- Adobe Premiere Pro 用户指南
- Beta 版
- 快速入门
- 硬件和操作系统要求
- 创建项目
- 工作区和工作流程
- Frame.io
- 导入媒体
- 导入
- 从 Avid 或 Final Cut 导入
- 搜索导入的媒体
- 文件格式
- 使用时间码
- 编辑
- 编辑视频
- 序列
- 生成式扩展
- 剪切和修剪剪辑
- 视频
- 音频
- 基于文本的编辑
- 高级编辑
- 最佳实践
- 视频效果与过渡
- 标题、图形和字幕
- “属性”面板
- 基本图形面板（24.x 及更早版本）
- 字幕
- 动态图形模板
- 最佳实践：加快图形工作流程
- 停用旧版字幕常见问题解答
- 将旧版字幕升级为源图形
- 字体和表情符号
- 动画和关键帧
- 合成
- 颜色校正和评分
- 色彩管理
- 导出媒体
- 协作编辑
- 长篇幅和系列工作流程
- 使用其他 Adobe 应用程序
- 组织和管理资源
- 改善性能和故障排除
- 扩展和增效工具
- 视频和音频流式处理
- 监控资源和离线媒体
- 监控资源
- 离线媒体
- 监控资源
Premiere Pro color management can transform the color of supported log-encoded and raw camera formats directly to SDR or HDR without needing LUTs, and works with most camera formats. If you’re working with certain camera formats, proxies, or log content you purchased online that’s missing the appropriate color space metadata tag for auto-detection, it’s easy to tag the appropriate color space for batches of clips right from your bins.
To enable automatic color space detection of imported media, select Window > Lumetri Color. Open the Settings tab. In the Project settings, select Color Manage Auto Detected and Raw Media.
Scan the following table to learn about the supported camera formats, with the 'Pr Auto Detect' column indicating whether automatic color space conversion from log to SDR and HDR is supported (marked as 'Yes'). We will be adding support for more camera formats regularly. This table is not an exhaustive list of cameras.
Company |
Color Space |
Camera |
Format |
Container |
Pr Auto Detect |
Apple |
Apple Log/Rec. 2020 |
iPhone |
HEVC |
MOV |
No |
Apple Log/Rec. 2020 |
iPhone |
H.264 |
MOV |
No |
|
Apple Log/Rec. 2020 |
iPhone |
ProRes |
MOV |
Yes |
|
Rec. 2100 HLG |
iPhone |
HEVC |
MOV |
Yes |
|
ARRI |
ARRI LogC3/Wide Gamut3 |
ALEXA Mini |
ARRIRAW |
MXF |
Yes |
ARRI LogC3/Wide Gamut3 |
ALEXA Mini |
ProRes |
MOV |
No |
|
ARRI LogC3/Wide Gamut3 |
ALEXA Mini LF |
ARRIRAW |
MXF |
Yes |
|
ARRI LogC3/Wide Gamut3 |
ALEXA Mini LF |
ProRes |
MXF |
No |
|
ARRI LogC4/Wide Gamut4 |
ALEXA 35 |
ARRIRAW |
MXF |
Yes |
|
ARRI LogC4/Wide Gamut4 |
ALEXA 35 |
ProRes |
MXF |
No |
|
ARRI LogC4/Wide Gamut4 |
ALEXA 265 |
ARRIRAW |
MXF |
Yes |
|
Canon |
Canon Log2/Cinema Gamut |
C70 |
Cinema RAW Light |
MXF |
Yes |
Canon Log2/Cinema Gamut |
C300 Mark III |
Cinema RAW Light |
MXF |
Yes |
|
Canon Log2/Cinema Gamut |
C80 |
Cinema RAW Light |
MXF |
Yes |
|
Canon Log2/Cinema Gamut |
C400 |
Cinema RAW Light |
MXF |
Yes |
|
Canon Log2/Cinema Gamut |
C400 |
H.264 |
MXF |
Yes |
|
Canon Log2/Cinema Gamut |
C400 |
HEVC |
MP4 |
No |
|
Canon Log2/Cinema Gamut |
C400 |
H.264 |
MP4 |
No |
|
Canon Log3/Cinema Gamut |
C70 |
Cinema RAW Light |
MXF |
No |
|
Canon Log3/Cinema Gamut |
C300 Mark III |
H.264 |
MXF |
Yes |
|
