![]() I've never heard of a colorist working that 'high' myself. the graphics white set to 300 nits, which. In your original post, there's an odd thing. Don't use the HLG or PQ presets for SDR, don't use the 'normal' SDR presets for HDR. Give it a second instance of the file, and you can have different things applied to it.Īnd as mentioned earlier in this thread, your export presets must match the sequence color space. Premiere's "source" data is based on the file reference instance in it's internal database. One example of a very non-obvious thing, that you have to be aware of when doing multiple color space outputs, is if you need to do both SDR and HDR from a file, they should be in separate sequences.Īnd you really should duplicate the file in the Project panel, naming probably one the SDR, one the HDR, and then you can have both SDR sequences and HDR sequences from the same clip. Premiere has quirks that can be darn hard to figure out, but in the end I've been able to get the correct results from a lot of different files. Although you have more options for how to do that tranform in Resolve, being still primarily a grading app. I get pretty much the same results from a basic say HLG to Rec.709 transform in each. I work both in Pr and in BlackMagic's Resolve. 709.Īny conversion from HDR color spaces (no matter which) to SDR results in a smaller selection of hues. ![]() Does it modify them? Of course, as there are a vast number of hues in the color volume for Rec2100/P3 spaces, that simply are outside of the sRGB space of Rec. I've never seen Pr "destroy" the colors of an HLG file, based on a lot of testing.
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