! Saved my life on a job here... Now you have one more subscriber.
Happy it helped Giovanne!! If you got any doubts or any suggestions on what else could be of use let me know, always up to receiving video ideas! :D
I was starting to film in HLG 3, and needed to export for RUclips, I was lost about the workflow, this is great thank you very
It's definitely not straightforward, I'm glad it helped !!
I've had this problem for over a month and couldn't figure it out until I found your video. Thank you!
I was super annoyed also, until I discovered how to do this! Super happy it helped Percy !!
hey you fixed my life-time error. I've been searching this more than three years! omg thank you soooooo much. I tried fixing my footage color to rec709, but haven't tried to fix my sequence setting. You really fix me and my fucking Premiere Pro. Thank you soooooooo much!!!
Oh yeah !! Glad it helped !! Yeah, I did the video because I suffered for so long also, and finally solved !
genius... I love it!! This LUT solved my problem.Thank you so much!
Awesome !! I'm glad this worked out alright for ya !! If you post something tag me @flyenri so I can check it out :)))
I loved this video! Great explanation 👏🏻👏🏻👏🏻
Thanks a lot dear ! Glad it helped !!
Very well explained and your corrective Lutz works great!
Wohooo ! I'm happy to hear it !! Thanks for watching guys !!
Awesome! This video is exactly what i looking for. Thanks so much
Glad it was helpful! Thanks for watching !!
Amazing! Super valuable that trick of selecting REC 2020 instead of REC 709 to correct the color values!
Glad it helped !! It's such a tiny thing but that messes up everything if you don't do it :D Thanks for watching !
What is the primary benefit of REC 2020 over REC 709? I'm seeing no difference in the quality of the rendered video. Both appear to be identical. Thanks..
I don't know why, but I'm having a lot of trouble using HLG3 on my Sony ZV-e10. For some reason, the image quality with HLG3 is so soft compared to images with no profile picture and the creative style "standard". Do you happen to know how to fix this? Also, I wanted to ask you how should I expose my image with HLG3 to use your conversion LUT? I would be very grateful if you could help me with these questions.🙏
Hi !! HLG does look a bit softer and less contrasty, but once you conver it using the REC709 lut it should look very similar, but properly exposed highlights ! For correct exposure you don't need to do anything special, if the meter on camera says it's ok, or if you're using zebras and the person or highlights are not being clipped you should be ok.
That was extremely helpful! Thank you!
Glad it helped Fennec ! Hope you like also the LUTs!
Thank you for sharing this info, got caught off guard with some HLG content and this video resolved the issue with minimal downtime.
Glad it helped !! Tried to make it as easy as possible! :D
Thank you!!
Your explanation saved me a lot of time and headaches. Also, I don't have to use Media Encoder 2021 to just override color space from HLG videos.
Glad it helped! It's such a subtle problem but really gives a lot of headaches! Thanks for watching!!
This is gold. Thank you!!!
Thanks a lot David !!
Thanks for the links. This is so helpful.
😍✊ Thank you for watching !
Super video. Appreciate the pointers. I’m using FCPX with HLG footage. Am I correct in understanding that I should set the library to wide gamut, the project to rec 709 and use the HDR tools on the clip to convert to rec 709? It seems to be if I set the library to rec 709 I’ll lose all the detail and the highlights will be blown out
Exactly, that should do the trick. I don't use Final Cut so I've asked a friend that is familiar and put in the video this part with the quick trick about it just to be able to be helpful also to FC users.
Thnx pal. I try to use Pr 2023 and crack my mind, what the color.
Just makes it a bit easier now isn't it ! Glad it helps !
Very usefull tips!! I could capture some good colours following this steps. However, when i send the exported file to smartphone, neither android or iphone can open the file. Tryed send via we transfer and google drive...both open on the cloud but not on smartphone. Any guess what could be?
Thanks for watching !! It might be something related the export settings, have you tried simple H264 mp4 files ?
