![]() I created a new project, then imported some ProRes 422 HQ HDR footage. UPDATE: Adobe tells me support for HDR PQ is “coming soon.” (For a variety of technical and aesthetic reasons, it is unwise to set this to 100% – the white levels in HDR become far too bright.) While there are three different settings we can use, the default option is 75%. (This makes it attractive for broadcasters due to compatibility with existing SDR workflows.) This means that we need to set an “HDR Graphics white point” providing a target luma level for 100% white (excluding speculars). Unlike PQ, the HLG format limits white levels to 100%. Cross-convert between HDR standards (PQ to HLG / HLG to PQ).Convert from LOG space to HDR (Arri LogC to Rec. ![]() Down-convert HDR to SDR with gamut mapping and highlight compression.Upconvert SDR to HDR with gamut mapping and highlight extension.In addition to creating a specific look, LUTs can be used to: Currently, two video formats that are fully color managed and supported: With this release, you’ll get the best results and smoothest workflow shooting and editing Rec. This opens opportunities for post-production, including interoperability with After Effects and better performance.” (Adobe HDR User Guide) 2100 HLG content in its native color space. With the new HDR workflow, Premiere Pro can process Rec. HDR workflows were possible with this approach but it had drawbacks. 709 color space, but by processing color in 32-bit floating point, Premiere Pro was able to preserves data outside of the Rec. “Historically, Premiere Pro used the Rec. 2100 PQ (ST2084), and additional format support, like H.264, and HEVC. The first implementation of this workflow addresses the needs of professional broadcasters and in upcoming releases, we plan to add support for other HDR working spaces, such as Rec. ![]() With the new native HDR workflow you can import, edit, color grade, and export HLG content in Premiere Pro. Apple ProRes and Sony XAVC Intra are both fully color managed and GPU accelerated throughout the HDR pipeline. 2100 HLG thanks to a new sequence working color space option. “With the September 2020 release of Premiere Pro version 14.4, you can work natively in Rec. I pulled multiple excerpts both of these to supplement this tutorial. This second User Guide is online, but has less information. This one is the most useful, but doesn’t appear on line. NOTE: Adobe has published two User Guides. With this version, Adobe made working with HDR media easier, but it still a long way from easy. Expect continual updates over the next several versions of Premiere. While this update is a big improvement over how Premiere handled HDR media before, the entire workflow remains a work-in-progress. 2020 update, Premiere Pro can now handle some HDR material natively. Note: macOS Monterey 10.12 or later & Final Cut Pro 10.6.2 or later is required to run Cinema Grade on M1 natively in Final Cut Pro (i.e. What are the minimum system requirements for Mac? Graphics card with: 2 Gb of RAM for HD, 4 Gb for 2K and 6Gb for 4K projects What are the minimum system requirements for Windows? Final Cut Pro requires macOS Monterey 12.2.1 or later & Final Cut Pro 10.6.2 or later to run natively. Natively compatible on Premiere Pro and DaVinci Resolve. Works on Windows in Premiere and Resolve. Yes since launching at the beginning of 2022.
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