Quicktime Gamma Shift Bug – What Is It and How to Combat It

As creative professionals, most of us have likely run into this problem, and it is tricky to pin down – why isn’t the color of my video matching 1:1 between my export and my editing timeline? What the heck is going on? Is QuickTime somehow at fault? Is it my operating system? Or is it something else?

A few months ago, a friend of mine, Los Angeles-based Director of Photography Kevin Stiller, asked me if I wouldn’t mind giving him some feedback on something he was working on related to the infamous “QuickTime Gamma Bug” or “washed out” look sometimes associated with MacOS.

Here in our initial discussion, Kevin breaks down what’s happening in a way that’s concise, easy to understand, and made me believe our conversation would have value for others in our profession. If you are a cinematographer, colorist, editor, director, or any content creator who uses MacOS-based Apple products, you’ll want to give this video conversation and corresponding article a look.

What follows is written by Kevin Stiller as a companion to our video conversation.

Quicktime Gamma shift bug
Image Credit: Kevin Stiller

What is the QuickTime Gamma Bug?

“Colors changing after export,” “QuickTime Gamma Bug,” MacOS video “washed out”… This dilemma has been called many different things causing frustration for professionals and hobbyists alike.

Today, I am going to break down one of the web’s biggest color-management mysteries and help us finally get to the bottom of this.

In this day and age, with the plethora of devices and certain manufacturers pushing the envelope of what displays can show us, we need to rely on some sort of mechanism that allows us to see content the way it was intended to be seen. The attempt to unify the tens of thousands of displays in the world is known as color management, and if you don’t know what’s going on under the hood, it can get tricky fast.

Many content creators, myself included, use Apple devices for their creative work. However, what most people don’t know is that MacOS has software running under the hood to manage every pixel that is shown on the screen in real time. This process works well for the majority of us, but for certain scenarios, it can lead to unexpected results which cause hours of confusion and troubleshooting. For this reason, the remainder of this blog will focus specifically on MacOS and Apple displays. Even though color management is found everywhere, there’s something we must pay attention to – specifically when it comes to Apple.

Before I begin, I would like to highlight two key aspects of this subject:

  1. At the time of this writing in 2023, there is no one perfect solution that will fix this issue for everyone. However, if we educate ourselves and learn how to anticipate it, we won’t get so fixated on things we can’t control.
  2. No one is immune to this problem, and the fact that this is true will make more sense once we unpack this.


The best way to discuss this topic is to separate it into two key components. Both of these components ultimately come together in the form of color management.
Since 2015, Apple has rolled out their P3 displays. P3 is a term used to describe a “color gamut,” or a description of how much color a display is capable of reproducing for you to view.

Image credit: International Commission on Illumination and Andrew Somers

As you can see, there are different color gamuts to describe different displays. These are known as display-referred which means they are color gamut targets for deliverables. Rec709 is a great buzzword for us, because as filmmakers we hear this term quite often. Sometimes, we capture in Rec709, and other times, we capture in LOG and then use a LUT or color space transform to get our footage into the Rec709 gamut. We do this because the gamut has been a standard for quite some time. For now, a massive amount of web delivery and broadcast is mastered for this gamut, so we must pay attention to it if that is our end deliverable.

P3 and Rec709 are different color gamuts. And, because they are different, P3 doesn’t act like a “bucket” that can conveniently “hold” Rec709 colors. What this means is that 255 green on a P3 display is not the same thing as 255 green on a Rec709 display. Therefore, when a MacOS device needs to play back Rec709 content, it must be transformed on the fly in the background to reproduce the intended authorship of the image.

The images below will depict different shades of green in a color-managed browser on a P3 display.


The way MacOS does this is by utilizing a software known as color sync utility. Color sync utility interfaces with different programs to communicate information about the display profile set in your display preferences and also the application that is trying to play video content. When you use an application that can communicate with color sync utility, it will analyze the metadata of the video, refer to the display profile you have set in your preferences, and then convert colors for the proper intended viewing. When an application does this dance with color sync, it is referred to as a color-managed application. QuickTime and Preview are examples of color-managed applications. As of 2023, VLC is not colored-managed. Premiere and DaVinci are not color-managed… by default!