Un video davvero utile! Sto impazzendo con i vari profili e la color. Sto usando hlg 2 rec 709 così da non dover sovraesporre e non impazzire rispetto ad s log. Ma non è facile approcciare a questo mondo
Ciao !! Complimenti per il tuo canale !! Sì dai, HLG è più semplice e per una situazione di studio in cui hai le luce controllate sei più tranquillo! Se hai bisogno di qualcosa scrivimi anche su IG :D E grazie del feedback !
@@FlyEnri grazie per i complimenti, lo farò
Awesome video man.
Glad you liked it !!
This is awesome thank you!!!
Thanks for watching Chris !!
hi sir
plz tell me witch is best Sony a7iii p profile settings day & night
Hi dear ! A lot of people do Slog day and HLG night, but I prefer to use HLG always !
Very well explained
Thanks Aman !! Very kind !
Please what is the solution after going through all this process my exported clip didn't display for website and some app like RUclips Instagram and my phone device . Why and how do I resolve this.
Hi !! It didn't display meaning you can't see anything ? Does it play ? Maybe the timeline settings are wrong, or the export ones. Exporting in HDR might cause this problem of not being able to see things !
Thanks!!!
Thanks for watching !!
My timeline is HLG 2100 AND THE COLOR SPACE IS THE SAME EVERYTHING IS FINE Is that a problem
When you export you might have trouble !
Bro! you saved me! thx a lot!
Super happy it helped Nilo!!
Nice vid!
Thanks a lot Kai !!
There's not much on HLG process out there. I feel it provides much more colour range than the f-log, anyways I loved the post production but had an issue. Exactly the one you solved. Much appreciated. I am Fujifilm user and there is nothing on this workflow. Thank you! Just to clarify. 1. Timeline needs to be rec 709. 2. HLG interpreted as rec 2020. 3. Basic correction. 4. in Creative further LUTs applied - the ones you shared with us?
Exactly Tom ! Going like that, HLG from the Sony will be just fine without the blown out highlights ! You can use the ones I shared or just use the correction one, and apply the creative lut of your choice !
Thanks for the video, really nice explanation!! PS: You have a little Brazilian accent 🤔🤔
hahahaha got me! A "little" was very optimistic! Valeu por assistir aì Rafael !!
I don't get it first you show that one should interpret the footage with override to rec709 and then you say either applying a lut or override back to bt2020 so what's the point of changing the override to Rechnung 709 in the beginning?
Hi ! You've got two different choices, depends on wether the LUT you're using is doing the conversin for ya or not ! If you do the Rec709 first you're good to apply artistic luts. If you don't do it, you need a conversion lut + another artistic lut, or one that does both things for ya.
Thanks, buddy !
Thanks for watching Kenly !!
I’ve used HLG3 Rec. 2020 extensively over the past year and while I do enjoy the dynamic range and ease of grading, it always shifts the blues to cyans and has a strong magenta shift. That’s after doing the colour override to Rec. 2020 in Premiere because I find overriding to Rec. 709 gives a desaturated image and when you increase the saturation slider, it looks extremely digital and unpleasing. Any way to fix this color shift other than messing with the hue curves?
When you do similar to what I did in the video you still get the color shift ? I don't like to go about messing with the saturation also ....
When I shoot rec2020 and overide to rec2020 in premiere, my blues are shifted towards cyan especially in highlights. If haven’t tested your LUTs for when shooting rec2020 and override to rec709
Do you only need to alter the export settings in Premiere when exporting HLG3 footage when you have done the "Create new sequence from clip" method? Or do you need to do it for both methods? In other words, do you always have to change the export settings?
You need to change it according to what you wanna do. So if you created from clip, you'll have a HDR timeline, and if the export is also HDR then you'll only be able to visualize correctly in such display. If you want rec 709, then you need to export as that, and preferrably also have the timeline this way, otherwise it can get veryyyy confusing.
Thank you!!
Thanks for watching dear !
I record my videos in iPhone 15 Pro and in DJI Pocket 2. How do I know what color space the files need to be?
I think the only choice you get is to record in high dynamic range or not, that would be the HLG inside the editing softwares, so this will probably work ! On the Pocket i'm not sure!
@@FlyEnri Thanks 🙏🏻 I record on Log to get the max color grade. I don’t like HDR on phones. I actually never had much of a problem when displaying the true color on the PC display but it’s always better to know how to work matching the color space. I never did that!
