Can’t export colour from the video

[defaultk430q3y83xi8]

Hi guys, I'm having trouble exporting colour from my edited video! I tried to "unclick" the section "import sequence natively" in media encoder but still the saved video would export without colours editing. 
need some help! 

[Joost van der Hoeven]

Can you please share your system info? Like OS and version, CPU, RAM, GPU vRAM, Pr version? Thanks. Also a screen grab of your issue will be helpful.

[defaultk430q3y83xi8]

Here are the info you asked me for. also I uploaded a screenshot on how the video looks on premier pro and how it looks once exported. I hope its clear

[R Neil Haugen]

The problem is the unique color managment of the Mac OS utility ColorSync. It doesn't apply the normal Rec.709 standards to displaying Rec.709 (video) media. So clips won't look the same within Premiere as outside on a Mac, and yes, it's A HUGE problem.

Tons of discussions here and elsewhere. I am a contributing author at MixingLight.com, a pro colorist's teaching site. This issue has been covered there by tutorials and articles by myself and several noted colorists. It's been discussed at length on LiftGammaGain pro forums, CreativeCow, you name it.

The top color calibration experts to the TV and movie pros have written about it.

Within Premiere, make sure you are working while having the Preferences option for Display Color Management selected. This will tell Pr to look at the ICC profile for the monitor, and remap the image on its internal monitors to show an appropriate Rec.709 image.

Then ... for export, you can do one of two things.

First ... let it go, which is what pro colorists have to do. "Grade" your image to as close to the Rec.709 standard as possible. And understand that "out in the wild" no one will ever see the same image you are seeing right now. Period. But if your display is correct, and your image shows properly in the scopes, then out "there" it will appear relatively like all other pro produced media on that screen. (The best you can do, really.)

Second ... modify so it looks good on your Mac outside of PrPro (after exporting). Adobe provides a "gamma correction LUT" you can apply in the Effects tab of the Export dialog. Some people create their own and apply it in an Adjustment Layer over the whole sequence they apply just before export.

Either way ... the effect is to darken the image, especially in the shadows, and slightly raise saturation so the image viewed on a Mac with ColorSync setting the color will look like it did within Premiere. Which sounds like a good solution.

However, that exported file viewed on most  non-Mac screens will be too dark and over saturated.

You can't get it "right" both within the Mac ecosystem and outside. Pick one.

And yea, it's really annoying.

Neil

[Michael Grenadier]

geez, Apple making people's professional lives difficult if they stray beyond the mac world?  Hard to imagine... (not).

[R Neil Haugen]

Yea, I know. Apple always being Apple.

Cool stuff, but carefully, intentionally, not built to interface with the rest of the world as expected elsewhere.

As they have always been.

Those Retina monitors have a beautiful image, no question. And they're mostly pretty pretty to just look at as hardware. But after the ColorSync utility does it's thing ... sigh.

Neil

[Michael Grenadier]

but Neil, don't you understand, it has to be Adobe's fault....  Was trying to help some friends spec out a new macbookpro (intel) for working with Adobe.  Went to the apple store with them and the level of ignorance from the sales staff was staggering.  

[R Neil Haugen]

Yea, isn't it?

My colorist buds & acquaintances are probably at least 85% total Mac people. Would never buy a PC.

And would never grade an image by looking at a Mac monitor, either Retina or the new XDR. Neither can be totally 'fixed' for complete accuracy. Though the XDR can, if properly setup, get pretty close to an SDR reference monitor specs, it ain't close to the needed HDR specs.

That said, there's a couple iPads that can get awfully close to the image on the colorist's reference monitors with a couple things turned off and a slight tweak. Cheapest way to get a close image into the hands of their clients during these remote times.

Neil