This is one of the key issues that creates a snag for folks. When you import footage into DaVinci or Premiere, by default, all settings are set to Rec709. So, unless you tell these NLEs otherwise, the assumption is that the footage you are editing or coloring is, or will eventually become, Rec709. If you are on an Apple display from 2015 onwards, which is in its stock P3 display profile, you are effectively watching Rec709 footage that has not been transformed out of the P3 color gamut. Therefore, the green and red colors that you see in your program monitor are going to be more saturated than they actually are! So, when that footage is exported out of said NLE and opened in a color-managed application … cough cough QuickTime… you are actually seeing the correct converted colors of that video. Premiere was, in fact, not correct in this scenario.

Please do keep in mind what I am describing is the “out of the box” experience for content creators with Apple devices. There are different workarounds to solve this issue of seeing incorrect colors in the program monitor – many of which are indeed quite simple and can be addressed in a variety of ways (all the way from hardware to philosophy!). However, before I dive into the solutions, it is time to discuss component number two, which is a much bigger issue, known as the “QuickTime Gamma Bug.”

The Infamous “QuickTime Gamma Bug”

The QuickTime Gamma Bug’s real name is … “MacOS AVFoundation removes the dim surround gamma compensation built into Rec709 – a name much more verbose than the “QT Gamma Bug.” However, the reason for the real descriptor is that QuickTime is not the only application on MacOS that will experience this problem. All color-managed applications that communicate with colorsync will. This means you could see this issue rear its head in Chrome, Safari, Preview, and more.
So, what exactly does all this mean? The long story short is that MacOS is the only operating system that removes a built-in feature of Rec709 which includes a contrast enhancement when watching videos in a dim environment. So, where does it come from and what is it? First, a quick review on what gamma correction and NCLC tagging is:


Gamma is, simply put, an input and output system of reproducing light on a screen. We use gamma to efficiently capture lighting, also known as Opto-Electrical Transfer Function (OETF) by leveraging imaging power towards recording more information in the shadow detail of images and less so in the highlights. This is because that is how our eyes see the world. Gamma is essentially a form of data compression, but done via light and voltage signals. If you have shot in LOG before, you are utilizing gamma encoding to preserve as much detail about the recorded scene as possible. Then later on in your NLE, the LOG footage is (usually) colored and graded to fit into a Rec709 space.

Devices that can reproduce Rec709 will then decode your image file with a gamma curve. This curve is known as an Electro-Optical Transfer Function (EOTF). As you can see, OETF and EOTF are the inverse of one another. The total effect of gamma from capturing what your eyes saw to seeing it on a screen, (the net result of the OETF and EOTF), is known as “system gamma” or “OOTF”(Opto-Optical Transfer Function). It is typical to home base around a system gamma of 1.0 so that light is put into a linear space which is easier to do math on resulting in a 1:1 reproduction of light as it was captured. However, we can often manipulate the system gamma to target optimal viewing in different situations ranging from offices to cinemas.

A straightforward way to view “1.0” system gamma is the following:

NCLC Metadata

The last key definition to define is NCLC tagging. NCLC tagging is a form of metadata which defines information about a video’s intended color gamut and gamma.

The majority of content viewed on the internet is tagged as 1-1-1. There are many tags, each represented by a number, and each number has a different meaning about the intended color gamut and gamma of the content it’s associated with.

Image Credit: The BBC

1-1-1 means Rec 709 Color Primaries, Rec 709 Gamma Transfer Function, Rec 709 Color Matrix.

The middle “1”, the gamma transfer function for Rec709, is the tricky one in this instance. The original white papers never defined a gamma transfer function because it was baked into broadcast cameras and CRT monitors back in the 90s (which you will read about shortly). Therefore, Apple has the liberty to define this number for us.

Many users can experiment with these tags to see what works best for their individual workflow. However, the key takeaway here is that when specifically discussing online deliverables, most (if not all) websites will retag content as 1-1-1 if not tagged as HDR. This means any untraditional tag (looking at you 1-2-1) will end up being disregarded.

