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COLOR LUMETRI PROBLEM PREMIERE PRO

New Here ,
Aug 18, 2020

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Hi,

Does anyone encounter a difference of grading between a grade done in Premier Pro and your final export ? There's a huge difference in colors and saturation.

I exported an mp4 and an apple pro res 422, the problem is still there. Can anyone help ?

Thx

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Error or problem, Export, Formats, How to

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COLOR LUMETRI PROBLEM PREMIERE PRO

New Here ,
Aug 18, 2020

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Hi,

Does anyone encounter a difference of grading between a grade done in Premier Pro and your final export ? There's a huge difference in colors and saturation.

I exported an mp4 and an apple pro res 422, the problem is still there. Can anyone help ?

Thx

TOPICS
Error or problem, Export, Formats, How to

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23

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Aug 18, 2020 0
Adobe Community Professional ,
Aug 18, 2020

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you should not judge based on what you see using QuickTime Player,

that is not so accurate to check color grading, try VLC instead

 

also check here Neil's replies:

https://community.adobe.com/t5/premiere-pro/video-colours-look-different-in-premier/td-p/9661305?pag...

 

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Aug 18, 2020 0
Adobe Community Professional ,
Aug 18, 2020

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The color you see (or anyone else on their system) is dependent on several things, including the color management of the OS, the settings for any video card in use, the monitor settings and calibrations, and of course, the actions by any one app or browser or online service.

 

None of them typically provide spot-on proper color management. The user needs to set their system up for such things. Yea, it's a pain. But only when you've actually done the work to set up your system properly and run both a calibration of the monitor and a profile of the output of the monitor to check that calibration, can you be certain what you see is "accurate".

 

And also ... no one on any other machine will ever see exactly what you saw when "grading" on yours.

 

In fact, even if you have a fully calibrated/profiled spendy Grade 1 Reference Broadcast Monitor (and yes, that is a specific class separate from standard computer screens) ... and you set up a large screen of a good TV like an LG for your client to view, and feed that LG from an external LUT box with a LUT built to calibrate that specific TV to match your reference monitor ...

 

... the view on that highly controlled TV, in the same room, from the same computer, will not identically match the reference monitor.

 

It's a bane of pro colorists, many of whom setup their suites so their grade 1 reference (Flanders, high-end Eizo or Sony) screen is not visible from the client sitting area. In an attempt to avoid the inevitable "Make this screen look like that one ... " comment.

 

Once you've graded something and release it Into The Wild ... it's not yours to say how it appears any more. Every screen, app, system, and service will do something different to it, and all viewing situations will affect things. From watching on a phone in a dark room or in bright sunlight, for instance.

 

So ... grade on a tightly color managed system ... tested and proven. Then let it go and move on.

 

This way your media will look relatively like all other pro produced media on any device. Any other method you apply ... your media will not look relatively like pro produced media on any device. You can't outguess the devices out there.

 

Neil

 

 

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