Posts by dcsimpson

    i've been pretty active in that thread but I can verify that Premiere does pass through the HDR data because i am able to encode 4k HDR content from Premiere with HDR meta data so I'm wondering why the Voukoder plugin doesn't' recognize it? At one time it seemed like the rec2020 was an option for color space with voukoder but it has been disabled? The reason i ask all of this is i would much rather use Voukoder as my renders are superior than what Premiere natively does.

    I love the Voukoder plugin and the quality of the exports. But I'm wondering if there is a way to export HDR video files using the Voukoder plugin? Or is it limited by what Premiere sends to exporters? I can do it natively in Premiere but I'm not a fan of their compression.

    Not sure if you were aware of this but there is a Beta Program for Premiere now that includes the ability to select your own input color space. Between rec709 and rec2100. I've downloaded it and begun to experiment but am having no luck. It seems to only work with prores and sony clips embedded with rec2100 HLG and nothing else. PQ workflow is stated as not being functional yet. You can even alter embedded color space information but only if its prores or sony in the modify interpret footage section. If only it worked for HEVC clips then I would be in business. But anyway the beta premiere is very intriguing as it has a lot more options.

    https://community.adobe.com/t5…flow/td-p/11122932?page=1

    Too bad there's no way to remux a file and add those parameters without re-encoding. I found a forum that mentioned briefly that mp4box could do it but they didn't really explain how and I've found nothing to support that claim anywhere.

    Well I can confirm this method works beautifully. My outputs now look very very close to the SDR equivalent and tone map splendidly in Plex. The HDR metadata tool is awesome, thank you for sharing that with us. I would have never figured out how to do this without your help.


    There is a slight con however, which in all fairness you did call out. My intermediate ProRes HQ file was enormous. It was over 600 GB. Which in the end resulted in my final output file being double than what is typically created. I'm willing to live with that for my library but surely there is a better way to embed the REC709 info into my intermediate file? Even if it's just compressing the intermediate file with a very low CRF like 10 or something and embedding the 709 parameters. The absolute greatest thing would be to be able to change the color space metadata without the need for re compressing at all. That would be my dream.

    Ellie AND Aloy !? Truly a man after my own heart. Whatever you're working on sounds incredible. And fascinating find on going ProRes. I was actually going to do that initially when I first started down this rabbit hole, but not for HDR reasons, I had no idea what was awaiting me there, but I usually go ProRes444 on all my videos I shoot and produce outside of this hobby so I thought I would just use that again. But yeah HQ should be fine, you're probably right.


    I actually just started an encode of a 2 hour film with your old method right before I checked this board but I'm going to let it run and see what I come up with. My test clips before I committed using your old method still seemed over saturated but I had reached the point where I was willing to live with it as it was still the best method I had seen thus far.


    My question now would be when I go to export via voukoder can I simply just export a 10bit UHD file? Or do I need to add any of those parameters that you listed in the VUI section and embed HDR data? How would you export specifically? I don't believe Plex will tonemap unless I embed HDR data back in the file somehow but I could be wrong about that, I will test that tomorrow.

    Strange indeed. Well at least I know I haven't lost my mind. It was only when I went to modify clips and interpret footage to 23.976 that I could get things to play correctly but I never went as far as exporting it from premiere which i assume would have had issues.


    Thanks for all your help with this, your other method is still vastly superior to anything else I've found and have begin editing my films this way.

    Well no matter how many different ways I try to concat different files the outputs always read as HDR coming into Premiere. Not sure how you are doing your concats. My outputs even say rec709 in mediainfo so I simply don't know what's going on. Do you have a small clip that recognizes as sdr 709 you could share for me to import into Premiere?

    This time I embedded rec709 in the file i was going to pair with the source file and that all seemed to work ok and my output from the concat lists rec 709 in mediainfo so that part was good. But when I import into Premiere the hdr portion still looks really bad with highlights clipped. Bummer.


    But let's say it did work for me. How do you actually export from premiere at this point? At what stage did you produce that nice tone mapped image of Ellie? Do you export using all those methods that you described initially that include embedding the rec2020 color in the VUI tab and all that?

    I did try to do your method by first creating a 4k SDR file. I must not have done that correctly because there is no mention of Rec709 anywhere in MediaInfo. And then when I went to concat with my source 4k HDR file and the resulting output somehow changed to 37 fps. The source file is just a video track and it is variable frame rate because it was a ffmpeg copy of an mkv file to an mp4 with the audio stripped out.


    That is another headache I have not been able to solve. Copying from mkv to mp4 (to be able to import into Premiere) always seems to change the file from constant to variable frame rate. The reason I don't just concat with the original source MKV file is because I cannot create a 4k SDR file to pair with 8.1 DTS.


