Lg hdr 4k color profile mac3/2/2024 There may be "dimming zones" in some pro color grading monitors, small segments of the screen that can go 'blacker' than other parts of the screen. The pro Grade 1 Reference monitors are built to show a constant image, without the changes of the consumer gear. how do we know exactly what we've done then? It's. and then the monitor does it's thing to what we've done. And all this, no matter what we do with the color controls in Lumetri. The whitest bright specular will shift scene to scene, and within a scene, frame to frame. The blackest black 'here' may be X, but a few frames later it's. Everything from total contrast, shadow contrast, highlight contrast, shadow color, highlight color, midtones gray-scale & color, everything. Third, to prevent "burn-in" of brighter parts of an image actually physically damaging or destroying the pixels of the screen.Įven when we turn off everything we can, even if we have the 'tech remote' allowing access to the tech settings most users can't see, this still happens in the software and hardware of that screen.Īnd we never, ever, know exactly what's going on.Second, to match that manufacturer's "Ideal Viewing Experience".First, to remap the image content to the hardware limitations of that screen.Welcome to the rabbit hole!Īll HDR screens produced for consumer use mess with the image constantly. And I've got a lot more color grading experience than the average bear. I know I don't know that much about what I'm getting when I change something in Lumetri. ![]() So clearly, if your monitor has HDR capabilities, and you turn them on, you can at least sort of work in HDR within Premiere 2022 without the expensive connecting kit previously required.Īnd yea, I really, really want to be working in HDR. Even with only 94% of the P3 colors, the image is so much more colorful than the same clip viewed as Rec.709! What about the color though? The monitor 'claims' 96% of P3 color space, but after calibration the profile suggests reality is more like only 94% or so of P3.īut here is where the HDR really hits home. And that's not a lot more than the 100 nits of the Rec.709 calibration. My BenQ is only capable of 358 nits brightness after setting the white point to D65, not nearly the 1,000 nits minimum normally listed as required for a pro grading HDR monitor. It's actually pretty solid there, and is useful against a Grade 1 Reference monitor as long as I don't try for broadcast work.īut remember, for HDR, it's about both brightness/contrast and color, right? Set for Rec.709, I'm well within pro specs on deltaE variances on both tonality and color. I've run calibrations and profiles of that monitor in both spaces. At least, as much HDR as that monitor can do. I've heavily calibrated that to both Rec.709 (which uses sRGB color primaries) and for HDR. My BenQ PD2720U for instance claims HDR10 support. ( Also check out this FAQ on Premiere Pro 2022 changes to color management) what are you actually seeing? And are there problems that you can't see? This is where it goes far down the rabbit hole, and quickly. To just "play" with HDR work, or get some practice working with HDR tonalities, or to maybe put up a personal thing on YouTube, hey, go for it!Īnd yes, please do make sure the "Display Color Managemen" option in the preferences is checked! Along with the project setting of "Graphics White" to 203 nits for HDR work, the far more used option.īut. You don't have to have the BlackMagic or AJA output device simply to get HDR onto a screen. The 2022 version of Premiere Pro does allow us to simply set a monitor to its HDR settings and see an HDR-ish (at least) version of the image on that screen. How serious are you, is as always, the first question. So how do we go about getting a decent HDR monitor setup right now within Premiere Pro? better, "deeper" shadows, with far more detail and gradations.īut to get those in your image reliably takes a monitor that shows you what you're actually getting.
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