Premiere Pro provides you professional-quality color grading and color correction tools that let you grade your footage directly on your editing timeline.
These Color tools are available within a Lumetri Color workspace in Premiere Pro. Using these tools, you can adjust color, contrast, and light in your sequences in new and innovative ways. With editing and color grading working hand in hand, you can freely move between editing and grading tasks without the need to export or launch a separate grading application.
The Color workspace is designed not just for experienced colorists but also for editors who are new to color grading. You can apply simple color corrections or complex Lumetri Looks using intuitive sliders and controls. Or you can easily adjust cuts or fine-tune grades using advanced color correction tools like curves and color wheels.
Premiere Pro provides a preset Color workspace that makes your task of color grading quicker and more efficient.
Select Window > Workspace > Color, or choose Color from the workspace switcher. The Color workspace opens a Lumetri Color panel to the right, and a Lumetri Scopes panel to the left of the Program Monitor.
A. Lumetri Scopes panel B. Lumetri Color panel with curves, color wheels, and slider adjustments
The Lumetri Color panel offers powerful and easy-to-use color tools, like curves, color wheels, and slider arrangements, arranged in different sections. Each section of the Lumetri Color panel focuses on a specific task of the color workflow.
The Lumetri Scopes panel displays different analyses of luma and chroma as waveforms based on your adjustments, letting you evaluate as you grade your clips.
When the Lumetri Color panel is open, Premiere Pro automatically selects the Selection Follows Playhead option from the Sequence menu. The auto-selection of the clip ensures that any color adjustments you make are applied to the selected clip.
Automatic clip selection is applied even for the linked audio clips in the audio tracks. To focus your color adjustments only to video clips, turn off audio track targeting.
Start making color adjustments using the Basic Correction section.
The controls in the Basic Correction section guide you through applying a LUT (Lookup Table), and making other technical corrections to exposure and light through easy-to-use controls. For more information, see Basic color correction.
To make individual shots recorded under different lighting conditions look like they belong in the same scene, and not out of place when cutting from one shot to the next, use the Color Match section.
For more information, see Color Match shots.
After making all the color adjustments, create a high-quality vignette to make your video stand out.
For more information, see Apply Vignette.
To quickly toggle between the before and after changes, click Toggle Bypass on or off on the Lumetri Color panel or the fx option on the Effects Control panel.
Using controls in the Basic Correction section, you can correct video that’s too dark or too light, and adjust both the hue (color or chroma) and luminance (exposure and contrast) in your clip.
To adjust a control, drag the slider until you achieve the desired result. Or, you can set a specific value in the box next to the sliders. To select the box and type a new value, click the current value.
The white balance in a video reflects the lighting conditions under which the video was shot. Adjusting the white balance can effectively improve the ambient color of your video.
Adjust the white balance in your clip by changing the Temperature and Tint properties. Use the slider controls to fine-tune the values until you achieve the desired color balance.
Fine-tunes the white balance using a color temperature scale. Move the slider to the left to make the video appear cooler, and to the right for warmer colors.
Sets the brightness of the video clip. Moving the Exposure slider to the right increases tonal values and expands highlights, and moving the slider to the left decreases tonal values and expands shadows. Adjust the slider until the video looks good with the desired brightness.
Increases or decreases contrast. Adjusting the contrast mainly affects the midtones of color in your video. When you increase contrast, the middle-to-dark areas become darker. Similarly, decreasing the contrast makes the middle-to-light areas lighter.
Adjusts bright areas. Drag the slider to the left to darken highlights. Drag to the right to brighten highlights while minimizing clipping.
Adjusts dark areas. Drag the slider to the left to darken shadows while minimizing clipping. Drag to the right to brighten shadows and recover shadow details.
Adjusts white clipping. Drag the slider to the left to reduce clipping in highlights. Drag to the right to increase highlight clipping.
Adjusts black clipping. Drag the slider to the left to increase black clipping, making more shadows pure black. Drag to the right to reduce shadow clipping.
To set the overall tonal scale, click Auto. When you select Auto, Premiere Pro sets the sliders to maximize the tonal scale and minimize highlight and shadow clipping.