    All that being said I brought all this into Premiere and was able to Modify - Interpret footage to 23.976 and the video file somehow still matched my source 2 hour movie to the frame, i have no idea how but it did. But still Premiere recognizes at HDR I suppose because it loos like your last picture of Ellie with highlights clipped pretty bad.


    I imagine I messed up in creating the rec709 sdr file to concat with my source stage somehow. Any insights into how to create a 4k sdr rec 709 clip? Thanks for all your help.

    Forgive me but I still don't quite understand. So you're saying if I concatenate a 4k rec 709 SDR file with my actual 4k HDR source file and import that into premiere, premiere will treat it like a rec709 clip and it will look correct to the naked eye without any conversion, presets or anything?

    And then are you saying just export from Premiere using Voukoder like normal as a rec709 sdr 4k file?

    Ok thanks that's something to try. I wonder how in Premiere you can tell what Premiere thinks a file. I turned on the metadata display for color space and nothing shows for my HDR10 2020 4k mp4. Looks like i will have to create a 4k file to concatenate to pair with this because unfortunately there aren't many 4k assets out there in rec709 SDR that I'm aware of.


    One question I have though is if the HDR metadata gets stripped using your method then Plex won't recognize it as HDR and wont play it properly right? Also just for clarity you aren't suggesting that by concatenating the two files together that the HDR portion of it will look correct in Premiere are you? Sorry but I am a bit confused. You're saying that is Premiere ignores my input HDR metadata it will look correct and I can just edit and export without using any of these presets you created or export settings you detailed for Voukoder? Or are you saying ignore the presets but still in fact use your export settings for voukoder?

    I am able to correctly route and map channels in Premiere and audition, that really isn't the problem. The issue arises in how Voukoder assigns the channels upon export. After doing some extensive testing with exporting several different configurations I realized Voukoder no matter what exports the channel scheme as you mentioned above L, R, C, LFE, Ls, Rs. It does not matter how you arrange your tracks on the timeline Voukoder will export it this way. Perhaps this information will help some poor soul having the same issues I was having.


    But this works for me wonderfully now and sounds great on my surround sound system using Plex for playback. 2 small details to point out that may save someone the same headaches I had. In Premiere itself before you open the Voukoder tab make sure in the audio tab that audio is set to 5.1 as you mentioned above. And within Voukoder select AAC (FFMPEG) audio and within the options make sure you select "low complexity" I kept having problems when the profile was set to main or anything else but once I tried low complexity it worked like a charm.


    The other little detail is Premiere and Voukoder only allow a 5.1 export. So what do you do with a 7.1 mix? Well all I did was take those alternate left and right surround channels and routed them to the main left and right surround channels. I tested it out and it worked just fine. I could hear both mixed properly.

    First of all thank you, this is by far the best solution I've found yet for exporting HDR out of Premiere. Is this process still current as of now? The reason I ask is although my picture quality looks much much better it seems like the colors are almost TOO saturated.


    Just to give you an idea of what I'm trying to accomplish, I basically take in 4k bluray remuxes from discs I own into Premiere 2020 to make edits and then export back out to stream on Plex. Plex will play HDR content just fine. When I use this method Plex recognizes it as HDR and says so in the file data. So it seems like it's mostly working but I just can't seem to figure out why the color saturation is so high. The reds especially seem to be pumped up. It may have something to do with Plex's and VLC's tonemapping as well but I'm not sure. When I open in windows media player it displays the dull HDR image you're used to on a rec709 monitor. Just wondering if you've dealt with this at all and if there was a parameter that controlled saturation.


    Also if you want to apply your preset to the entire clip and proceed to make multiple edits you can simply drop it in the Master tab within the Effects Controls tab and it will apply it across every instance of that clip. Thanks again, this is amazing.

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    Hey thanks so much for responding. To give better clarity into what I'm actually doing, I am digitizing films I own and editing them to be able to watch them with my children. Sometimes removing a scene here and some language there makes all the difference. So I am bringing the remux'ed versions of 4k blurays with the audio converted from DTS to PCM 7.1 for premiere to read it. With the extra 2 channels I suppose I could merge those into the left and and right surround channels tht already exist. My question though is normally in premiere for example if you exporting via quicktime and not using the voukoder plugin you can tell the export what order the tracks correspond to what channels like in the screenshot I attached, but you cannot do this once you select voukoder. So what channel mapping order is voukoder using? How do I know what I have as the center channel in my premiere timeline isn't going to the left channel for example in my final export?

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