Gamma 1.96

Gamma 1.96 has a long and interesting history. Unlike today where we have a plethora of devices with different display gamma curves, for many decades, the general population only had CRT TVs. CRTs have a gamma curve baked into them defined by their physical voltage and chemical properties and not via software. CRT monitors roughly had a gamma of ~2.45. This means in order to display content on a CRT exactly the way it was seen with our eyes, you would want to encode a video file with the inverse of that gamma curve. So: 1/2.45 = .41. This would then result in what’s known as a system gamma, or, the “net effect” of your input and output gamma, of 1.0.

1.0 system gamma is a good starting place because you will then have linear light. But, linearizing light was not enough for video engineers.

Experts realized that CRTs were typically watched in dimly lit environments. This means that dark shades will appear brighter due to an optical illusion or phenomenon known as the simultaneous contrast effect.

Image credit Edward H. Adelson

Above you can see this “glitch” in human perception. The two squares above are exactly the same shade but appear different based on their surrounding environments. So, when we watch content with a dim surround, dark shades appear brighter which produces a less accurate image. Therefore, rather than changing the engineering on CRTs across the globe, it was simpler to “bake in” this dim surround contrast boost on the broadcast camera side by recording footage in gamma 1/1.96 rather than 1/2.45. 

The math works like this:

         X (desired encoding gamma) = 1.25 (desired system gamma with contrast boost) / 2.45 (average CRT gamma)

         X = 1.25 / 2.45

         X = .510

         .510 = 1/1.96. 

Thus, 1/1.96 has been used to bake in the gamma of video content for many years and then in the early 90s, Rec709 was officially written, formally defining a “camera gamma” of 1/1.96.

So, what is MacOS doing?

Now that there is an understanding of the magical number 1.96, I will tie it all back together with MacOS. MacOS refers to the original white papers of Rec709 which defines the encoding gamma of 1/1.96. However, MacOS disregards the dim surround compensation that is built into this system when going from 1/1.96 to 2.4. Instead of instructing color sync to convert the gamma to the display’s native gamma of 2.2 with the 1.2 Rec709 gamma boost, they remove it entirely based on the assumption the content is being viewed in a bright surround environment. Therefore, Colorsync thinks the process goes like this:

Rec709 video file was encoded with gamma 1/1.96. Invert this gamma curve to obtain linear lighting of 1.0, then convert it to the display profile’s gamma curve which is gamma 2.2 (By default). The resulting file would theoretically be correctly reproduced if we were monitoring our footage without the dim surround compensation. But nearly everyone does.

Professionals, content creators, videographers, and enthusiasts alike, all monitor Rec709 with the dim surround compensation baked into it. It was done this way by design. Therefore, when we target gamma 2.4 as a delivery gamma, we are doing so with the intent that it is being viewed in a dim environment. So, we target our encoding for that and expect it to be 1:1 reproduced. However, MacOS is the only operating system that opts otherwise because according to spec and the subjectivity of the simultaneous contrast effect, it is technically correct if you are in a very bright room.

In 2011, Rec709 was amended by BT1886 which defined a display gamma of 2.4. Gamma 2.4 has been our target gamma delivery and viewing environment for many years. So, is MacOS doing the right thing? It is open for debate due to the subjectivity of where their devices are being used.

To break it down into steps:

  1. A Rec709 video graded in 2.4 reference environment is opened in color-managed software.
  2. Software announces to Color Sync that it is Rec709.
  3. Color sync interprets the video as gamma 1/1.96. Attempts to linearize the gamma with inverse gamma function 1.96.
  4. Color sync references currently enabled ICC profile. Sees sRGB gamma 2.2 (assuming stock XDR P3 profile or “Color LCD”).
  5. Applies a linear to 2.2 transfer function.
  6. Resulting image perceived by the eye on an apple display in a dim surround is a gamma value lower than 2.4 and thus the infamous “QuickTime Gamma Bug.”

