Exported Video Displaying color Diffrent then in Premeire Pro

Hi Ayush,

Welcome to the community! As R Neil Haugen suggested, such issues are generally caused by a mismatch in color profiles across various stages. To get started, please provide the following details.

• System specifications & the color space of the media files you are working with.
• A detailed screenshot of the options selected under Window > Lumetri Color > Settings tab.
• Also, let us know the export settings that you have used & the player in which you are previewing the exported media.

We're here to help, just need more info.

Thanks,

Sumeet

You didn't give the normally required data to do any troubleshooting ... OS/CPU/RAM/GPU, the number, type, and size of drives internally or externally connected and in use, and the exact version of Premiere as in 25.3.0 build X ... and of course, the media in use. 

That said ... I'm guessing you're on a Mac, you don't have Reference modes on your monitor, or at least, don't have them 'on' to HDTV if you have them, you haven't done any color management setup in Premiere, and you are looking at the media after export on QuickTime Player. 

Is that all correct? 

First, I work for/with/teach pro colorists, have for a decade or so, this is an area I've been through hours of discussions with color scientists, calibration experts, the top colorists ... and have read vast amounts of technical articles about. 

So, if my assumptions above are correct, there's several major problems, the first of which is you as the user need to learn about color management these days, at least a little bit. As there are several very different color spaces you could be shooting in, working in, or exporting to. You need to set that all correctly, and it isn't that hard.

IF you do pay just a bit of attention to it. (And I'm happy to give some schooling on it, ask away.)

The second problem, if you're on a Mac without Reference modes, is your computer does not play correctly with Rec.709 video files because of the unfortunate decision by Apple to use a non-standard display transform for Rec.709 (standard video) playback.

The long-held standards require the Rec.709/Bt.1886 media be displayed with essentially a gamma of 2.4, but Apple chose to use essentially gamma 1.96. So the shadows and mid-tones are lighter. Saturation seems lower. And they actually blew the hue remapping of the sRGB space data to the monitor's native P3.

You can play the video files in VLC and Potplayer, on that computer, and see if that is closer to Premiere. Probably very close ... because those two players do not allow Apple's ColorSync utility to set color management. And they use the proper display transforms.

And this is a mess. It is not fixable, you get to choose whether you only care about how the export looks on Macs without Reference modes, or on every other screen out there. Pick your poison, essentially.

In Premiere you can go to the Lumetri panel, Settings tab ... the tab named Settings.

Set auto detect log, auto tonemapping and display color management, along with Extended Dynamic range if on a Mac. Set the Sequence to Rec.709, and then ... pick your viewing gamma.

Viewing gamma setting changes the display transform used by Premiere for the Program monitor, internally. It doesn't change anything in an export, it's just you set the color/tonal stuff differently due to the displayed image being different.

Are you only worried about how it looks on Macs without Reference modes? Set the Viewing Gamma option to gamma 1.96. Done. Enjoy life.

Worry more about the rest of the potential viewers? Then pick either viewing gamma 2.2 or 2.4 option. If working in a normally bright room, you should use gamma 2.2. If working that pretty near darkened (but not black!) room that colorists must use, set the viewing gamma to 2.4.

And enjoy Life.

And always remember, no two screens are ever alike. They physically cannot be. You can't even match two identical reference monitors side by side, as has been demonstrated over and over again.

So no one on the planet will EVER see exactly what you saw on your monitor. It simply is not, nor will it be possible.

Pro colorists can't do that. We certainly can't!