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Working with color managed iPhone media

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Premiere Pro

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  1. Adobe Premiere Pro User Guide
  2. Beta releases
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  3. Getting started
    1. Get started with Adobe Premiere Pro
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  5. Creating projects
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    6. Backward compatibility of Premiere Pro projects
    7. Open and edit Premiere Rush projects in Premiere Pro
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  6. Workspaces and workflows
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    3. Working with Panels
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    5. Use Premiere Pro in a dual-monitor setup
  7. Frame.io
    1. Install and activate Frame.io
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    4. Invite collaborators to co-edit a project
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  8. Import media
    1. Importing
      1. Transfer files
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      3. Importing digital audio
    2. Importing from Avid or Final Cut
      1. Importing AAF project files from Avid Media Composer
      2. Importing XML project files from Final Cut Pro 7 and Final Cut Pro X
    3. Searching for imported media
      1. Media intelligence and Search panel
      2. Frequently asked questions
    4. File formats
      1. Supported file formats
      2. Support for Blackmagic RAW
    5. Working with timecode
  9. Editing
    1. Edit video
    2. Sequences
      1. Create and change sequences
      2. Set In and Out points in the Source Monitor
      3. Add clips to sequences
      4. Rearrange and move clips
      5. Find, select, and group clips in a sequence
      6. Remove clips from a sequence
      7. Change sequence settings
      8. Edit from sequences loaded into the Source Monitor
      9. Simplify sequences
      10. Rendering and previewing sequences
      11. Working with markers
      12. Add markers to clips
      13. Create markers in Effect Controls panel
      14. Set default marker colors
      15. Find, move, and delete markers
      16. Show or hide markers by color
      17. View marker comments
      18. Copy and paste sequence markers
      19. Sharing markers with After Effects
      20. Source patching and track targeting
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    3. Generative Extend
      1. Overview 
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      3. Known issues
    4. Cut and trim clips
      1. Split or cut clips
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      3. Edit in Trim mode
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      5. Create and play clips
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    5. Video
      1. Synchronizing audio and video with Merge Clips
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      1. Overview of audio in Premiere Pro
      2. Edit audio clips in the Source Monitor
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      12. Audio balancing and panning
      13. Advanced Audio - Submixes, downmixing, and routing
      14. Audio effects and transitions
      15. Working with audio transitions
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      17. Measure audio using the Loudness Radar effect
      18. Recording audio mixes
      19. Editing audio in the timeline
      20. Audio channel mapping in Premiere Pro
      21. Use Adobe Stock audio in Premiere Pro
    7. Text-Based Editing
      1. Text-Based Editing
      2. Text-Based Editing FAQs
    8. Advanced editing
      1. Multi-camera editing workflow
      2. Editing VR
    9. Best Practices
      1. Best Practices: Mix audio faster
      2. Best Practices: Editing efficiently
      3. Editing workflows for feature films
  10. Video Effects and Transitions
    1. Overview of video effects and transitions
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      5. Metadata effect in Premiere Pro
      6. Automatically reframe video for different social media channels
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      10. Adjustment Layers
      11. Stabilize footage
    3. Transitions
      1. Applying transitions in Premiere Pro
      2. Modifying and customizing transitions
      3. Morph Cut
  11. Titles, Graphics, and Captions
    1. Properties panel
      1. About Properties panel
      2. Edit text
      3. Edit shapes
      4. Edit audio
      5. Edit video
      6. Mask with shape
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    2. Essential Graphics panel (24.x and earlier) 
      1. Overview of the Essential Graphics panel
      2. Create a title
      3. Linked and Track Styles
      4. Working with style browser
      5. Create a shape
      6. Draw with the Pen tool
      7. Align and distribute objects
      8. Change the appearance of text and shapes
      9. Apply gradients
      10. Add Responsive Design features to your graphics
    3. Captions
      1. Speech to Text
      2. Translate captions
      3. Download language packs for transcription
      4. Working with captions
      5. Check spelling and Find and Replace
      6. Export text
      7. Speech to Text FAQs
