Last fall, shortly after the announcement of the iPhone 12, we published a video where I explained how to work with the new feature High carina kullmann commercial employee tel-Range (HDR) by Final Cut Pro. Because of all the confusion and downright false information that kept swirling in the intertubes, I decided it was time to make an update.
People’s main problem is that they film videos with iPhone in HDR (knowingly or not), then import the clips into Final Cut Pro and discover that although they look great in the browser, they appear radically overexposed once in the timeline. So you do a quick Google or YouTube search and are asked to use the color space replacement feature to fix the problem. Unfortunately, this is bad advice. In this video, I explain what this feature actually does, why it makes the video so beautiful on an iPhone and other iOS devices, why it looks so bad in Final Cut Pro, and how to treat it properly by using two different methods (none of which uses color space replacement) in Final Cut Pro.
HDR is a complex subject, and by simply recording it in HDR on iPhones, Apple has integrated it into the general public. The first thing you should know is that once you enable HDR on iPhone 12, you will be filming in the HLG profile, but you will also be saving DolbyVision metadata along with the video clips. Many people assume that because it is DolbyVision, it must be in the PQ profile, but in fact it is HLG.
When working with HDR hardware-Hlg or PQ-your first question must be: what do I deliver? If you deliver in HDR, your workflow is different from that provided in the standard dynamic range SDR or Rec. 709. While more and more distribution platforms support HDR, I doubtful that most people working with iPhone HDR sequences in Final Cut Pro should still be delivering SDR. Watch the video and let us know what you think of it. Discover all our Final Cut pro training here.