What to do if i got multiple clips to work with?
All the same, select it all, and do the same as shown in the video :) Let me know if it works!
When I go to the color management section of the modify->interpret footage window all the options including color space override are grayed out. I just got my Sony ZV-E10 and filmed with HLG3. Does it matter that it is HLG3 vs HLG? EDIT I just tested a clip in HLG (not HLG3) and again, the same issue. Color mode is BT 2020.
Hi Straw! I saw on the Adobe forums this issue and looks like it's related to the specific codec. helpx.adobe.com/premiere-pro/using/hdr-workflows.html# Being a Sony camera I'd imagine it would work also, that's very weird...
i recorded 4k relolation and sony a7 III HLG picture profile but in post production i editing with proxy when enabled proxy toggle than footage over expose what can i do
Hi dear! Yeah, the proxy file doesn't respect the coloring you do on the original file, but you don't need to worry. It will be there when you turn proxy off, and it will be exported correctly!
When I shoot air 2s HLG should I use HLG to rec.709 conversion lut for uniformity ? Or I should color correct manually ?...
Subbed.
Yeah do the same like for the Sony hlg
i shoot a7 iv s-cinetone ,on computer i see much highlt and overdoze white ...how to fix it ?
Yeah, S-Cinetone has good dynamic range, but it's not a log profile at all. But anyways, check your timeline, just to be sure you don't have it set to something else than REC 709!
@@FlyEnri thanks so much
Hey bro, so my setting on the camera is HLG3 BT2020, should I also use rec2020 or rec709 when I interpret it? You mentioned this in the video but it's not clear to me. Sorry I'm new to this. Thanks!
Hi Earl ! No worries, if you ever got any doubt shoot it here and as soon as I have time I'll look into it. Yeah exactly, if you set on camera to do HLG3 BT2020 you can do the Modify, Interpret Footage, and choose to adopt the Rec2020 color space. It will understand now that it was shot that way and adjust the green shift for you. Try it and tell me if it looks good! I put a couple of LUTs on the description that will help you also give a pop to the image, try also those if you'd like!
@@FlyEnri does it work to have a Rec709 sequence and bt2020 interpreted footage??
hi i am confuse that what type of pp setting in your sony thankyou!
Hi Ken!! It's HLG3 and color space BT2020 !
@@FlyEnri yes! I know but I mean is pp10? or pp9..? and do you modify any detail in your pp setting like saturation or black gamma thank you 🥹
Hi! I wonder why you are working in quicktime format and not another. I record with a Sony camera and I am already stupid in what format it is best to record :)
Hi Szymon! With Sony cameras the files will be in the H264 codec and it will be a mp4 file. I'm working with these, but while you are editing you can render it as some other formats, and I choose to do it in quicktime 422 proxy because it's good quality and much faster to edit :) I explain this in this video, if you'd like to see in more details: ruclips.net/video/l4ZPReRASP4/видео.html
what is your monitor?
My home display ? It's the BenQ PD2700U, there's a review on the channel !
When I set my rec2100 to 709, it is more flat than it was. Why is that?
It's normal, it pushes down the highlights curve and that makes it feel flatter, now the contrast is lower since the difference between blacks and whites is smaller. You can now move on to the curves and adapt it to your liking :) You can even build a preset that does that already for you, and later on new clips you can go straight to color adjustments.
With all due respect, you did NOT tell us how to color correct, simply to change the color space.
You're right, I never got to giving examples on how to color correct different types of footage. The aim of the video was really to solve the blown highlights issue, and for that the color space and interpreting the footage were the keys. I'll do another one focused on my process for color correcting and grading, thanks for making me notice this gap!
@@FlyEnri the best advice for anyone which I never see in videos is “turn off HDR on your iPhone since 99.99% of you won’t ever use it ever.”
That option seems to be grayed out for me. I shot in HLG3. any tips?
It always comes out to be something about the original footage or the version of Premiere. On the Adobe forums you might find more help to your precise case, but definitely you're not the first one to say so!
