Depressing. Footage in Premiere/VLC looks VERY different in Quicktime/Vimeo/Youtube

[Crescent Diamond]

Thanks Jim Elliot. We seem to have the same problem with clips exported from After Effects. What settings do you use in AE so that it is accurate when exported?

Also, do you just add saturation or also contrast before you export?

I would like to report this to Adobe as well. Is there a thread in the forums where you have reported this?

Thanks, Crescent D.

[Chris Pike]

> here’s a p3 to rec. 709 lut i made

Hello Chris, I’m new to video. I was wondering if you could take a moment to explain how I would implement this lut, to somebody who has no background knowledge of what a lut is. Thanks.

[Chris Wright]

you would need to explain what your issue is in more detail. do you have a P3 monitor or sRGB?
p3 to srgb is for converting a P3 calibrated monitor into premiere’s native sRGB environment.

the ‘fixmyyoutube’ lut is for burning in a darker image because youtube will lighten the image when processing.
both would be applied in premiere’s effect lumetri under the lut load button. a lut is a look up table. you can read about
them online in more detail.

[Chris Pike]

I’m new to the subject of color accuracy, but my understanding is that the best solution to the problem here (“Premiere program monitor looks VERY different to the exported video”) is to buy a color accurate external monitor and a UltraStudio Mini Monitor, and look at your work there. That is the best you can do, as I understand it. It looks like you can get the equipment for under $1000. That might be a good use of money, if it saves you the time of futzing around with Look up tables, ect. I am shopping now for a color accurate monitor, because all this talk of LUTs is just over my IQ level.

[Brent Marginet]

Good accurate Reference Monitors are at least $3000 or more and in the end if it’s only going to end up on the internet you will still be disappointed with the results. VLC, Quicktime, Vimeo, YouTube, etc., etc. are all going to look different and won’t match your reference monitor anyway. So if it’s only going on the web a reference monitor may not be a justifiable expense.

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[Matt Hannon]

SO HAS ANYONE FOUND A SOLUTION? This thread is pretty old…

Did everyone just switch to FCP?

How do I get this project delivered this week??? Errrrshhhh…

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[Crescent Diamond]

Hi – I am still trying to find a solution but the cheapest solution that I currently have is to add more saturation and contrast than I would normally and then export to quicktime or h264 mp4 and then go back and add more if necessary. I tried creating a LUT but that didn’t totally work. Some of the other solutions on this thread about getting an external broadcast monitor might be the best solution, but I am not 100% sure that Premiere will display correctly on those outputs either.

I still love Premiere despite this big problem. Those of us who agree it is a problem with the software should write to them and complain.

Best,

Crescent

Thanks, Crescent D.

[Matt Hannon]

agreed…

It seems to have nothing to do with the monitor – otherwise why cant we effect the footage when we change the colour display of the iMac in preferences? After 1 sec the footage reverts to the same over-saturated and incorrect colour.

[Greg Janza]

[Crescent Diamond] ” Some of the other solutions on this thread about getting an external broadcast monitor might be the best solution, but I am not 100% sure that Premiere will display correctly on those outputs either.”

The only way to see a color accurate image from Premiere is with a fully calibrated external monitor connected through an i/o card.

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[Philip Henry]

Jim, I’ve had the same issue since I bought my 12-core iMac Pro several months ago. I’ve spent the entire morning troubleshooting, and your advice has helped a lot. I opened up the same projects on my previous computer (Macbook Pro with Cinema Display) and the differences pretty much vanished. That’s how I knew it was an issue with my new computer’s display settings.

In the end, the default display profile (simply called “iMac”) was mostly to blame. I ended up using “sRGB IEC61966-2.1” instead, and that got me most of the way. Then I followed your advice in creating a custom adjustment layer (except I used Lumetri instead of Colorista) that I slap on the entire sequence right before I export. It took me HOURS of exporting little snippets and then comparing the exported film with the “non-adjustment-layered” sequence to get it to match. Still not perfect but a heckuva lot closer.

I agree that skin tones are where it was most obvious. Really frustrating to get a brand new fancy computer and have the end product look crappier than a few months earlier.

Thanks, Jim, for struggling through the process for the rest of us, and sorry you had to deal with some really arrogant idiots along the way.