- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Frame.io
- Import media
- Importing
- Importing from Avid or Final Cut
- Searching for imported media
- File formats
- Working with timecode
- Editing
- Edit video
- Sequences
- Create and change sequences
- Set In and Out points in the Source Monitor
- Add clips to sequences
- Rearrange and move clips
- Find, select, and group clips in a sequence
- Remove clips from a sequence
- Change sequence settings
- Edit from sequences loaded into the Source Monitor
- Simplify sequences
- Rendering and previewing sequences
- Working with markers
- Add markers to clips
- Create markers in Effect Controls panel
- Set default marker colors
- Find, move, and delete markers
- Show or hide markers by color
- View marker comments
- Copy and paste sequence markers
- Sharing markers with After Effects
- Source patching and track targeting
- Scene edit detection
- Generative Extend
- Cut and trim clips
- Video
- Audio
- Overview of audio in Premiere Pro
- Edit audio clips in the Source Monitor
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- Enhance Speech
- Enhance Speech FAQs
- Audio Category Tagging
- Automatically duck audio
- Remix audio
- Monitor clip volume and pan using Audio Clip Mixer
- Audio balancing and panning
- Advanced Audio - Submixes, downmixing, and routing
- Audio effects and transitions
- Working with audio transitions
- Apply effects to audio
- Measure audio using the Loudness Radar effect
- Recording audio mixes
- Editing audio in the timeline
- Audio channel mapping in Premiere Pro
- Use Adobe Stock audio in Premiere Pro
- Overview of audio in Premiere Pro
- Text-Based Editing
- Advanced editing
- Best Practices
- Video Effects and Transitions
- Overview of video effects and transitions
- Effects
- Transitions
- Titles, Graphics, and Captions
- Properties panel
- Essential Graphics panel (24.x and earlier)
- Captions
- Motion Graphics Templates
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler FAQs
- Upgrade Legacy titles to Source Graphics
- Fonts and emojis
- Animation and Keyframing
- Compositing
- Color Correction and Grading
- Overview: Color workflows in Premiere Pro
- Color Settings
- Auto Color
- Get creative with color using Lumetri looks
- Adjust color using RGB and Hue Saturation Curves
- Correct and match colors between shots
- Using HSL Secondary controls in the Lumetri Color panel
- Create vignettes
- Looks and LUTs
- Lumetri scopes
- Timeline tone mapping
- HDR for broadcasters
- Enable DirectX HDR support
- Color management
- About color management
- How color management works
- Auto Detection of Log Camera Formats and Raw Media
- Disable color management
- Manage source media colors in the Program Monitor
- Configure clips for color management using Clip Modify
- Configure sequence color management
- Customize color presets for new or existing sequences
- Configure a sequence’s output color space
- Color management options
- Color management and Lumetri Color
- Premiere Pro and After Effects color management compatibility
- Working with color managed iPhone media
- Frequently asked questions
- Exporting media
- Export video
- Export Preset Manager
- Workflow and overview for exporting
- Quick export
- Exporting for the Web and mobile devices
- Export a still image
- Content Credentials in Premiere Pro and Adobe Media Encoder
- Exporting projects for other applications
- Exporting OMF files for Pro Tools
- Export to Panasonic P2 format
- Export settings
- Best Practices: Export faster
- Collaborative editing
- Collaboration in Premiere Pro
- Get started with collaborative video editing
- Create Team Projects
- Add and manage media in Team Projects
- Invite and manage collaborators
- Share and manage changes with collaborators
- View auto saves and versions of Team Projects
- Manage Team Projects
- Linked Team Projects
- Frequently asked questions
- Long form and Episodic workflows
- Working with other Adobe applications
- Organizing and Managing Assets
- Improving Performance and Troubleshooting
- Set preferences
- Reset and restore preferences
- Recovery Mode
- Working with Proxies
- Check if your system is compatible with Premiere Pro
- Premiere Pro for Apple silicon
- Eliminate flicker
- Interlacing and field order
- Smart rendering
- Control surface support
- Best Practices: Working with native formats
- Knowledge Base
- Known issues
- Fixed issues
- Fix Premiere Pro crash issues
- Why do my Premiere Pro exports look washed out?
