![]() ![]() Larry’s article is useful if you’ll be attempting color and brightness adjustments, but I’m sticking to the bare-bones details and we take a completely different approach with output.ġ. FYI, I referenced a PDF manual that’s strangely only available on Larry Jordan’s website. Let’s start in Premiere Pro by setting up your project. So you should probably do as little of that as possible and budget time to preview your edits in HDR somewhere before publishing your video. You should expect that.Īssemble your footage as normal, but expect that any color-related edits, whether color adjustments or adding a title, may look funky when viewed on an HDR display. So, if your video looks good on the iPhone, you shouldn’t adjust these aspects in Premiere Pro, even if the video looks a bit dingy in the Premiere Pro user interface. Unless you have an expensive HDR setup for Premiere Pro, you won’t be able to accurately gauge the color and brightness of the video that you’re editing. Here’s what we’re doing in Premiere Pro and what we’re not doing. In addition, since we know Dolby Vision uses the HLG transfer function, we should opt for HLG over PQ wherever possible. So, our goal in Premiere Pro is to output a file that matches these specs as closely as possible in project setup and output. This matches the right side of Figure 4, which is why YouTube successfully (if not promptly) converted the Dolby Vision upload to HDR. As shown in Figure 6 (below), it’s pretty simple PQ or HLG transfer function, Rec. Before we import our video into Adobe Premiere Pro, let’s begin with the end in mind and consider what YouTube needs from a metadata perspective.
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