- 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 the improved color management and interoperability between Adobe Premiere Pro and After Effects for consistent color handling in your projects.
After Effects does not have the same HDR monitoring capabilities as Premiere Pro. As we refine HDR monitoring in After Effects, you'll notice more consistency between both apps when working in SDR. When working in HDR, your round-tripped Dynamic Link After Effects composition will look as expected in Premiere Pro but may appear different in After Effects.
The new color management in Premiere Pro enables smoother interoperability and color consistency for sequence clips round-tripping between Premiere Pro and After Effects whenever you use Replace with After Effects composition.
As you work, keep the following in mind:
- Premiere Pro—After Effects interoperability works with every media format (except some still formats like PNG, TIFF, EXR, and JPEG, in which cases you might not see color consistency to the exact same level) supported in Premiere Pro, with every available sequence working color space.
- If you have used Override Media Color Space or Preserve RGB in the Premiere Pro sequence, they will be passed to the After Effects composition.
- If you have applied an LUT to a clip in Premiere Pro via Lumetri Color, that LUT will be passed to the After Effects composition. If you have applied LUT via Modify > Color, then the LUT will not be passed to the After Effects composition.
- If you have applied Input Tone Mapping or Input Gamut Compression to clip in Premiere Pro, then these settings will be passed to the After Effects composition. If you have applied Output Tone Mapping or Output Gamut Compression to clip in Premiere Pro, then these settings will not be passed to the After Effects composition.
- If you have added graphics, color matte, or shapes in the timeline in Premiere Pro, then those will not follow color consistency in the round-tripped clips between After Effects and Premiere Pro.
- If you have After Effects open with a project having different color settings compared to Premiere Pro sequence, and then you choose the Replace with After Effects composition option, whether or not you get consistent clip color depends on the color space of your Premiere Pro sequence and the project settings of the currently open After Effects project. If the two don't match, you’ll receive a warning.
While Premiere Pro has sequence-based color settings, changing the color settings in After Effects will affect the whole project.
- Improvements to color consistency in the outputs sent to Adobe Media Encoder for rendering from After Effects have also been made.
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If you have questions about color management in Premiere Pro, reach out to us in our Premiere Pro community. We would love to help.