There seems to be no one right way. So many variations and suggestions. But HLG is a good compromise and your suggestion of using DaVinci Color Managed Timeline (automatic color management) seems to be the hidden pearl.
it makes everything so much easier really ! DaVinci has been saving my life editing these videos !
need help, and i think a lot of people are having the same issue. when i go to project bin > right click > modify > interpret footage, both Alpha Channel and Color Management options are grayed out. I'm using Sony ZV-E10 and HLG 3. how can i enable them? thank you in advance.
Hi !! I searched around a bit now and it's really an issue, so many people with this! But mostly what I've been seeing is that either the color space is not supported or somehow the file is from an unsupported camera, but in your case it should be fine. On the ZVE10 page it says only Rec 709 and 2020 are available when choosing HLG3, right ? I'll investigate a bit more! If you find out something please post here also :))) Might do a video about it if we find the right solution!
@@FlyEnri i appreciate it. thank you so much and looking forward to resolving this so i could totally follow your editing workflow. thanks again.
problem solved with an update. now back reviewing this video 🙂
@@classzedits Hi I am experiencing the same problem, was there an update on Premiere Pro that solved it? Much appreciated :)
Ciao Enri, prima di tutto complimenti per l'editing molto professionale. In questi giorni sto riscontrando lo stesso problema. Uso Premiere Pro 2022 e video registrati con HLG2 e color mode 709. Ho provato con working color space della sequenza Rec. 2100 HLG, che Rec. 709, reinterpretato i video utilizzati con l'override del color space sia con Rec 709 che Rec 2100 HLG, sia esportare il video (come hai fatto vedere nel video) con Profile High10 e Color Space Rec 2100 HLG, il video in output risulta sempre più saturato rispetto al video source che vedo nel project.
Hai qualche suggerimento? Grazie!
Come non detto, penso di aver risolto in qualche modo. 😂
Ciao!! Come stai ? Grazie mille !! Hmmm ma hai registrato già nel color space rec 709 ? Se è così in teoria dovresti solo fare l'interpretazione a rec709 e pace. Hai fatto così ?
@@FlyEnri Sì, ho cambiato tutto in rec 709. Avevo usato un LUT per HLG che saturava molto il video, ho risolto abbassando l'intensità. Anche se mi sembra un po' strano perché prima di far ciò, nel progetto era tutto perfetto e solo dopo aver eseguito l'export il video risultava più saturo. Però dai, alla fine si è risolto in qualche modo. 😂
Prima filmavo con Cine4 e non ho avuto problemi del genere, poi ho visto che molti ne parlavano bene di HLG (HLG2 quello più equilibrato) e quindi ho iniziato a sperimentarci un po'.
Se ho capito bene questo picture profile può essere utilizzato per creare video in HDR rispetto agli altri che non possono. Però alla fine portandolo nel color space 709 si finisce nello standard dynamic range e di conseguenza non lo si utilizza per creare video in high dynamic range ma solo per le caratteristiche per mantenere i dettagli in situazioni di clipping. Correggimi se sbaglio.
Visto che sei più esperto di me, dal tuo punto di vista se dovessi sceglierne un solo picture profile per ogni occasione, quale useresti?
Ahhh sì sì, difficilmente anch'io utilizzo a 100% le lut, sempre abasso un po' d'accordo al filmato. Esatto, HLG ti permette di consegnare in HDR ma la cosa più speciale per noi è che la curva della gamma dinamica nei highlights è log, e quindi preserva benissimo i dettagli. Io praticamente sempre sono con HLG3 BT2020. Slog2 ogni tanto, quando ho una situazione di tanta gamma dinamica, ma il problema è che se non fai l'esposizione perfetta, poi c'è color shifting ed altri problemi che sono una noia da risolvere... Direi che Sony 8bit, HLG tutta la vita :D Grazie mille un'altra volta per guardare i video !
I wish my color management was grayed out... for me, the section just doesn't exist! Only input lut as an option! I can't find answers anywhere!
Hi Mat !! Which version of Premiere are you running right now ? Might be that !
@@FlyEnri I ended up finding it! Basically the box for that section was collapsed and only showed one option. I enlarged the window and it showed up. Dumb mistake on my part, but scrolling didn't reveal the hidden stuff and thr interface showed zero indication of more options.
