So Adobe new update of Premiere Pro says it includes Color Management for H.264 and HEVC as a new features. The feature describes itself as the following:
With new color management for H.264 and HEVC formats, Premiere Pro interprets the correct color space when importing these formats, including 10-bit and HDR files. For exports, Premiere Pro includes the correct color space metadata with your output files, ensuring that your colors will display correctly on the destination platform. When creating new sequences, you can choose to Match Source or apply the color space you want to use, depending on your working media.
I was hoping this would add the ability to add tags to exported H.254 videos so that they would display correctly anyplace, but especially on Macs. Macs of course have the weird gamma shift issue because of how they handle color, so Apple’s apps work correctly, but everything else has the wrong tags, so you have to watch your video in an un-color managed app to see what the clips will actually look like.
Now DaVinci Resolve has the ability to change the gamma tag in an exported H.264 clip.
Here is I change the Gamma tag to Gamma 2.4, which is what I am working in to get correct Rec.709 video
If I set the Gamma tag to Gamma 2.4, the exported H.264 video plays back correctly both in Quicktime as well as in VLC. I was hoping this is what Premiere was doing.
Unfortunately I immediately opened my current Premiere Pro 2021 project in Premiere Pro 2022 and did an H.264 export matching the export i did yesterday, and as far as I can tell it is exactly the same as the clip I exported yesterday with the gamma shift and all in Premiere Pro.
I checked out the video info in Quicktime on the clips, and the clip from 2021 and 2022 match exactly like this:
Interestingly a video exported from DaVinci with the Gamma 2.4 tag does show up with different info in Quicktime. It looks like this.
Unless I am completely missing something in Premiere Pro, I am not sure what they actually changed here.
It’s new features tie into the new features of After Effects and Premiere Pro, most excitingly with COLOR MANAGEMENT FOR H.264 and HEVC on Import and Export! WOOHOO FInally working around Apple’s fucked up color on the mac, and like DaVinci before it, letting you export compressed video with proper metadata tags so that it will display correctly whoever is looking at it! I literally have problems with this every single day, so I can’t wait to give it a try. This is game-changing if it works!
Also included is Color Management for Sony XAVC-L-HDR and Faster Rendering for After Effects with multi-frame rendering, should be 3x as fast! Woohoo!
Adobe has updated Premiere Pro as they go into the onine Adobe Max this morning. I have to say I much enjoy being able to see all of the classes online.
*We get unified version numbers across the video suite, so all compatible versions will now be version 22 (should’t they have just gone back to 1?)
*Speach to Text Improvements with improved accuracy for pop culture terminology and better formatting of dates and numbers
*Simplify Sequences has moved from Beta, I still think this could have been a great spot to add in unmerge, since merging audio clips is totally broken.
*Color management for H.264 and HEVC H.265, WHICH IS HUGE! You can now include correct color space metadata on exports, like DaVinci has allowed you to do for a while. So people on Macs should actually see what your show will look like correctly.
*Improved 10 bit HEVC playback and improved M1 support (lets hope it includes M1 Pro and Max support)
•Color management for Sony XAVC-L-HDR
•A new colorized vectorscope
•Improved Histogram
•Lumetri curve refinements
•Restore trim selection in the timeline
•Improved Media relinking for Team Projects
•Improved Bars and Tone for both HDR and SDR.
•New GPU Acceleration for effects, Alpha Glow, Mirror, Reduce Interlace Flicker and strobe are GPU accelerated.
AND IN BETA
•REMIX powered by Adobe Sensei, to intelligently re-arrange songs so that music matches your video, instead of cuts and crossfades let it do it itself. I can’t wait to try this out.
•Auto Tone, better auto color in Lumetri, a good start point.
*Speech to Text on-device without the internet for faster results.
*Improvements for new Import Mode, which is good because it needs a whole lot of work.
Now it uses teraflops to compare it to what the equivalent processor is, meaning the top of the line is equivalent to a Radeon RX Vega 56 or GeForce RTX 2080.
Which also means my Radeon Pro Vega 64x, which can do a bout 13.5 teraflops (12.5 teraflows for the 64) is still better, but still slower than a RTX 3060 Ti or above processor.