      8. Translate captions FAQs
    4. Motion Graphics Templates
      1. Install and use Motion Graphics templates
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      3. Use data-driven Motion Graphics templates
    5. Best Practices: Faster graphics workflows
    6. Retiring the Legacy Titler FAQs
    7. Upgrade Legacy titles to Source Graphics
  12. Fonts and emojis
    1. Color fonts
    2. Emojis
  13. Animation and Keyframing
    1. Adding, navigating, and setting keyframes
    2. Animating effects
    3. Use Motion effect to edit and animate clips
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    5. Moving and copying keyframes
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  14. Compositing
    1. Compositing, alpha channels, and adjusting clip opacity
    2. Masking and tracking
    3. Blending modes
  15. Color Correction and Grading
    1. Overview: Color workflows in Premiere Pro
    2. Color Settings
    3. Auto Color
    4. Get creative with color using Lumetri looks
    5. Adjust color using RGB and Hue Saturation Curves
    6. Correct and match colors between shots
    7. Using HSL Secondary controls in the Lumetri Color panel
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    12. HDR for broadcasters
    13. Enable DirectX HDR support
  16. Color management
    1. About color management 
    2. How color management works
    3. Auto Detection of Log Camera Formats and Raw Media
    4. Disable color management
    5. Manage source media colors in the Program Monitor
    6. Configure clips for color management using Clip Modify
    7. Configure sequence color management
    8. Customize color presets for new or existing sequences
    9. Configure a sequence’s output color space
    10. Color management options
    11. Color management and Lumetri Color
    12. Premiere Pro and After Effects color management compatibility
    13. Working with color managed iPhone media
    14. Frequently asked questions
  17. Exporting media
    1. Export video
    2. Export Preset Manager
    3. Workflow and overview for exporting
    4. Quick export
    5. Exporting for the Web and mobile devices
    6. Export a still image
    7. Content Credentials in Premiere Pro and Adobe Media Encoder
    8. Exporting projects for other applications
    9. Exporting OMF files for Pro Tools
    10. Export to Panasonic P2 format
    11. Export settings
      1. Export settings reference
      2. Basic Video Settings
      3. Encoding Settings
    12. Best Practices: Export faster
  18. Collaborative editing
    1. Collaboration in Premiere Pro
    2. Get started with collaborative video editing
    3. Create Team Projects
    4. Add and manage media in Team Projects
    5. Invite and manage collaborators
    6. Share and manage changes with collaborators
    7. View auto saves and versions of Team Projects
    8. Manage Team Projects
    9. Linked Team Projects
    10. Frequently asked questions
  19. Long form and Episodic workflows
    1. Long Form and Episodic Workflow Guide
    2. Using Productions
    3. How clips work across projects in a Production
    4. Best Practices: Working with Productions
  20. Working with other Adobe applications
    1. After Effects and Photoshop
    2. Dynamic Link
    3. Audition
    4. Prelude
  21. Organizing and Managing Assets
    1. Working in the Project panel
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    3. Playing assets
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    5. Creative Cloud Libraries
    6. Sync Settings in Premiere Pro
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    8. Managing metadata
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    10. Best Practices
      1. Best Practices: Learning from broadcast production
      2. Best Practices: Working with native formats
  22. Improving Performance and Troubleshooting
    1. Set preferences
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    3. Recovery Mode
    4. Working with Proxies
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    5. Check if your system is compatible with Premiere Pro
    6. Premiere Pro for Apple silicon
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    12. Knowledge Base
      1. Known issues
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      3. Fix Premiere Pro crash issues
      4. Why do my Premiere Pro exports look washed out?
      5. Unable to migrate settings after updating Premiere Pro
      6. Green and pink video in Premiere Pro or Premiere Rush
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      8. Fix errors when rendering or exporting
      9. Troubleshoot issues related to playback and performance in Premiere Pro
  23. Extensions and plugins
    1. Installing plugins and extensions in Premiere Pro
    2. Latest plugins from third-party developers
  24. Video and audio streaming
    1. Secure Reliable Transport (SRT)
  25. Monitoring Assets and Offline Media
    1. Monitoring assets
      1. Using the Source Monitor and Program Monitor
      2. Using the Reference Monitor
    2. Offline media
      1. Working with offline clips
      2. Creating clips for offline editing
      3. Relinking offline media

Easily work with color-managed iPhone media in Adobe Premiere Pro. The color management is automatically applied to iPhone media, ensuring accurate color and brightness for seamless editing.

