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Activity Forums Adobe Premiere Pro Video much brighter after upgrading

  • Video much brighter after upgrading

    Posted by Daniel Schultz on April 2, 2024 at 2:17 pm

    I just updated from a 2017 MacBook Pro to a 2024 MacBook Pro.

    I also updated my Premiere to work better with the M3 chip.

    I noticed the image looks much more blown out and clipped in the highlight areas.

    I tried A-B testing the old computer/Premiere with the new one, creating a short clip from each system, and the difference was apparent there as well. So when I compared the two clips in either computer, the one generated on the older computer was less washed out/clipped. anyone have an idea of how to fix this? Thanks in advance!

    Mads Nybo jørgensen
    replied 2 days, 22 hours ago
    3 Members · 5 Replies
  • 5 Replies
  • Hector Vera

    April 2, 2024 at 7:08 pm

    Hello Daniel! Here is an explanation I found online and hope that it helps:

    One possible explanation is that the default settings for gamma and color management may have changed with the update to the new version of Premiere. This could result in a brighter, more washed-out look.

    You can try adjusting the gamma and color settings in Premiere to improve the look of the footage. The steps can vary depending on the version of Premiere you are using, but typically you can find these settings under the “Project” settings menu. Look for the “Color Management” and “Gamma” settings, and play around with changing the default values until you find a look that you prefer.

    Another possibility is that the new version of Premiere is using a different rendering engine or different encoding settings than the old version. If the two systems are not set up identically, there could be differences in the way the footage is being rendered. One way to troubleshoot this is to compare the encoding settings between the two systems and make sure they are the same.

    If none of these solutions work, you may need to contact Adobe support for further assistance. Good luck!

  • Daniel Schultz

    April 3, 2024 at 10:17 am

    Thank you Hector. That makes sense to me. I’ll try your suggestions.


  • Daniel Schultz

    April 3, 2024 at 12:13 pm

    Just got some info from Adobe that fixed the problem.

    Here are the notes:

    Fixing Gamma shift

    Step1- check the properties of the clips from the project panel (left bottom side) then please check the color space{example:- video has rec 709 or HLG 2100}.

    Step2 – then click on the timeline panel on the right hand side of the bottom then right click of the mouse then >properties then check it the same video has same color space after confirming it.

    Step 3:- then go on the sequence setting >then check for the color space then match with the same clip example on seq setting it set on rec 709 but the clips has color space on HLG 2100 match it with the clip color space.

  • Hector Vera

    April 3, 2024 at 2:11 pm

    No problem, and glad at least you made some progress with your work! 🙂

  • Mads Nybo jørgensen

    April 6, 2024 at 1:45 pm

    Interesting thread, thank you.

    I’ve just finished editing a multi-cam interview, shot in 4K. But because of quick turn-around for Broadcast, I told the production only to turn up at my door with REC709 – which they did.

    Footage was of high quality, easy to grade, and went straight to a HD master without anything blown out, or up.
    (The biggest problem was artefacts generated by Adobe’s new A.I. Audio “improvement” tool(s))

    Although I like all the format options that a camera can spew out today, and often the “DOP” insist on shooting RAW or LOG because they can, but not because they know how to get the best out of it. Where as often it is REC709 that works best. Simply because it works straight out of the box (camera-card/SSD) in the PostProduction process.

    I know that what I suggest would be contentious to many DOPs and Camera Operators – but until they supply a LUT to match their thinking on set, or sit in on the edit where you are short in time to knock out the master(s), then I am perfectly OK with REC709.

    In other words, don’t think that one must shoot LOG or RAW (for HLG 2100 space?) because the camera can shoot it, when the viewer at home, or on their mobile/tablet device, is perfectly happy with what they are watching in HD, or lower resolutions.

    Just an opinion on a topic that we don’t often discuss.


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