So I have written about Sofi Marhsall’s Ultimate Rea-Time Editing Workflow (That Won’t Break the Bank) and just wanted to give a little Update on how i have updated that workflow because of my setup, and the difference for me is that I run a older Blackmagic UltraStudio 4k as my video out, which I run to a Samsung HDTV.
I followed her instructions and got a BlackMagic Web Presenter, but got the UltraHD version so I can do 4K video, and it does seem to work just fine with either the front or back USB C unlike the older version she used.
And because I am not using USB-C to HDMI cable for my setup, which is also going to eat up a more of your video ram (displaying as a second monitor. Instead I ran a BNC Cable from my UltraStudio 4k into my BlackMagic Web Presenter, while my Samsung is running out of the HDMI out of the UlraStudio 4k. Sofi’s version is setting up the web presenter as a second monitor, but I am already using a second monitor on my computer, and would rather run the direct output from my UltraStudio from Premiere (or DaVinci or AVID) into my Web Presenter, and you don’t need to setup the web presenter as a second monitor.
My Web Presenter lives on top of my UltraStudio 4K (the Emotive is a DAC I use for listening to music off my computer) someday I will get a rack mount to put them in.
Whatever you are playing back shows up on both monitors for me, and I can see on my TV, which is the black line at top with the power cable running down the wall, and the usb cable to the computer allows the web presenter to act as a USB web cam.
Premier Video Output Settings
Premiere Pro Menu > Preferences > PlaybackMy playback settings set to Blackmagic Playback with Disable Video Output when in background disabled!And the Blackmagic playback setup settings for my UltraStudio 4K
So in Premiere I am playing back through Blackmagic playback via my UltraStudio 4K, and I have disable video output when in background (which I usually have checked, disabled, so the signal keeps going to the webcam constantly.
Now again differing from Sofi Marshall here I have the audio setup differently, as she is using Loopback to send the audio to the Web Presenter, but I am using Premiere Pro directly. I am still using Loopback, but differently as I will show.
So for Premiere Pro I go to Premiere Pro > Preferences > Audio Hardware to setup direct audio to the UltraStudio 4K.
Premiere Pro Menu > Preferences > Audio HardwareAudio Hardware Preferences, default output to Blackmagic Ultrastudio 4k and Map Output to Blackmagic PlaybackDefault Output selections, I actually usually use Edirol UA-1D which I have an optical cable coming out of to my Edirol and an Emotica AMP for my Speakers as well as a FireStone Audio Headphone amp, and use blackmagic to show sound sync on my TV, but I can live with the sync being the same as the computer monitor most of the time, but for this I use send the audio to the Blackmagic UltraStudio 4k.
I then follow Sofi Marshall’s directions on creating Loopback Device 2, which combines the iMac Microphone (her external microphone) and the audio from the Web Presenter.
I have created my mic for zoom, the “Mic & web Presenter” with the External Microphone and the audio from the Web Presenter 4K combined.
So here is my loopback microphone setup so my cut can be shown with audio and they can here the microphone.
Now since I am running the audio directly to monitor my audio for me it would be coming out of my TV which would then show up in my microphone, so I can’t have that, so I must mute my HDTV, and I want to hear my edit through my headphones. My headphones are running through my Edirol though could be just the headphone jack, so I have made a loopback to send Premiere to my Edirol.
I have also made a setting for DaVinci exactly the same but with DaVinci.
These send my audio from Premiere or DaVinci to my headphones. Now we need to setup zoom.
Zoom Menu > PreferencesZoom Preferences ? Video for Camera I have selected my Web Presenter 4K as the video, with original ratio and HD.And Zoom Preferences for Speaker I send the audio to my Edirol (which could be headphone jack) and for the microphone I select Mic & Web Presenter which I created in Loopback.And make sure to turn on High-Fidelity Music Mode and Stereo Audio.
Now you can do a zoom using my video out from Premiere and Web Presenter. Thanks to Sofi Marshall, as I would have never done this without her.
