Export and losing color grade

hehe... I understand.

I went to a college majoring in photography fine arts and became a 'grip' on film crews.. and spent my whole life doing that. At some point I was 'trapped' cause NY wanted more film work and the unions started making deals with HBO and others that usually shot non union outside of NY ( Canada, down south, Europe, etc. ). So I basically ended up ( after 20 years ) making more or less the same exact money I made before. It was creepy.  And nothing translates from movies to other businesses... like, what are you gonna do ?  Start at basic wage doing house framing after working on set building. I was trapped.

Now NY is a big place for tv episodic and movies, but people like me basically just had to do what we could to keep paying rent and mortgages, etc. When I got retired I bought a DSLR and got into editing, cause I still love telling stories and being into that sorta thing... and THAT was about 10 years ago... and I'm still learning. The processor speeds of DSLR compared to Alexa and rolling shutter, and all the stuff that happens, with equipment I can actually AFFORD … it's like very demanding on my brain and how to make the most of it all.

Just don't give up.. cause even when you make one thing that is nice enough to pass your own criticism ( the most critical of all ) then it makes up for all the time and challenge etc. to make things work.

There's a ton of threads on here, and the problem is actually the very pretty but very unique display you have on that Mac. The post by Carolyn Sears and engineer Francis Crossman is something you should read. And yes it includes a LUT to use when exporting from Premiere to view on a Mac Retina.

Broadcast requirements world wide and most computer displays have been relatively similar for quite a few years. Using the general sRGB color space, screen-referred gamma of 2.2 to 2.4, and a brightness around 100 nits.

Premiere was designed for tight adherence to standards  ... to be used on a system set to video SRGB/Rec.709/gamma-2.4/100-nits brightness.  For an explanation of Premiere's build intent, see my tutorial put up this morning on Mixinglight.com.

https://mixinglight.com/color-tutorial/demystifying-premiere-pros-color-management-and-finishing-pipeline/

However, Apple thought more colors are more better, and created a new device with it own unique color space, profile, and gamma. They are pretty and yeah, more colors are more better.

The problem is there isn't any way to natively move between that space and everything else.

The new color space is called P3-Display, and is ONLY found in Mac P3 Retina screens. Those are about 3-5% of the screens worldwide so understand you're viewing video on a very tiny niche device.

The color gamut is P3, about 20-25% larger in all directions than video sRGB. But the two current P3 spades are for theatrical release, and use a "dark room" gamma of 2.6.

The Apple P3-Display rigs use a scene-referred gamma of 1.96. Very different, as all other monitors are set for screen-referred gamma.

So to work with Premiere on an uncalibrated generic P3-Display screen, you need to enable the option in Preferences for "Enable Display Color Management". This tells Premiere to modify the image within its Program, Source, Reference, and Transmit monitors from the ICC Profile setup of your Mac to fairly close to proper b-cast, close enough to at least work.

Exports from Premiere viewed on a Mac P3-Display will look as you noted. So you can then use the LUT Francis made, applied in the export dialog box, so that your vid will be in the P3-Display space and look pretty on that Mac.

But understand ... it will now NOT look as good on the other 97% of screens worldwide.

Interesting choice. Grade for a P3-Display audience, or everyone else in the world including all older Mac devices?

Neil