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Question

QT Gamma Compensation LUT confusion

Forum|Forum|7 months ago
July 31, 2025
3 replies
7421 views

After noticing that my exports were coming out a tad too bright, I started exporting using the QT Gamma Compensation LUT again. I exported and entire feature length documentary recently, which a company is currently prepping for all major platforms. When I initially sent them the file, one of the producers checked it for me (I didn't have time), and said it looked great. However, I just discovered that much of the documentary, which was graded by a professional colorist, is noticeable dark now. I'm sooooo bummed... The results are identical on both the Prores 4444 and the H264 masters.

Can anyone help me understand when and when NOT to use the QT Gamma Compensation LUT? I could really use a solid (do it this way, don't do it that way) for future exports so I can avoid these issues?

S

Sandip_Rathva8911

Participant

Subject: Urgent: Export Error Issue – Requesting Immediate Assistance

Dear Sir/Madam,

I hope this message finds you well. I am reaching out to inform you that I am currently experiencing an issue with exporting a video. Despite several attempts, the export is not completing and an export error continues to appear.

As per your previous guidance, I tried to download and apply the QT Gamma Compensation LUT, but I am unable to do so because it is not available in your provided settings or download options.

This is an urgent matter as I need to deliver the final video to my client by tomorrow. I kindly request you to provide a solution at the earliest.

R Neil Haugen

Legend

For that dialog, you should go to the specific timecode set, and rebuild those few seconds. Which will probably fix your issue.

As a person heavily into the colorist side of things (I work for/with/teach pro colorists) ... I don't recommend that export LUT at all.

In "modern" Premiere it is neither needed nor useful, which is why it's not there.

If you want to set your image to Apple's brighter gamma display transform .... simply set the display color management and extended dynamic range on, set viewer gamma to 1.96, and correct your image.

It will then look the same in QuickTime Player, Chrome, and Safari on Macs ... but only those without Reference modes set to HDTV.

On all other systems ... Macs with Reference modes set to HDTV, most TVs, most Android ... all broadcast compliant displays too ... the image will be too dark and oversaturated.

Oh ... even on Macs without the Reference modes set to HDTV .... if viewed in VLC or Potplayer, the image will be the dark one that others will see.

Everyone's mileage always varies ...

S

Sandip_Rathva8911

Participant

Dear Sir/Madam,

I have followed the provided instructions multiple times, including setting specific timecodes, rebuilding the project, enabling Display Color Management and Extended Dynamic Range, and setting the Viewer Gamma to 1.96. However, the issue still persists.

Please assist me in resolving this matter as soon as possible.

Thank you for your support.

R Neil Haugen

Legend

Check your original file, and the file you're getting back now, on that computer, by playback with either VLC or Potplayer. Compare that view to playback in QuickTime player. Then read on.

Ok ...I hope you did, as that will make the following more ... sensible ... to understand.

For production work that may go broadcast, you should never use either the old gamma compensation LUT or the newer option to use a viewing gamma of 1.96 in Premiere. This creates a much "lighter" image data in the file.

Why?

Very simply put, the lighter view is needed only on some Macs ... those without Reference modes set to HDTV. Those systems will use a display transform essentially similar to gamma 1.96, rather than the correct to the standard display transform of essentially gamma 2.4.

On those systems, the actually correct file data will look too dark, even though the file data is actually correct. Unless of course, you view the file with VLC or Potplayer.

All other systems, including broadcast compliant ones, will not see the darker view shown on Macs without Reference modes set to HDTV, for properly encoded Rec.709 files.

This is why the colorist produced parts look too dark ... they are probably spot on, as far as to the Rec.709 specs. But you are viewing them with an incorrect display transform due to using QuickTime player on a Mac without Reference modes set to HDTV. Which is why they seem too dark to you.

The image on other, normal systems, will not be too dark.

So when you create the lighter view to look 'better' on Macs without Reference modes set to HDTV, you only get a "proper" viewing of the file on those particular Macs.

But only in QuickTime Player, and Chrome and Safari browsers. As shown, VLC and Potplayer will show the image more correctly.

The problem is an improper Rec.709 display transform used only on Macs without Reference mode set to HDTV. As the OS level color management utility, ColorSync, will use the incorrect display transform, essentially similar to gamma 1.96 ... and also does not apply a technically correct hue transform from the file's sRGB to the native P3 color space of the monitor.

For any broadcast or streaming exports, if you view the file outside of Premiere on Macs without Reference modes set to HDTV, you should view it in VLC or Potplayer. Do not use QuickTime Player as you will see an incorrect representation of that video file data.

In your case, I suspect the colorist graded parts will look pretty good if using VLC or Potplayer ... and especially if viewed on a fully broadcast compliant system ... which no standard Mac nor most PCs actually provide without careful, intentional work in using proper calibration and such to the monitor. Or perhaps also a BlackMagic Decklink card out of the computer, rather than using the GPU to send a signal to the monitor.

Everyone's mileage always varies ...

J

JesseSchluntzAuthor

Known Participant

thanks for all this!

R Neil Haugen

Legend

Thanks @jamieclarke , I read page 120-121 and it did not give me any answsers.

My workflow is to export the timeline as Prores 4444 for my colorist (no color effects enabled). He then colors in resolve, exports it back at the same format, I bring it into premiere, and it looks perfect. It's when I EXPORT the file from premeire that I have color issues.

I need the video file Premiere exports to not be altered, as in washed out etc.

When I use the gamma compensation LUT Adobe created on exports, it is making the overall color darker, helps some shots and wrecks others.

Is there seriously no simple way in 2025 to export a project out of premiere "pro" without destructive color results?

Again, the issue is actually your system ... that Mac OS utility ColorSync. It uses a non-standard display transform of (essentially) gamma 1.96, rather than the specified gamma 2.4.

So if the file is viewed on a system and app with ColorSync involved, it appears lighter. If without it, it appears darker.

It would be useful for me to know what exactly your colorist is exporting to when they output the file. As there is a "Rec.709-A" option in Resolve, and if that is used, the file will be rendered for export with the brighter file data.

Also, just to make sure, you haven't set your monitor to "full" levels I hope ... they should be left either auto or legal for Rec.709 use.

Everyone's mileage always varies ...

jamieclarke

Community Manager

Hi @JesseSchluntz - You no longer need to use this workflow improved color management was introduced in Premiere Pro version 25.2.

Please see this HelpX article: Display Color Management

You may also find this article helpful regarding washed out colors on export: Why Do My Premiere Pro Exports Look Washed Out?

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