The camera includes built in LiDAR focusing, which can be used with all the compatible lenses, autofocus and manual that work with the camera, and built in Wireless Transmission to multiple receivers at 20,000 ft, including a full wheel system. Both cameras have dual native iso, the 8K is 800/4000 and the 6K is 800/5000 and both have 113+ stops or more of Dynamic Range. And built in 9 stop ND filters! The lens work with interchangeable lens mounts, from DJI’s propriety DL mount, to Leica M mount.
With the built in LiDAR it can do ActiveTrack Pro for autofocus subject tracking and shows a LiDAR waveform for enhanced manual focus. The remote receives can also have full control of the camera for an operator. It can also shoot to CFexpress type b, external USB 3 or an internal DJI ProSSD. And it has built in microphones, plug 3.5mm and XLR microphone inputs. Also impressive are sensors on the bottom that help with balancing, though someone will have to make plates that have holes fro the sensors. And it can record in H.264 or ProRES or ProRES RAW.
Now the lenses are where I think this will be more of a purposeful camera vs a camera you shoot full features on, because it has limited lenses it is compatible with (and impressively you don’t have to do much to balance the cameras with these lenses). Here is the list of lenses in pdf form, there are currently 3 DJI DL lenses, 8 M Mount Leica lenses, 38 E mount with lenses from Sony, Tamron, Zeiss, Sigma, Voigtlander and Sirui. These are all pretty small lenses and not the lenses that pro cinematographers are going to want to use, but for certain situations this will be an impressive camera.
It is a beastly looking camera and a strange body. I am guessing you mostly use it with handles on both sides, but it can also work shoulder mounted.
It does seem expensive, but wait until we see how well this thing shoots. Actually I would like to see something much more in between this and the awesome DJI Pocket.
It includes the ability to edit cinematic mode videos. And on the M1 Pro and Max it can not support 7 streams of 8K ProRES at full resolution (they do have a ProRES playback module!) and export ProRES up to 5x faster. And it now has a built in Object tracker
Motion can render 2x faster and cvan play 2 streams of 8K video at 5x the frame rate.
And on the MacBook Pro Compressor can transcode HEVC Video up to 2x faster and transcode ProRES up to 10x faster.
Logic Pro hits version 10.7
And this one focuses on Spacial Audio, with Dolby Atmos Music files.
Always love Apple giving new free upgrades to their software. Now I just hope Adobe gets support for Cinematic Mode soon in Premiere Pro.
And the rumors were right there is a damn divot for the camera just like the iPhone and iPad.
These are much more pro machines, with a much more pro price. And you had better pay for as much as you can as you will not be upgrading anything after you purchase the machine.
For $1999.00 you get an 14″ with 512 SSD 8 Core CPU, 14 Core CPU and 16GB of memory. It is an additional $400 to move to 32 GB of Memory, and $200 to move to a 10 core CPU, 14 core GPU, or $300 for 10 core cpu, 16 core gpU, $500 to movew to the mac with 10 core CPU and 24 core GPU, or $700 for Max with 10 Core CPU and 32 Core GPU.
Or for $2499 you get the 10 Core CPU, 16 Core GPU and 1 TB SSD with 16 GB of memory, which makes a $200 upgrade to M1 Mac with 24 core GPY or $400 for the Max 32 Core GPU, with the same $400 to go to 32 Gigs gigs of memory.
The 16″ starts at $2499 with 10 core CPU, 16 Core GPU, 16GB of memory and 512 ssd, then $2699 for the Same with 1TB hard drive or $3499 with MAX 10 Core CPU and 32 Core GPU with 32 GB memory and 1 TB SSD, this top model can hace 64 GB of memory for $400 additional, and SSD’s are $400 for 2tb, $1000 for 4tB and an eye watering $22000 for 8TB. So for a top of the line with 2TB SSD and 64 GB of RAM you are talking $4299.00.
Damn I would love to play with one of these and see how well this thing edits, it sounds like the first pro machine that could really handle some high end editing, graphics and color correct. And it gives me hope for the non-portable high end machines.
I do this means when the M2 Pro and Max chips come out, hopefully they will include a 128 RAM version, and have at least 64 cores for video, but maybe even 128. Sure it will be a 10,000 machine at least, but with that and probably 4 cores for ProRES Playback we are talking some serious editing machines!
