![]() The Resolve approach adds a different NCLC tag to the file header, which actually gets ColorSync to show the file with correct Rec.709 settings. that file will be way too dark and oversaturted. However, on a normal proper Rec.709 system. The Adobe LUT darkens and oversaturates the file on export, so that outside of proper Rec.709 viewing as on a Mac, it looks mostly like a 'normal' Rec.709 file. Both options get the same result, by two different processes. I'm sorry, but there isn't any "fix" for this, as when Apple chose to apply different standards they chose to make everything different.Īdobe has provided a "gamma compensation LUT" and Davinci Resolve has an export option of "Rec.709-A", and yes, A is specifically for Apple. Firefox browser and VLC player typically do not, so you will tend to get more realistic Rec.709 images viewing in Firefox browser and VLC player. Chrome and Safari browsers and the QuickTime player all allow ColorSync to mess with the video color/tonality. Outside of Premiere on a Mac, it's a problem. This gives you the best chance to get a good Rec.709 file out of Premiere. This tells Premeire not to assume a correct Rec.709 display, and it checks the ICC profile/OS to see what is being used, and modifies the image within Premiere to get the closest to a proper Rec.709 viewing of the image data possible. So, on a Mac you must make sure the preferences option for "Display Color management" is checked on. So there's no required display transform funtion applied by ColorSync, and they use gamma 1.96 rather than the specified 2.4. They apply only one of two required transforms, and they apply an odd gamma. ![]() Specifically they do not follow two of the required provisions of the long-used Rec.709 standards. Sadly, Apple for some unknown reason chose to create their own 'standards' for Rec.709/SDR video media within their color management utility, ColorSync.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |