We're sorry about the poor experience. Let us know the version of Premiere Pro that you are using. Also, please share a screenshot showing the difference in the preview of the timeline & the exported media.
Hello, I have exactly the same problem.
This is the calibrated image in PREMIERE PRO.
And here’s the export.
Can you help me with this, please?
There can be several things at play here.
First, the Mac color management utility ColorSync does not apply full proper Rec.709 standards to displaying Rec.709 video ... and Rec.709 (also now called SDR) is still the vast majority of media 'we' work with and make. And watch.
Apple chose to apply an odd gamma, and not to apply the required display transform. Between them, that's ... a lot of change to the image. Outside of Pr, the video will seem lighter especially in the shadows, and with a bit less saturation.
Within Premiere on a Mac (and many PCs) one should have the preferences option for "display color managment" checked. This way, Premiere will remap the image for showing within Premiere based on the ICC profile of the computer, and not assume the monitor is a proper Rec.709 setup.
It gets a more acurate in-Premiere display on most systems. But ... it can't help outside Premiere, because of the odd way ColorSync plays Rec.709 media. And there isn't really any fix possible. Two different ways of displaying the pixels will always result in two different 'views'. I work with colorists daily, most of them Mac based. They can't change this either.
There are other things that can be going on with color in Premiere right now. They've made massive changes to the color managment (CM) user options and in the app's default behaviors with especially "recognized" log media formats. And between them, they're throwing a lot of users for a loop.
We need the new options ... but ... if the users don't know what's changed and how to work with it, there's problems. I've written a forum FAQ about this part, what's changed, where there are still problems, and how to work with the new controls and default behaviors.
but why don’t I have this problem on FCPX?
FCPx is the "house" app. You're working from the get-go in their odd CM setup, and not according to the video Rec.709 standards. So of course it's the same inside/outside FCPx on a Mac ... as long as you're using an app or service that uses the Mac color management.
However ... take that file into a system that is fully Rec.709, and ... it will be dark and over-saturated. Why? Because when you're working, you're shown an image that is using a "brighter" gamma and doesn't apply the second part of the Rec.709 tranforms, Bt.1886.
But ... on a Mac I'm told ... play that file in say VLC or within Firefox, neither of which allows the ColorSync "control" ... and you'll see what say a PC user might see. Or closer to what a broadcast compliant Rec.709 system would show.
It's a mess, really. And no way around it. My colorist buds are beyond furious about it, but ... no one at Apple is apparently even willing to talk about changing their behavior. And no one working color professionally can work according to Mac color management.
They're beautiful screens, really. No question. But choosing to be "uniquely Apple" in this manner isn't a good thing for their users.
I wish there was a real fix ... but it's just something to be aware of.
But you also need to realize this: no one will ever see exactly what you see on your screen. Ever.
Colorists work on systems where the monitor costs more than your full computer/monitor setup. That's if their only working SDR. If they're doing HDR, the monitor alone will cost as much as your car ... very literally. If you've got a nice car.
They pay more for their color management devices ... spectroradiometers and the apps that work with them ... than you've paid for that computer.
And they can't "make" one person ever see what they saw on their screen. Because every screen out there is a bit to a lot different in capablities and native 'view' than every other, the user settings and apps are all over the place, and the viewing environment is all over the place.
Watching something on a phone in a park at noon versus in a dark bedroom at night on the same phone is a major difference in how the contrast & saturation and color will appear.
Not even the folks I know doing major "long-form" of the movies you see in the theater can totally get what they see in their suite "on-screen". Each of the three different major movie theater projectors is a bit different, and depending on how recentlly (and how well) they've been calibrated, the image varies a ton from room to room.
So ... colorists say get a good setup, close to standards. Grade to the setup. And let it go, as out in the Wild, you have no control. And just realize that if you do grade to a standard setup, "out there" ... your work will look relatively like all other professionally produced material.
Because, guaranteed, no movie or TV you watch on that computer from Chrome/Safari/YouTube is showing you the same image that was on the colorist's screen while grading.
Has that bothered you? Have you even realized that?