Customize color presets for new or existing sequences

• Working Color Space—The working color space is the color space within which all color correction and other effects are calculated. Clips are converted from the input color space to the working color space for adjustment before being converted to the Output color space for monitoring/rendering. Select one of these working color space options: 
• Rec.709—A narrow gamut, SDR working space that's useful for SDR-to-SDR workflows in which most of your source media is Rec.709. Input Tone Mapping should be used when you want to automatically convert a wider gamut source media. 
• Rec.2100 (PQ)—An HDR standard that uses the Rec.2020 gamut. Useful for HDR-to-HDR workflows involving previously graded ST.2084 media.   
• Rec.2100 (HLG)—An HDR standard that uses the Rec.2020 gamut. Useful for HDR-to-HDR workflows involving previously captured or graded HLG media.  
• ACEScct—A wide gamut working space that preserves maximum image data when importing wide gamut camera raw and log encoded HDR and SDR sources when you use Output Tone Mapping. Great for creative grading.
• Input Tone Mapping—When enabled, image tonality is automatically compressed from the source clip’s color space to the working color space to automatically convert wide gamut clips to SDR before effects and color adjustments are performed. This is primarily useful when you’re using the Broadcast 709 (SDR) preset, in which the working color space is set to Rec.709. It’s turned off by default in all of the Mixed Media presets, in which the working color space is set to ACEScct and Output Tone Mapping is used instead. 
• Input Gamut Compression—Enables Premiere Pro to compress out of gamut colors from wide latitude source camera media into the working color space to eliminate color clipping. Because raw camera formats often have exceptionally large color spaces, enabling input gamut compression can improve image quality whether you’re using Rec.709 or ACEScct as your working color spaces. 
• Output Tone Mapping—When enabled, image tonality is automatically compressed from the working color space to the output color space to automatically convert wide gamut clips to SDR. All grading and most effects are applied before the output tone mapping for maximum image quality. 
• Output Gamut Compression—When enabled, the image color is automatically compressed from the working color space to the output color space to prevent images or effects with high saturation in bright highlights from being distorted after conversion from a wide gamut to SDR. All grading and most effects are applied before the output gamut compression for maximum image quality.
• Graphics White Override—This is primarily for HDR output and lets you choose which nit level (cd/m2) graphics white appears at. It lets you override the project setting if you need one sequence's graphics white to be at a different level than another's. For sequences set to an SDR output color space, the graphics white setting will always be 100 nits. 
• Color Space Aware Effects—On by default unless you import a project or sequence from an older project. This setting determines whether or not Premiere Pro uses the newer color space aware effects (including Lumetri) that have been designed to work with the newer color management or, the older effects that work only in Rec.709. A project setting governs this behavior for all sequences set to Same as Project, but you can also use this control from within a sequence to override the project setting.

When finished, the Color Setup menu shows Custom, which indicates that you’ve created a custom setting. Select OK in the New Sequence or Sequence Settings tab, or switch back to the Edit tab of the Lumetri Color panel.