What’s the right way to color manage iPhone Media?

Supported iPhones provide the option to record HDR video in the Camera Settings. HDR media enables you to create and export HDR videos with spectacular color and highlights on HDR-capable televisions, phones, or displays. 

Premiere Pro supports the export of HDR. However, you can also automatically convert your HDR source media to SDR to create videos that look correct on any display. 

HDR videos don’t look correct on SDR displays. The brilliant highlights of HDR appear clipped and unpleasant in SDR. You should check whether you’re shooting HDR iPhone media, and if you are, make sure you choose the right color management settings for the sequence you’re editing whenever you start creating a new video.

What’s the best way to get the right color output when using iPhone clips?

If you automatically created a new sequence via a selection of new iPhone clips (on import, via selection, or by drag and drop into an empty timeline), the default color management setting is set to Direct HLG (HDR) with the Output Color Space set to Rec. 2100 HLG. This sets you up to monitor and export HDR video in the original iPhone format, which will only look correct on HDR displays capable of HLG (like your phone).

If that’s what you want, you’re good to go (although you need to ensure that the Export Mode Preset you’re using supports HLG).

However, most users prefer to export SDR Rec. 709 media, which is most widely compatible with conventional displays. Alternately, many prefer to export HDR video as Rec. 2100 PQ, a more typical HDR standard. You can use either workflow by choosing the appropriate color setup or Output Color Space for your editing sequence.

Choosing the best color management setup for editing and exporting iPhone clips

If you’re just getting started with a new sequence that has iPhone clips in it, and you haven’t made any color adjustments yet, you can make things easier by choosing Sequence, selecting Sequence Settings, opening the Color Management tab, and choosing either Direct Rec. 709 (SDR) or Wide Gamut (Tone Mapped) from the Color Setup drop-down menu. Both color setups make it easier to adjust your clips, and both default to Rec. 709 for high-quality SDR monitoring and export.

Note:

Suppose you’ve discovered you’re using the Direct HLG (HDR) color setup, but you’ve already adjusted the color of your clips and don’t want to re-adjust the color of all your media. In that case, you can leave the color setup alone and choose Rec. 709 from the Output Color Space drop-down menu. When you do this, your sequence will be automatically converted to SDR for monitoring and export. While adjusting colors using the Direct HLG (HDR) color setup may not feel as easy as adjusting colors in Rec. 709 or Wide Gamut, there’s nothing wrong with it.

My sequence looks right in the Program Monitor, why does my export look wrong?

There are two main ways you could be getting the wrong color when exporting:

output looks clipped

Suppose you intend to export your sequence as SDR Rec.709 for playback on various conventional displays, but your rendered output looks clipped even though it looks great on your computer monitor. In that case, you may have accidentally chosen an HDR format as your Output Color Space, and your computer’s display can display that HDR image. At the same time, the exported media is clamped to SDR levels. If you intend to export SDR Rec.709, you must set the Output Color Space of your sequence to Rec.709 to correctly see what will be exported.

output looks like SDR

If, instead, your exported output ends up being SDR Rec.709 even though your Output Color Space is intentionally set to an HDR standard for HDR export, it’s possible that either the export mode Preset you’ve chosen doesn’t support HDR, the Format you’ve chosen (filtered based on the current preset) doesn’t support HDR, or the Render at Maximum Depth checkbox has been disabled (it must be turned on). Down-converted Rec.709 will be rendered in these cases even if your Output Color Space is set to HLG or PQ. The easiest solution is to choose a compatible preset by clicking the three-dot menu to the right of the Preset drop-down and choosing More Presets to open the Preset Manager to find a preset capable of HDR output. Type “HLG” or “PQ” into the search field to find all presets capable of rendering to one or the other HDR format, as you require, then choose the preset you want to use and select OK.

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