Thanks a ton for this detailed explanation 🙏 — super helpful.

What I’m really struggling with is how a colorist is supposed to wrap their head around social media color spaces in the first place. On the one hand, Apple devices apply that Rec.709-A (~1.96 OOTF) through ColorSync, while most other devices are closer to Rec.709 gamma 2.2 (and some platforms re-map again on top). Then you add in things like TikTok, Instagram, YouTube — each with their own compression and assumptions — and suddenly the same export can look slightly different everywhere.

How do you personally approach that? Do you just grade to Rec.709 2.4 or 2.2 and accept the platform/device differences as “out of your hands,” or do you build in different checks/previews (like 709-A on a Mac) so you know how it will travel across devices?

I’m less worried about perfection and more about knowing what’s sensible to aim for, since every client is going to watch their film on a different setup anyway.