Problema con la calidad a la hora de exportar

Macs use a non-standard gamma for screen display of Rec.709 media. Which causes no end of frustration and confusion. There are ways to make this a lot more usable though in the 24.x builds. ALL color management controls, including a few new ones, are in the Color Workspace Lumetri panel's Setting tab.

From project level through export CM, it's all there. And you need to go there to set some things.

First, most users, and all Mac users, should go to the Preferences section at the top of the Settings tab, and make sure that Display Color Management is set to "On". And Mac users should normally set the "Extended range ... " option to on also, though I'm not sure that does anything for PC use.

Next, in the Project settings, there are two things you really need to set: Viewer gamma, and auto-detect log.

Viewer gamma sets which gamma is used for the Program monitor during playback of Rec.709 sequences. It has three options:

• 2.4 (broadcast) ... the proper setting for those intending their media to go through complete broadcast spec uses. Most PC users will set 2.4 as their Rec.709 gamma.
• 2.2 (Web) ... an optional setting for web-bound sequences.
• 1.96 (QuickTime) ... the gamma that the Mac ColorSync utility is (for some unknown reason) set to use for Rec.709 video on Macs.

For Mac users, setting the third option means the video will look similar on your Mac both inside and outside of Premiere, on use in any appoication that allows ColorSync to control the display.

So QuickTime Player, Chrome and Safari browsers will show the same image gamma. However, VLC will probably show Rec.709 video with display gamma of 2.4. Also note ... all broadcast use is specified for gamma 2.4, and most PC and Android screens will also default to gamma 2.4. So ... it's a pick your poison thing.

And it sounds like you might worry more about what it looks on your Mac than my b-cast specced PC system. So select what works for you, as far as you can tell.

Auto detect log is a nifty new thing. While some Rec.709 media is log-encoded, all HDR is log-encoded. Such as iPhone clips, which are normally by default set to HLG these days, a form of HDR.

Auto detect log means that Premiere will look for log-encoded media, and if it 'recognizes' the log format, will pass the correct color presentation to any sequence, whether Rec.709 or HLG/PQ. That means you don't have to worry about manually setting the clip Color Management (CM) anymore for most media.

Next  ... the Sequence settings. Here are a few things that can vary per sequence, so you may return to this often.

• Working color space is where you set the color space for that seqeunce. And the choices are Rec.709, which is "SDR" or standard dynamic range, HLG, and PQ. The latter two are the HDR 'spaces' Premiere can work in. You will need to export to the same color space as your sequence, so choose the setting for this based on your export needs.
• Auto Tone Map Media ... this is another new and important setting. This setting causes Premiere to use a sophisticated algorithmic process to remap log and HDR media to within Rec.709/SDR limitations. Which are automatic, and far superior to most LUT based conversions.

This means that if you have the Auto Detect Log ... which covers all iPhone media ... and Aute Tone Map set to on, then dropping iPhone clips work as well on both HLG and Rec.709/SDR workflows. Which is spiffy.

And ... if you set the Viewer gamma to 1.96 (QuickTime) ... it would look the same inside and outside Premiere on your Mac.