correccion de saturacion en Encoding

Apple's bizarre choice for Rec.709 display tranform ... but again, only for Macs without reference modes using their HDTV setting (which does apply the correct display) ... just muddied everything worse than it already was.

First, there is no color-accurate setup out there for consumers. Period. Some of the upper iPads, when set to certain settings, can in a semi-darkened room almost match a colorist's highly calibrated Grade 1 Reference monitor view. All other screens will be all over the place.

As pro colorist's are taught, no two screens will ever show identical images. Even two "identical" monitors, calibrated, then profiled to check the calibration, side-by-side, fed the same image signal from the same breakout box ... will not show visually identical images.

Given that all screens vary from the moment of manufacture of the pixel panel, and then get different hardware and firmware and such ... no one can possibly see anything other than something similar to what you saw creating a video ... mostly sort of, kind of.

So the profesional "Ideal" is to work as tightly to the specs as possible, with the understanding that the result will be to place your work into the general professional video view on all devices. Relative to what that device does to images. Not to make it like you saw it. Which won't ever happen.

Pro colorists work in a semi-darkened (pretty darn dark) room to the specs, with a tightly manufactured D65 color bias light behind the reference monitor, lighting the carefully dead-on neutral gray wall or curtains behind the monitor to barely a light visual 'ring' around the monitor. And the monitor in that viewing scenario should be using essentiallly gamma 2.4 for the display transform for Rec.709 images.

But ...!!!! ... if you work in a normally lit room, the same specs say the monitor should be set to gamma 2.2!!!! So most people should use Premiere's viewer gamma option of gamma 2.2 as they do not have that nearly darkened room to grade in. The 'eye' will lead you to give a similar tonal value as in the darker room.

The reason for the darker room is because then the eye 'sees' color and especially saturation/density more differntiated than in a brighter, normally lit environment.

So it isn't specified as a darker room for tonal corretion, but for color saturation/density.

Well ... the same tablet on a park bench at noon, and a darkened bedroom at night, will display the same video image 'differently' in your visual perception. And every device out there will have it's own 'view' of things. Different from every other device.

So in the end Apple's bizarre choice muddied things up, but it was a mess anyway. Take your pic.

I generally recommend using the gamma 2.2 viewing option in Premiere as most people don't have a darkened neutral room while setting color. And for Macs, viewing in VLC and Potplayer and Firefox, if you want to check color/tonal stuff outside of the Apple playground.

That will get you sort of more centrally in the ball park of what the majority of viewers will see.

But those aren't color-managed!

They aren't color mis-managed! Which is what Apple does intentionally. Apple's CM is a buzzword that ain't so good, and again, varies between different 'types' of Macs.