Very good but too fast. Moving from panel to panel is too fast. You need to momentarily pause .. then move on. And in the end you suggested DaVinci was better than Adobe
Hi dear ! Thanks so much for the feedback, you're totally right! A lot of people told me also to slow down, so in the most recent videos I tried taking a bit more time to deliver it. And yeah, I totally migrated to DaVinci and now I support it even more than when I released this video... Thanks for watching and commenting, it's super helpful !
My color management was gray out. Please help
Hi dear, did you record in HLG in camera BT2020 ? I saw some issues on forums indicating it could be a bug, or a problem with the footage.
how can i do if i have 100 video? how can i do color space for each videos?
Hi !! You can select all of them on the bin and do the interpret modify on all at the same time !
Question! At 1:08 you are manually choosing Rec709 in "color space override". However, I was told in this tutorial that this is not necessary, cause everything will happen automatically in Premiere: ruclips.net/video/9E8doNzDymo/видео.html (link has timestamp to the right part of the video). This guy seems to know his stuff as well, so I'm kind of confused now - should I listen to you or him?
Hi Fred !! Excelent question, we're both right, the catch is that after Gerald did the video, a Premiere update made HLG be recognized inside premiere as REC 2100 HLG, and that makes the footage look blown out. If that is your case, you have to interpret, and transform it to rec 709 or rec 2020, depending on how you set your picture profile in camera. After this point, we both do the same, we use a correction LUT to make the footage go to normal colors, instead of the flat and green it appears at first, and then we add in an additional grading as we please. In the description here you can download my correction and art luts for free. Gerald uses the Leeming LUTs which are also really good, you can buy them as a package for each type of camera. If you have any doubts I'm here, thanks for watching !!
@@FlyEnri Thanks a lot for the thorough answer! :) One more thing: I'm considering to switch to HLG as my go-to picture profile, because my GH5 don't have V-LOG L and some say that HLG is a great alternative (in fact, some even say it's better). I'm not delivering in HDR though, just looking for more dynamic range and more flexibility when grading. So do you think HLG is a good option for me? And in what cases do you use HLG yourself?
How to do interpret on proxy files?
It's really boring whenever you want to have your proxy files exactly like the originals, be it when you interpret them to have the same frame rate or color. If it's not an issue for you, I'd simply edit without caring about the highlights being blown out, and adjust the color when the proxies are off.
@@FlyEnri got it, thanks
How do you expose for hlg3?
Hi dear ! The same you would for normal Rec709. I'd usually set the zebras around 65, 70% to hit the skin tones well, and you're good. Muuuuch easier than slog!
What about hlg2 exposure ? Also was this video for hlg2 or hlg3 means a lot
really? you're using iPhone HDR ability but want to show it for 19th century? very nice!!!
Some people got 19th century screens, hahahaahaha
So basically, if you're working on a project with hundreds of HLG clips in Premiere 2022 or 2023 - you still need to remember EVERYTIME you import one simple clip to make this clicking operation for Premiere to correctly recognize the footage? I feel like Adobe is not listening to their users at all...
Yeah, it can be a bit boring definitely. On DaVinci I've usually leave it for the software to recognize and it's good to go. Other option is to do it manually and convert like this trick in Premiere, but i sincerely see no advantage.
mano, tu é brasileiro? 🤔
Opa, talvez ! hahahaha
i hate hlg in premiere
Could be way easier really, hahahaha I'm in love on Da Vinci with the Wide Gamut, sooo much more practical really ! Thanks for watching dear !!
yes! I know but I mean is pp10? or pp9..? and do you modify any detail in your pp setting like saturation or black gamma thank you 🥹
Hi Ken! Sorry, hadn't seen the msg! So, HLG3 sits on PP6 on the A7III, but the actual PPx you're using doesn't matter if you set it up the same way. I mean, like, if you do a setup on PP1 and the same on PP5, they will be equal. Anyways, my PP6 is all standard, with HLG3 and BT2020. That's all! No other tweaks! Under slog it's more customized, i add saturation, and reduce the detail a bit.