Canon Log3/Cinema Gamut |
C400 |
Cinema RAW Light |
MXF |
No |
|
Canon Log3/Cinema Gamut |
C400 |
H.264 |
MXF |
Yes |
|
Canon Log3/Cinema Gamut |
C400 |
HEVC |
MP4 |
No |
|
Canon Log3/Cinema Gamut |
C400 |
H.264 |
MP4 |
No |
|
Fuji |
Fuji F-Log/Rec. 2020 |
X-H2S |
H.264 |
MOV |
No |
Fuji F-Log2/Rec. 2020 |
X-H2S |
H.264 |
MOV |
No |
|
Leica |
Leica L-Log/Rec. 2020 |
SL3-S |
H.264 |
MOV |
No |
Leica L-Log/Rec. 2020 |
SL3-S |
ProRes |
MOV |
No |
|
Nikon |
Nikon N-Log/Rec2020 |
Nikon Z9 |
HEVC |
MOV |
No |
Panasonic |
Panasonic V-Log/V-Gamut |
Lumix S5II |
H.264 |
MOV |
Yes |
Panasonic V-Log/V-Gamut |
Lumix GH6 |
HEVC |
MOV |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix GH7 |
ProRes |
MOV |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix GH7 |
H.264 |
MOV |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix GH7 |
HEVC |
MP4 |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix SR1 II |
ProRes |
MOV |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix SR1 II |
H.264 |
MOV |
Yes |
|
Panasonic V-Log/V-Gamut |
Lumix SR1 II |
HEVC |
MP4 |
Yes |
|
DJI |
DJI D-Log/D-Gamut |
Mavic Air 3 |
HEVC |
MP4 |
No |
Rec. 2100 HLG |
DJI Air 2S |
HEVC |
MP4 |
Yes |
|
Red |
Red Log3G10/Wide Gamut |
Komodo-X |
R3D |
R3D |
Yes |
Red Log3G10/Wide Gamut |
V-Raptor XL |
R3D |
R3D |
Yes |
|
Sony |
Sony S-Log2/S-Gamut |
PMW-F5 |
Sony RAW |
MXF |
Yes |
Sony S-Log3/S-Gamut3 |
PXW-Z750 |
H.264 |
MXF |
Yes |
|
Sony S-Log3/S-Gamut3.Cine |
FX3 |
H.264 & HEVC |
MP4 |
Yes |
|
Sony S-Log3/S-Gamut3.Cine |
FX6 |
H.264 |
MXF |
Yes |
|
Sony S-Log3/S-Gamut3.Cine |
BURANO |
H.264 & HEVC |
MXF |
Yes |
|
Sony S-Log3/S-Gamut3.Cine |
VENICE 2 |
X-OCN |
MXF |
Yes |
|
Rec. 2100 HLG |
Sony FX3 |
H.264 |
MP4 |
Yes |
While the Fujifilm F-Log, F-Log2, Nikon N-Log, and Leica L-Log formats are natively supported in Premiere Pro 25.2, you may need to manually assign the color space for clips recorded with these cameras.
Manually assign color spaces to clips that aren't automatically detected
Premiere Pro assigns Rec.709 as the default color space in cases where auto-detection is not possible, either because of missing metadata or because the format is not yet supported. These clips will appear low contrast or “flat” because that’s their log-encoded appearance.
If you discover the color management system does not automatically detect some media, this is easy to fix in the Project Browser. Simply select all undetected clips that should be sharing the same source color space (they'll appear low contrast) and select Clip > Modify > Color to override the media color space with the correct color space from the drop-down menu list. For more information, see Configure clips for color management using Clip Modify.