The Creative section lets you further expand your creative range when adjusting color. You can easily apply complex Lumetri looks and adjust other parameters like vibrance and saturation using intuitive sliders and controls.
The Lumetri Color panel provides a Looks Preset Thumbnail viewer that lets you click through the Looks presets before application. If you like what you see in the preview, you can apply that look to your clip.
Apply looks to make your video look like a professionally shot film. You can use a look by itself or apply a look before or after a custom grade.
You can also choose a look available in your Creative Cloud Library, or apply looks captured in the mobile capture app - Adobe Hue CC. For more information about Adobe Hue CC, see this FAQ page.
Premiere Pro also provides preset film stock and camera looks under Lumetri Presets in the Effects panel.
Applies a faded film effect to your video. Drag the sliders to the right or left until you achieve the desired vintage look.
Adjusts edge definition to create a sharper-looking video. Drag the slider to the right to increase the edge definition, and drag to the left to decrease the edge definition. An increased edge definition makes the details in the video more pronounced. So, make sure that you don't sharpen the edges too much that it looks unnatural.
To turn off sharpening, set the slider to zero (0).
Adjusts the saturation so that clipping is minimized as colors approach full saturation. This setting changes the saturation of all lower-saturated colors with less effect on the higher-saturated colors. Vibrance also prevents skin tones from becoming oversaturated.
Adjusts the saturation of all colors in the clip equally from 0 (monochrome) to 200 (double the saturation).
Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels.
RGB Curves let you adjust luma and tonal ranges across the clip using curves.
- The master curve controls the Luma. Initially, the master curve is represented as a straight white diagonal line. The upper-right area of the line represents highlights and the lower-left area represents shadows.
- Adjusting the master curve adjusts the values of all three RGB channels simultaneously. You can also choose to selectively adjust tonal value only for Red, Green, or Blue channels. To adjust different tonal areas, add control points directly to the curve.
- Click directly on the curve line and then drag the control point to adjust a tonal area. Dragging a control point up or down lightens or darkens the tonal area you’re adjusting. Dragging a control point left or right increases or decreases the contrast.
- To delete a control point, press Ctrl (Windows) or Cmd (Mac OS) and click the control point.
Premiere Pro offers the following color curves that you can use to make different types of curve-based color adjustments to your clip.
- Hue versus Saturation - Select a hue range and adjust its saturation level
- Hue versus Hue - Select a hue range and change it to another hue
- Hue versus Luma - Select a hue range and adjust the luma
- Luma versus Saturation - Select a luma range and adjust its saturation
- Saturation versus Saturation - Select a saturation range and increase or decrease its saturation
You can adjust colors using control points. Here are some of the ways you can manipulate control points to adjust your color.
- Add individual control points by clicking directly on the curve. Constrain your adjustment to a determined range by creating a minimum of three control points. You can add as many control points as you like.
- You can add three control points automatically to the curve by using the Eyedropper tool. For more information, see Sample colors.
- Drag the center control point up or down to raise or lower the output value of the selected range. For example, you can use the Hue versus Sat curve to select a green range; dragging up increases the saturation of that range of green colors in your video, while dragging down reduces the saturation.
- Press the Shift key to lock a control point on the X so it can only move up and down.
- While moving a control point, a vertical band appears to help you judge your final result. It is useful in the Hue versus Hue curve, where it can be tricky to judge the resulting hue. For example: you want to fine-tune some skin tone values which look a bit red. You can use the Hue versus Hue curve to select a range of red colors; with the center control point selected the vertical indicator helpfully shows you that pulling down shifts the red toward orange, which is much better for skin-tone.
- To remove a single control point, select the control point and press Command + Click (Mac) or Control + Click (Windows).
- To remove all control points and reset the curve, double-click any control point.
With one of the color curves tabs open, click the Eyedropper tool to sample a color in the Program Monitor. Three control points are automatically placed on the curve. The center point corresponds to the color you selected. For the three Hue curves, this Hue value is for the selected pixel. For the Luma and Sat curves, the point is placed corresponding to the Luma or Saturation value of the pixel selected.
