![]() ![]() Still though, personally I feel like on a fundamental level: footage that has color space information tagged shouldretain that assigned color space. I suppose folks could also integrate SDR Conform into their proxy presets if they prefer, but that might have its own disadvantages. This way, the adjustment layer track can easily be toggled as necessary based on your proxy status. Typically in the realm of proxies, because I assume you cannot independently control color space for proxies (I have no clue if proxies are either ALWAYS 709, or just assume the color space set for the original footage)įor anyone reading this: I think this is an argument for using an SDR Conform adjustment layer for footage, as opposed to color space override. The more and more I read, it sounds like using color space override as a way to "trick" HLG footage into being SDR has some consequences. Just an update from what I've seen from others, as I think I've answered my own question now: 2100 HLG color space.įor the full HDR broadcasters workflow, see this page in the Premiere Pro User Guide. 709 color space & might result in an incorrect preview if used to export a sequence based on Rec. Please note that the Match Source presets use Rec.
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