- Unable to migrate settings after updating Premiere Pro
- Green and pink video in Premiere Pro or Premiere Rush
- How do I manage the Media Cache in Premiere Pro?
- Fix errors when rendering or exporting
- Troubleshoot issues related to playback and performance in Premiere Pro
- Set preferences
- Extensions and plugins
- Video and audio streaming
- Monitoring Assets and Offline Media
Learn about color management in Adobe Premiere Pro.
Color management in Premiere Pro makes it easier to use wide-gamut camera raw and log-encoded media, simpler to output a program to multiple formats, and faster to achieve great color.
Supporting RAW and log formats from the most popular cameras, the color management system automatically transforms your raw and log media to the color space of your choice with high-fidelity tone mapping, enabling higher-quality image processing, improved video monitoring, and better sequence export.
Color management in Premiere Pro also allows users to use a wide gamut working color space in three of our new color management "wide gamut" presets for even better-looking results.
Overview of color management features
Each sequence’s color management is easily configurable from the Color Setup menu found within the Color tab that’s available when creating a new sequence or in the Settings tab of your Lumetri Color panel. Thus, you can make real-time color management adjustments and see the result in your Program Monitor without having to switch back and forth between your timeline and your settings.
By default, color management works similarly to previous Premiere Pro color workflows when using the default Direct Rec.709 (SDR) preset. Alternatively, you can choose to use one of the wide-gamut color processing presets to maximize the image quality of all grading and timeline effects when using wide-gamut or wide-latitude source media. Regardless, Lumetri Color and other effects have been made color space aware, so they work well in any preset.
You can turn off automated color management from within the Color Setup menu. This is useful for pass-through workflows when you don’t want the color space of media processed at all or when engaging in traditional display-referred grading workflows using LUTs and manual adjustments.
When color management is turned on, Premiere Pro automatically color manages camera raw media, including Apple, ARRI, Canon, RED, and Sony raw media formats. If color management is enabled, raw clips will be automatically processed and converted to your output color space of choice.
The Color Manage Auto Detected Log and Raw Media checkbox in the Project group of the Settings tab of the Lumetri panel must be turned on for clips to be automatically detected for color-management. This setting remains on once you've turned it on, but lets you disable clip auto detection when it's not convenient for your workflow.
The Override Media Color Space menu supports the most commonly used color spaces for supported cameras and formats, making it easy to color manage media that were either recorded or transcoded to standard file formats such as QuickTime and MXF without needing to track down the right input LUT.
The Program Monitor, Video Scopes, Transmit, and Media Export all output the image as it appears after conversion to the Output Color Space setting. While the working color space lets you choose how media is processed, the Output Color Space lets you choose the specific color space with which you want to monitor (SDR, HDR PQ, or HLG) and deliver your program. This guarantees that the working color space never needs to be changed while making it easy to change color spaces at any time to create multiple deliverables using the same grade (e.g., delivering both HDR and SDR versions of the same sequence).
The Source Monitor provides a Monitor Color Management submenu in the wrench menu that provides different options for showing your source media. By default, the gang to Active Sequence Color Management setting lets you preview how media in the Source Monitor looks using the color management settings of the sequence that currently appears in the Program Monitor.
Improved tone mapping algorithms and gamut compression settings improve quality when automatically converting wide-gamut source media to standard dynamic range. Additionally, there are now two ways of using tone mapping, on input or on output, described in the next section of this document.
The functionality of the Auto Detect Log Video Color Space setting has been renamed Color Manage Auto Detected Log and Raw Media to reflect the new color management capabilities.
Premiere Pro color management has been improved to enable smoother interoperability and color consistency when using Dynamic Link to round-trip color-managed sequence clips between Premiere Pro and After Effects whenever you use the Replace with After Effects composition command.
If you import projects and sequences created in older versions of Premiere Pro that have grading and effects already applied, these will automatically be configured to appear the same as before, while the color management will function the same as before. If you want to override these legacy settings and use the new color management, you can override the custom settings the sequence was set up with and choose a different color management preset or undo if desired.
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