By default, the Eyedropper samples a 5 x 5 pixel area and averages the selected color. Press the Command (Mac) or Control (Win) keys while using the Eyedropper to sample a larger 10 x 10 pixel area.
Premiere Pro processes effects that are applied before the current Lumetri effect (including more Lumetri Color effects) before sampling the color. If the earlier applied effects affect the color, the changed color is what gets sampled. Effects that are applied after the current Lumetri effect are not considered when sampling the color.
Sections within the Lumetri panel process from top down, so Basic, Creative, and RGB Curves all get processed before feeding into the Hue Saturations Curves. Lumetri sections that come after curves (Color Wheels, HSL Secondaries, Vignette) are not considered when sampling the color.
The Hue Saturation Curves themselves process in parallel, so all of the curves sample the color value at the time it feeds into the Hue Saturation Curves section.
An example to illustrate this behavior:
If you use the Hue versus Hue curve to change a green color into blue, and then use the Hue versus Luma curve to sample the resulting blue color, Premiere Pro adds the control points to the green section of the curve - the original color - not blue.
If you want to ignore the Hue versus Hue change while editing the Hue versus Luma curve, you can deselect the check box above the Hue versus Hue curve.
This curve lets you selectively edit the saturation of any hue within an image. In this example, this curve has been used to increase the saturation levels of the image making the girl look less pale. The saturation of the blue sky and the light has also been increased to make the image as a whole look warmer.
This curve allows you to change a hue to another hue. In the above example, this color curve has been used to change the hue of the girl's dress.
You can also use this curve to quickly make minor but dramatic adjustments to color. For example, you can select yellowing leaves on foliage and change them to green to make the foliage look more healthy.
This curve lets you increase or decrease the lightness of specific colors. In the above example, the pale blue sky and its reflection in the water below has been darkened to add more drama to the image.
Adobe recommends using this curve with high-quality footage, as this can reveal pixelation or artifacts (if the original image quality is not good).
This curve lets you adjust the saturation of an image based on image tonality rather than hue. In this example, this curve is used to slightly increase the blue tones within the luma.
This curve lets you selectively manipulate image saturation. In the above example, this curve is used for desaturating only the oversaturated blue wall without affecting the similar less-saturated picture of the dolphin in a similar blue color.
Another great use of this curve is for ensuring broadcast legal saturation levels by desaturating everything above 75% saturation.
You can use the Color Matching option to compare looks of two different shots across an entire sequence to ensure color and light appearances match within a scene or across multiple scenes.
Face Detection is on by default, and if Auto Color detects faces in either the reference or current frame it gives higher weight to the colors in the facial region.
This feature yields much higher quality matches of skin tone especially when there are distracting colors in the background, but you can disable it for situations where you want or need the whole frame to be evaluated equally.
If you use face detection, there is a slight increase in the amount of time it takes to calculate the match. If you are working with footage that does not contain any faces, disable face detection to speed up the color matching.
Premiere Pro automatically applies Lumetri settings using the Color Wheels and Saturation control to match the colors in the current frame to the colors in the reference frame.
The Color Wheels (and Saturation slider if necessary) update to reflect the adjustment that the automatic color matching algorithm has applied.
If there is an existing Lumeti effect on the clip with altered parameters, some of those settings must be reset.
Use the color wheels to adjust intensity levels of shadows, midtones, and highlights. You can also use the accompanying sliders instead of the wheels to make these adjustments.
You can adjust the shadow or highlight detail to brighten or darken areas in an otherwise well-lit clip. You can isolate the regions that need correction and apply these adjustments. Use the Midtone color wheel to adjust the overall contrast of the clip.
- Wheels with empty centers indicate that no adjustments have been made. Click in the middle of the wheel and drag the cursor to fill in the wheels and make adjustments as required.
- If you use the slider control, drag the slider up to increase the value or drag the slider down to decrease the value. For example, drag the Shadow slider up to lighten shadows, and drag the Highlights shadow down to darken highlights.
The HSL section of the Lumetri panel combines with the existing tools to give you even finer control of your shots. It is commonly used after primary color correction is complete.
