Sadly, though that then 'fixes' the file for viewing on a Mac, like the Adobe LUT, on most other gear that causes the file to be too dark. That 2 is 'unspecified' in the NLC standards list, but interestingly when applied to a file, then displayed in any ColorSync managed app, gets a 2.4 gamma applied. Which sets the NLC tags of the file to 1-2-1 rather than 1-1-1 for 'standard' Rec.709. look 'good' on a Mac, dark everywhere else.īlackMagic came up with a different but similar trick. Unfortunately, that means the file viewed on any actual Rec.709 compliant pro broadcast/streaming system will be way too dark. Which will darken the shadows so the file, when viewed at gamma 1.96, looks pretty much like the file without that LUT at gamma 2.4 within Premiere. Īdobe came out with the 'gamma compensation LUT' that is to be applied in the Effects tab of the Export dialog/page. Do set the preferences option for "Display color management" to on, most definitely. workarounds, none particularly satisfying. You can't make a file that looks the same when displayed at gamma 1.96 and gamma 2.4.Īnd explaining this mess time after time to their clients is a HUGE pain also. Those people are heavily towards the Mac side, as you would expect.Īnd they are furious with Apple for so stupidly setting up this mess. My 'beat' is dealing with pro colorists coming out of Resolve when they can't work in that and have to color a project in Premiere. I am a contributing author at MixingLight, a pro colorist's teaching website. Premiere does not allow ColorSync to mess with the image. it's different than "color managed" apps on a Mac, "color managed" here meaing that the Mac OS ColorSync utility is allowed to handle CM settings. Premiere is designed to follow the actual standards. So the result is essentially a display gamma of 1.96, which is going to lift the shadows a lot more than the display gamma 2.4 that is specified for 'normal' pro SDR/Rec.709 workflows. Apple for some odd reason, setup their ColorSync color management utility to only use the camera/scene-referred "original" Rec.709, and does not apply Bt.1886 display settings. That's been the in-use standard for nearly two decades. Hence the Rec.709 standard had the Bt.1886 display transform specs appended to it. Then digital monitors replaced the CRT monitors, and to match, rather than changing the CAMERA setting, it was easiest to simply append a DISPLAY setting/standard to the then-current Rec.709 standard.
And was designed to work with the available display technology, back when all monitors were the big cathode ray tubes, which had it's own built-in specific response or gamma. And at first, it was only a camera or "scene referred" set of instructions.
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