[Oliver Peters]

Simon Says is good. Speedscriber is another option. As far as services, I recommend REV.com, which offers both automated (AI) and human transcription. Depending on the service, you can edit (online) and then download various closed caption and/or subtitle formats, transcriptions, and even ScriptSync files for Avid. All of the major NLEs have built-in captioning workflows to import and edit those files in your timeline.

[Oliver Peters]

One thing to consider is whether or not this is out of gamut because of the yellow. I don’t know if it is or isn’t by looking at it. How does it read on the Lumetri scope (unclamped)?

Another way to look at is that if you are working in a standard dynamic range timeline, you are set up for Rec 709, 2.4 gamma, 100 nits. That’s a different color space than your display. Therefore, all application viewers and media players have to apply some type of color management to compensate for the profile of the file versus the color space of the display. This works well within the Apple ecosystem and less well with third-party tools.

Hence, the only valid place to judge the look of your Premiere output or the exported file is how it displays on an external Rec 709 monitor. That’s the only common denominator in this process.

[Oliver Peters]

Sure. The one on the left has slightly darker shadow detail and appears a bit more saturated. That’s exactly what I was talking about and “normal” for Premiere. The reality is that neither is correct. Or rather, “correctness” is relative to the target display system. The only NLE on a Mac that I work with that is properly color managed to the viewer is FCP.

[Oliver Peters]

The Premiere Pro viewer image will not match QuickTime Player, nor a Rec 709 TV. It’s the viewer that’s the issue and how the software interacts with an Apple display and not the file.

The iMac displays – especially newer ones – are P3 D65 with a high nits value. That’s a different color space than Rec 709, although it can look very similar. How does the image look on an external Rec 709 display via an AJA or BMD i/o device? That’s your only reliable guide.

You might also check with a different player, like Switch or VLC.

This post of mine may be helpful:
digitalfilms.wordpress.com/2021/03/07/trusting-apple-displays/

[Oliver Peters]

If you want to skip the whole issue of moving the database, simply export a project file for back-up or to import into a second machine. Granted it’s not as fluid as working in Premiere, but it does work well enough.

[Oliver Peters]

Your Premiere viewer will never match what you see on a Rec 709 reference display. Likewise what you see in the viewer will also not match the way it looks in a media player. There simply is no foolproof way for this to be accurate. Generally, there are gamma, contrast, and saturation difference. VLC will look different than Switch and different from QuickTime Player.

[Oliver Peters]

How long is this render taking? What source codecs? What export format? What drives? What GPU? A machine like this really isn’t very efficient with 4K content.

[Oliver Peters]

I just posted this, which might help:

Trusting Apple Displays? « digitalfilms (wordpress.com)

The export from FCP adds a 1-1-1 color profile to the metadata, whereas the Resolve export adds a 1-2-1 profile. QT Player uses this to control the display to your Mac desktop. The Resolve export will look darker than the FCP export in QuickTime. Also the Resolve viewer image is not correct and shouldn’t be used to judge your correction. I would contend that the FCP export matches a Rec 709 display in appearance and the export Resolve doesn’t. Nevertheless, both exports are actually the same. If you open the files in a different player, like Switch or VLC, you won’t see the sort of differences that you see in QT Player.

[Oliver Peters]

I have no idea about using the iMac as a display. You will need to re-install all apps fresh, because you want as many of them to be native for the M1 chip as possible. This means all new App Store downloads and new Adobe downloads. Adobe’s release versions are not yet native to my knowledge, but some of the public betas are (or soon will be). You also have to be careful with what works and what doesn’t. For example, the Resolve 17.0 betas are not compatible, but the 17.1 betas are. Quite a few video plug-ins will not work.

[Oliver Peters]

OTOH, as a teaching tool, it will quickly show the deficiencies of not paying attention to the basics.