QT Gamma Compensation LUT confusion

Report · Jul 31, 2025

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?

Report · Sep 05, 2025

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.

Report · Sep 05, 2025

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.

Report · Sep 06, 2025

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.

Report · Sep 06, 2025

Color management can be complex and confusing enough without Apple having thrown this mess into the mix. But it is always about the entire chain of CM settings, in app, OS, and the monitor.

On a Mac, you should probably also had the extended dynamic range option on. I don't claim to understand precisely what that does in SDR workflows, but ... it has on numerous occasions with other users been needed to get correct displays on the Mac Retina monitors.

With a sequence CM set to SDR, then it supposedly should work.

How are you viewing the media outside of Premiere? That is crucial.

QuickTime player, Chrome, and Safari, allow Apple's ColorSync utility to apply that bizarre 1.96 gamma display transform, that is not used by anything other than Macs without Reference modes, and only then, on those specific Macs when set to the HDTV option. Apparently most Macs do not have that option.

VLC and Potplayer do not allow ColorSync to mangle the image management, and therefore will show you fairly closely to what the image will look like on all other non-Macs screens.

And of course, as all colorists are taught ... no one ever!!!! ... on any screen, and by any display deliverable tech from broadcast to streaming to BluRay/DVD to YouTube ... will ever see the identical image you saw on your Reference monitor.

Color is always a mix of both mathematical computations and the vagaries of manufactured devices plus the choices of most screen makers to do things to "enhance the viewing experience" that you can't begin to predict.

As has been proven by the top color management and scientist types, over and over, no two even indentical screens can be calibrated such that to the eye, they give visually indentical images of the same signal.

Or as is often stated, "You can't fix gramma's green TV".

Report · Sep 06, 2025

Thank you for your response.

I have followed all the instructions you provided. The Extended Dynamic Range option is enabled on my Mac, and I am viewing the media outside of Premiere using QuickTime Player. However, the issue I am facing seems to be happening within Premiere Pro itself, not due to any external software or playback method.

I have already:

Set the sequence to SDR
Enabled Display Color Management
Enabled Extended Dynamic Range
Set Viewer Gamma to 1.96
Rebuilt the project multiple times

Despite all this, the color shift issue still persists inside Premiere Pro.

Please advise on any further steps I can take to resolve this issue.

Report · Sep 06, 2025

I don't understand what you mean by the color shift persists inside Premiere. Not a clue. So further explanation or screengrabs could be quite useful.

The only thing I can guess is that you see Premiere as giving you different internal 'views' ... or something?

Report · Sep 07, 2025

dear sir,

Color shift means Workspaces (editing vs. export) and The only thing I can guess is that you see Premiere as giving you different internal 'views' ... or something? (no)

Report · Sep 07, 2025

Color shift can occur anywhere in the entire processing chain, both internal in Premiere and external outside of Premiere on any machine.

Some people are disturbed because the Source monitor and Program monitor don't show the same thing ... well, Source monitor is source image, and they've applied changes in the clip on the sequence.

Some note a shift in the Program monitor between playback and paused .... and that can happen if you don't have "High Quality" selected in the Program monitor. And for the Program monitor to display full quality both paused and during playback. Those settings are in the Program monitor's wrench icon menu.

And some see a shift between the media on Premiere's Program monitor, and after export when viewing outside of Premiere. Or there's a difference between the image on a couple different monitors attached to the same computer.

Which is why I asked for clarification.