The goal is control over a specific color, not the overall image. Control over a single color is useful, for example, when the overall hue saturation curves are hitting their limits. Curves are then lowered to meet broadcast safe limits. Another typical scenario includes enhancing a specific color by making it stand out from the background or keying a specific luminance range, like a sky.
To apply an HSL Secondary effect, you have to set a key, refine it and apply a color correction to it.
To pick a target color, click the Set color Eyedropper tool, and click again on a color in the clip. Use the plus and minus eyedroppers to add or remove pixels from the selection. After you select a portion of the clip, the Hue, Saturation, and Lightness ranges reflect your color choice.
While picking a color with the eyedropper, you can press the Ctrl/Cmd modifier key to switch to a larger sample size.
The triangle at the top of the slider expands or restricts the range. The triangle at the bottom makes the transition between selected and non-selected pixels smoother. To move the entire range, click in the center of the desired slider and move it.
Adjust the range until the mask covers the entire desired region. To refine the selection, use the options under Refine:
- Denoise: Use the denoise slider to smooth colors and remove any noise from the selection. When the image is manipulated, the colors adjust uniformly.
- Blur: Use the blur slider to soften the edges of the mask to blend the selection.
Once you have a well-defined key, use the grading tools in the Correction section to apply an isolated color correction to your key. Deselect the check box next to Color/Gray to view the changes.
By default, a mid-tone color wheel is displayed, but you can switch to a traditional 3-way color wheel by clicking the icon just above the wheel.
Sliders for Temperature, Tint, Contrast, Sharpen, and Saturation are available below the color wheel to control the correction precisely.
The Vignette controls let you control the size, shape, and amount of lightening or darkening of the edges.
Sets the amount of lightening or darkening along the edges of an image. Type a number in the box, or move the slider to gradually shade the clip.
Specifies the width of area affected by the Amount slider. Move the slider, or type a lower number to affect more of the image. Type a higher number to restrict the effect to the edges of the image.
Specifies the size (roundness) of the vignette. Negative values cause an exaggerated vignette effect, and positive values cause a less visible vignette.
Defines the edge of the vignette. A smaller value creates a harder, sharper edge, whereas, a larger value indicates a softer, thicker edge.
You can reset all color changes done using the Reset Effect option in the Lumetri Color panel, or from the Effects Control panel.
In addition, you can use the Mask tools in the Effect Controls panel to draw free-form masks and shape masks. You can draw a mask to correct a specific area in your clip using the Basic Correction color tools. Or, you can use an inverse mask selection to exclude the masked area from color corrections applied to the rest of the clip. In addition, you can add multiple shape masks with different color adjustments applied to different areas of a clip.
On the Lumetri Color panel, click the Lumetri Color tab.
In the fx drop-down list, select Add Lumetri Color Effect to create a new effect. When you add a new effect, Premiere Pro creates a new Lumetri Color with the name Lumetri Color.
You can rename these effects for better organization. To rename an effect. select Rename from the fx drop-down list.
To delete an effect, select the effect you want to delete (it is highlighted in blue), and click Clear from the fx drop-down list.
When no Lumetri instances are present, only the Add Lumetri Color Effect option is enabled.
When you delete an effect, Premiere Pro directly deletes it without prompting you for confirmation.
Premiere Pro lets you easily save and reuse your color adjustments in different projects or applications. You can export all color grading information as a .look file or a LUT file to use in Adobe Premiere Pro or a third-party application.
Select the Lumetri Color pop-up menu, and choose:
You can also customize individual color effect settings and save them as presets.
Select the Lumetri Color pop-up menu, and select Save Preset. In the Save Preset dialog box, specify a name for your preset. If desired, enter a description. For more details, see this Help article.
|Custom LUT directories||macOS||Windows|
|Available only to the local user||/Users/<user_name>/Library/Application Support/Adobe/Common/LUTs/Creative
|Available to all users||/Library/Application Support/Adobe/Common/LUTs/Creative
Premiere Pro scans the folders at launch and loads LUT files from these directories. LUTs in the Creative directories appear in the Creative Looks dropdown, and LUTs in the Technical directories appear in the Input LUT dropdowns.
