When will Mac users be able to get export in the correct colors?

The problem is Apple's creation and cannot be solved by either Adobe or BlackMagic ... or any colorist or color expert on the planet. Here's the full explanation.

The Rec.709 standard includes both a scene (camera) transform function and a display transform function. Professional applications like Premiere Pro, Resolve, and Avid conform to and assume displays set according to the full Rec.709 standard.

Apple, for some reason, came out with a bizarre "Rec.709" setting in their ColorSync color management utility. It applies the scene (camera) transform to Rec.709 video files but does not apply the required display transform.

And that is the problem, the display of Rec.709 media on your Mac. Effectively your Mac uses a display gamma of 1.96 when the proper standard is 2.4.

The file itself is fine ... and will be seen correctly on any system that displays Rec.709 media correctly, using the 2.4 monitor gamma.

So that file displayed on my highly calibrated & profiled setup will be as you expect.

UNLESS ... you mod it with that LUT!

Or, within Resolve, use the "Rec.709-A" export option. And yes, A is for Apple, which sets a different NCLC tagging on the file, which triggers Macs to use gamma 2.4.

However, on most non-Mac screens, the behavior is triggered to use a dark gamma, so the result on non-Macs is like using the Adobe export LUT: too dark/oversaturated.

If you darken that file on export to look good on your Mac, either via the Adobe LUT or "Rec.709-A" in Resolve ...  understand ... that file will now look bad on all properly working Rec.709 compliant screens!

It will be too dark in the shadows, with probably crushed blacks, and way over-saturated.

Because there's simple math involved here: you cannot display a file at two very different gammas and get the same visual appearance on the monitor.

And yes, this is as frustrating for pro colorists (primarily based on Macs) as it is for you, as there isn't any "solution" possible. There are various workarounds & compromises; that's it again because you can't show the file in two different gammas & get the same visual result.

And ... did you realize ... your Mac is doing the same thing to all pro video media you view on that rig as it's doing to your file? Probably ... not ... as it's what you're used to seeing, so it looks 'normal.'

One of those things colorists have to learn from the chute: you have no control over whatever after your media leaves your machine, and no one will ever see exactly what you saw on your device. These are the two guarantees of the pro colorist Life.

Neil

Here's a thought. The color space on your mac does not apply to the preview monitor on Premiere, and hence since it will affect whatever player you are using, you will see a difference between Premiere and the final export.

Bring back the exported file into premiere and compare it, it should look fairly the same with the edit on the timeline. If it is, you need to play around with your apple color management settings to match it