For some reason since a recent update all my footage looks much darker inside of Premiere then when I look at in in any other application (QuickTime, VLC, DaVinci Resolve, etc.). It doesn't seem to be tied to any particular kind of footage as I am seeing the issue with multiple formats, H264 files from a DSLR, R3D files, and ProRes files.
I am on a Mac running Big Sur with the most recent version of Premiere.
Enabling colour management on a Mac doesn't fix this though, it just gives it a different look that is also very unaccurate.
The best is to change the Mac Display settings to a Rec.709
Using enable colour management only works inside Premiere pro, and your export will be even more off than it would be if you didn't use it, I'm not sure why it's recommended because honestly it's a messy feature
Display color managment was created because of the mess Apple created when they went to the Retina monitors and chose to have their ColorSync utility apply only parts of the Rec.709 standards.
Rec. 709 requires both the scene and display transform functions, gamma 2.4 in the recommended 'semi-dark room' workflow or 2.2 in 'bright room' working environments. D65 white point, 100 nits screen white bright point.
ColorSync appllies only the scene transform, does not apply the display transform, and uses what Apple calls "sRGB Gamma" which in testing by numerous experts is somewhere between 1.95 and 1.96 mostly sort of. And of course, llike most monitors, the Retinas can be quite bright and Apple's setting for them is apparently about full-on.
Adobe came up with that "Display color management" option as it was the only way to get a decently remapped actual Rec.709 image inside of Premiere Pro. They have no control outside of PrPro of course. So they also created that converrsion LUT to use in the Export dialog that will mod the export to look 'normal' when ColorSync does its thing.
Of course, that means on any properly color managed system it's not good though.
BlackMagic in their Resolve app tried a different approach ... they created the "Rec.709-A" export option, A specifically meaning for Apple. It adds a different NLC tag in the file, which when played in a ColorSync managed app looks like normal Rec.709.
The problem is that file doesn't do any better on 'normal' Rec.709 systems than the one exported with that Adobe LUT.
Yea, color management in general is a mess. My colorist pals and acquaintances deal with this every day. They scream a lot ...