Video não exporta com edição de cor de Lumetri

[Felipe Mascari]

Estou utilizando a versão mais recente do Adobre Premiere 2023 e enfrento um problema que não consigo resolver: quando faço a exportação do material, o vídeo final não possui as edições feitas, com alterações nas cores e inclusão de um "look" na aba de criação.

Mostro o exemplo abaixo:

IMAGEM DO PREVIEW NO PREMIERE 

IMAGEM DO VÍDEO EXPORTADO

Já busquei soluções em outros fóruns e não consegui resolver o problema. Reinstalei o Adobe Premiere, falei com o suporte, revisei as opções na exportação, e nada. Sempre exportei vídeos com correções de cores e nunca tive problema, o que também pode indicar que não é problema no QuickTime.

Atualmente, utilizo um Macbook M1, 8GB de RAM e com o sistema Sonoma 14.2.1.

[MyerPj]

Did you try adding the exported file back into PP and compare the results there.

@R Neil Haugen

[R Neil Haugen]

Color Management 101 ... something we all have to learn now. It's not difficult but it can be picky.

You may be dealing with HLG/HDR clips there, but down below I'll explain how to get out what you want. Simple settings options.

But you're on a Mac, and that's problematic to begin with. Especially if you're trying to do Rec.709/SDR video exports. Apple chose to use the camera transform function of 1.96, as the display transform function.

The standards specify that gamma 2.4 is to be used for Rec.709 video, and that's used by all professional broadcast and streaming services. So QuickTime player will show the image lighter than it was graded as under a proper pro colorist's setup.

Further, under rather rigorous testing of gamut by a colorist I've seen recently, Apple's color management doesn't even correctly remap the hues of the sRGB/Rec.709 color space to the native P3 of their Retina monitors. So ... there's a two-fer issue that underlies Rec.709/SDR images on a Mac system.

And note, Apple now has some newer Macs with "reference modes" in their viewing CM setup. Those Macs can use the HDTV setting, and get full-on pro Rec.709, gamma 2.4, remapped pretty good.

So being as you can get two different images on a Mac with reference modes depending on how you set the monitor, one of the the usual Mac lighter view, the other the pro standards view ... yea, that part is within Apple's purview. And is the cause of the pick-your-poison option we all have to deal with now, whether on a Mac or not.

Color Management Settings

For all work, either SDR or HDR ...

• Display color management and Extended dynamic range (this latter Mac only) to on.
• auto detect log and auto tonemapping are interactive! ... both should be on.
• Sequence CM set to the color space you want to export to: Rec.709, HLG, or PQ.
• use only the export presets built for your sequence CM. Rec.709/SDR sequences, do not use any export preset with HLG or PQ in the preset name. For HLG or PQ sequences, use only those presets with the right HDR format in the preset name.

That's easy enough, and should get you to what you want ... except for the last, pick-your-poison choice, that affects SDR/Rec.709 workflows more than HDR.

Viewer Gamma Settings

What ... do you want? You can't have everything right ...

Gamma 1.96/QuickTime ... this option sets the internal Premiere Program monitor similar to the ColorSync gamma 1.96 view of the QuickTime Player, Chrome, and Safari browsers.

The good! ... what you see outside Premiere in QuickTime Player, Chrome and Safari browsers .... on Macs without reference modes! ...  is what you see inside.

The bad! ... what anyone with a Mac with Reference modes, all broadcast setup systems, most TVs, PCs and Anddroid devices, will be a lot darker, some crushed blacks, and color over saturated.

Gamma 2.4/broadcast ... this is the standard use for all professionally produced Rec.709/SDR media. Period. Even though most colorists are based on Macs, but almost no one grades professionally on a computer monitor.

The good! ... what you produce, on any screen out there, will look relatively like other professionally produced media on that screen. Also, on broadcast spec systems, and most TVs, Android devices and PCs, it will look roughly similar to what it was inside Premiere on your machine.

The bad ... outside of Premiere on non-reference mode Macs, it's gonna be somewhat light and unsaturated in appearance.

Gamma 2.2/Web ... this is used by some as a kind of sort of in-between option. Do NOT use for any professional work, but outside of that, it's your call.

The good! ... it's not going to be quite as light on Macs nor quite as dark on everything else.

The bad .... it isn't going to fit "the standard" anywhere, but then, no screen will so maybe ... ?

Note: I work for/with teach pro colorists, mostly based on Macs, total Apple geeks, who are all furious with Apple over this mess. Resolve, Baselight, whatever you're grading in, you get complaints about this. There isn't "a fix" that anyone can make as you can't display an image with two different base gammas and get the same visual result.

The other thing that colorists are trained is to grade it and forget it. Grade to the standard, tightly ... then let it go "out into the wild". Because no one will ever see exactly what the colorist saw, no matter how it's delivered and viewed. Broadcast/streaming/theatrical, every screen is different.

But if you grade tight to the standard, then ... in relative terms! ... your media will look similar to all other professionally produced media on any screen out there.

Because you can't fix gramma's green TV.

[Felipe Mascari]

Acabei de fazer isso e o video exportado apareceu com a edição de cores que esperava. O problema está no QuickTime? Se eu publicar o vídeo no YouTube estará com a edição de cores visível? 

[Felipe Mascari]

@MyerPj 

Acabei de fazer isso e o video exportado apareceu com a edição de cores que esperava. O problema está no QuickTime? Se eu publicar o vídeo no YouTube estará com a edição de cores visível? 

[R Neil Haugen]

Felipe,

The last comment of mine ... "You can't fix gramma's green TV." ... is an essential thing to understand.

Set up your system "correctly" according to your choices, as listed in my post above. That's really the only place you have control, and once you've made the choices appropriate for you, it's Done.

Do your work under those settings. 

If the color corrections you do, show in the exported file when reimported to Premiere ... then those corrections/changes are in the file, period. This is why many professionals simply leave the 'reimport into project' option selected on exports. To check the export.

This is where that understanding how the Apple odd gamma affects things, and knowing/deciding which setting for viewer gamma you prefer, and then, just ... sticking with your choices ... is what you need to do.

And once you deliver the file to the 'user', whether via YouTube or handing off a portable disk or online/whatever, you have no control whatsoever of how anyone ever sees that file.

How any system/device/player whatever displays that file ain't something you have any control over.

Even on the same screen ... a phone on a noon park bench ... then finish the show that night in a dark bedroom ... that image won't look the same.

Take two "identical" monitors, side by side, same input feed. In a pro colorist's suite with high-end SDI connections from a LUT box. Heavily calibrated/profiled by a spectro costing more than your entire video gear, cameras through computers ... you will not have identical images.

Check the exported file in Premiere, with the viewer gamma set to your choice. For the work you need or choose to do.

Then you're done. And what anyone sees ... well, that's not your concern anymore.

[MyerPj]

I would suggest doing some tester. The problem is not in Premiere. Apple caused this problem. It was really a strange decision when they went this way. The problem is the mac and in particular it's monitor.

Try to absorb what @R Neil Haugen is saying, he puts his heart into these comments to help those posting on this site.