Apple particularly likes the removal of the gamma boost that we refer to as the QuickTime Gamma Bug because the resulting file appears brighter, which helps viewers observe content in an extremely bright surround environment. The dilemma here is that many people simply don’t watch video files with ambient light levels high enough to compensate for this degree of the simultaneous contrast effect. Plus, not even iOS does this, which adds to the confusing intent behind this ordeal.

The QuickTime Gamma Bug – what can I do about this?

At this point, we must be asking ourselves what we can possibly do about all this. Let’s explore our options:

Before recommending any software-based workaround, I must strongly recommend bypassing the operating system entirely. Instead, output your video feed through an I/O device into a calibrated reference monitor. This is the most common professional workflow that will ensure that what you see is what you get. Anything other than this will not guarantee you consistent and reliable results. However, if that is something that the budget cannot afford, read on for the next available options.

If you are editing on an Apple display and want to see the correct Rec709 colors of your video, enable display color management in your NLE.

In Premiere, the Lumetri settings panel will allow you to enable this. Find the check box named “Display Color Management” and enable it. Below this, you can set your working color space to be Rec709. (In older versions, it is located in the general settings menu and assumes Rec709)

In DaVinci, enable “Use Mac Displays as Viewers”. Then, close and reopen DaVinci. In DaVinci’s color management tab, set your output color space to Rec709 Gamma “x”. X being your desired display gamma.

This simple fix will result in seeing accurate Rec709 colors in your program monitor on these popular NLEs. However, I still need to address the gamma bug.

While you can monitor in different gamma settings, it is absolutely critical to remember that MacOS is the only platform that behaves this way. This means no matter how hard you try, there are zero one-size-fits-all solutions. What you can do though is target your audience with all this in mind. If you want Premiere or DaVinci to show you what your footage will look like in a color-managed application, change your viewer gamma in Premiere to 1.96 (QuickTime). For DaVinci, set your output color space gamma to Rec709-A. The A stands for Apple :).

Until the software update that fixes all this happens (we can hope, right?), I personally do not recommend coloring or grading footage while watching footage with this gamma due to the fact it is so untraditional.

There is a proper fix for XDR displays. We can add our own system gamma boost back into the OS to account for our environment. The rec709/bt.1886 mode is pre-set for a 1.22 boost for viewing in a dim environment per the original Rec709 standard that we all are used to monitoring footage in. This sets the monitor to the appropriate 2.4 gamma when viewing anything in a color managed application, such as quicktime, preview, chrome, etc. This will create a ground truth as to what your Rec709 footage looks like on a reference monitor and eliminates the Quicktime Gamma Bug! However, just remember that most folks out of the box MacOS experience will be different, and even further departed if they are viewing in a different environment.

An additional consideration is that if you switch to this display profile and want to preview correct gamma in your NLE, you need to set your Premiere or Davinci viewer gamma settings to be 709A or 1.96.

All washed out

Whew – That’s it! If you made it this far, I truly congratulate you. This can be a dense topic with lots of jargon and unfortunately, that’s the state of the industry right now. As mentioned, many folks such as myself are eager for the day Apple changes this with a software update. But for now, the best philosophy we can all have is that once something has left our hands, it is simply out of our control and into the Wild West.

If you would like to improve your comprehension of gamma and color management, here are two resources I found to be particularly helpful along the way:

Lastly, I want to give a profound thank you to Caleb Carges and Finn Jaeger who have dedicated themselves to the study of colorimetry and specifically the Quicktime Gamma Bug. Without them, this article would not have been possible as they are a key pioneer in the public understanding of this topic.

Take care and see you next time!

Update – January 7th and January 9th, 2024: NCLC Metadata section added and additional context.

Additional video assets were downloaded from Flaticon. Credit below:

Laptop icons created by Good Ware – Flaticon
Video icons created by Freepik – Flaticon
Rgb icons created by Freepik – Flaticon
Video camera icons created by Kiranshastry – Flaticon
Rgb icons created by Freepik – Flaticon
Television icons created by Freepik – Flaticon
Eye icons created by Kiranshastry – Flaticon


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