There's so many things that could be in play in your specific situation, we'd need full details before even guessing.
OS for certain. The original media involved, any effects, export settings, and where/how you're 'seeing' it elsewhere. What kind of calibration you're running on your monitor. If you've screwed up by setting the OS or GPU to run in "0-255" or full range mode, which is WRONG for nearly all Rec.709 video. That sort of thing.
First ... no pro colorist can EVER produce media that will look exactly like it did on their expensive Grade 1 Reference monitor, when displayed anywhere on any screen. Not even on two screens in their own suite ... calibrated with thousands of dollars in gear and hours of time. Which is why they don't want the client sitting in on the grading to be able to see their reference monitor. They want the client to ONLY see the screen they have setup for the clients to see.
"Make this screen look like that one" will occur otherwise ... and you can't. Or it would already.
Every screen, app, and device will do something differently to the signal. So a pro grades on a system set to a known standard, and lets it GO. Once "out there" whether it's broadcast networks, streaming, movie theaters, web, doesn't make any difference. It will never look like it did on their screen.
BUT ... in relative terms, it will look like all other pro produced media on that individual device/screen.
So you have to first understand that ... and that different players, browsers, and web services will all do their own thing to the signal. It's Life as we know it.
Next ... if you do have a Mac, they did a really strange thing. When they set up their ColorSync color management utility, they applied only the camera-referred transform of the original, 20-years-ago Rec.709 standard. That's how they came up with the 1.95 gamma they apply in ColorSync. That standard was meant to be used on the old Cathode Ray type of TV. CRTs. Which essentially by their nature "applied" an effective gamma to the signal.
The standard was updated about 15 years ago, when CRT screens were dying out and digital tech was taking over. Because, in order to get the equivalent view on a digital screen, it required applying a second 'display referred transform' to the media file. To apply a display-referred 2.4 gamma. Which is the Bt.1886 addition to the Rec.709 standard.
Apple chose for some odd reason to only apply the original gamma meant for CRT screens.
Premiere Pro is designed for a "modern" use up to full Rec.709 standards, assuming the screen is in gamma 2.4 (semi-dark room) or 2.2 for 'bright room' viewing.
There's no way around that mess. If you grade the file to look good outside of PrPro on a Mac, it will be way too dark/contrasty/saturated on most Androids and PCs and TVs.
If you grade it to full Rec.709 standards so it plays relatively the same as other pro produced material (as colorists do), then view it in most apps on a Mac, it will be a bit lighter especially in the shadows and saturation might appear a bit 'thin'.
I think VLC skips ColorSync though, so some say it actually shows the file correctly on a Mac.
Yea, it's a right pain. The colorists I know are nearly all Mac people, and they ain't happy either.
Neil
thanks but the solution was strange but simple.
i had 6 audio tracks. 3 were blank. when i toggled the track targetting for those blank tracks to off. the problem solved.
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