The High Dynamic Range controls in the Lumetri Color panel give you access to a wide range of shadow and highlight detail. You can use the following tools to make precise color adjustments to your HDR video footage to show rich details:
- HDR Switch: Switch the grading functions in Lumetri panel to HDR mode from the default SDR mode that work for a range of 0-100.
- Specular White control: Adjust tone at given HDR white value. In example, if white point is set to 200, all values above 200 must change while adjusting HDR Specular control.
- Adjustable RGB curve range control: Adjust the ranges for shadows/midtones/highlights allowing an HDR range between 0-10000 Nits.
HSL Secondaries provide more color tools to isolate a color/luma key and apply a secondary color correction to it.
To locate the HSL control, open Lumetri Panel and select HSL Secondary section. Or:
- Add Lumetri Color effect.
- Open the Effects Control Panel.
- Twirl-down Lumetri Effect and select HSL Secondary section.
To set a target range, click “Key” to twirl down the range selector controls.
- You can use eyedroppers to select/add/exclude target ranges. Select an eyedropper (for example. 'Set Color'), move over the color range you’d like to sample, and then click to apply the range. If you hold down the Cmd/Ctrl modifier key while hovering over the program monitor, you can set the eyedropper to a 5x5 pixel selection.
- Select a color range from the color range presets (C/M/Y/R/G/B).
Use the range selector tools to fine tune the range. To move the entire range:
- Click the desired H/S/L slider and move it to left/right while holding down the mouse key.
- Use the triangles at the top of the slider to expand/restrict the range and the bottom triangle to feather the selection.
- Deselect Hue, Saturation, Lightness ranges entirely. When deselected, the entire range is included in the key.
- By deselecting H,S ranges you can quickly adjust luma-range for applying a lightness key.
- Drag to set or add colors to the HSL range.
To reset the ranges, click the reset button below the sliders or double-click the appropriate range to reset a single range. Use the key option (Colors/Black, Color/Gray, or White/Black) below the slider controls to view the selected range of the image. Use the Invert button next to it to invert the key.
- The preview auto toggles to on/off while adjusting HSL-sliders, Denoise, and Blur controls. It makes the key preview workflow easier while adjusting the key.
- When the color picker is in use, the previously applied look is still visible in the program monitor, ensuring that the users are in control of those colors that have been picked already.
Use the provided grading tools in the Correction section such as: Color Wheels. The default color wheel gets displayed in a mid-tone control. To switch to a three-way control (like the Lumetri wheels section), click the accordion button at the top.
Lumetri panel grading controls can now be mapped to control surface devices (such as Tangent Devices - Elements/Wave/Ripple).
To set up a Tangent control surface device:
- Install Premiere Pro and the Tangent Hub software (See the Tangent Devices Support website for details).
- In Premiere Pro, click Open Preferences - Control Surface.
- Click Add and choose Tangent and save PR Project.
PR installs a pre-configured Tangent control mapping layout, which provides a good starting point to control PR/Lumetri. The default mapping has the following modes: [Editing], [Lumetri - Basic],[Lumetri - Creative], [Lumetri - Curves], [Lumetri - Wheels], [Lumetri - HSL], [Lumetri - Vignette]. Each mode has a set of pre-configured commands. The mapping of the commands can be manually changed in Tangent HUB software if necessary (See Tangent Support website for details).
Third-party control surfaces are also supported by installing a plug-in from third-party websites.
To get to the corresponding grading mode in Premiere Pro, select a section in Lumetri panel. For example, selecting the Wheels section in Lumetri panel maps the control surface hardware to Wheels mode and selecting Creative changes the mode and maps the corresponding wheels and sliders. You can also manually select a mode from the control surface device if the mode was mapped (that is Elements). The Lumetri panel UI then shows the corresponding section if the panel is visible. The last used mode remains active until manually switched to another one.
The Lumetri Scopes panel (Window > Lumetri Scopes) displays a set of resizeable built-in video scopes: Vectorscopes, Histogram, Parade, and Waveform. These scopes help you accurately evaluate and color-correct your clips. At any given point, you can display all five scopes in the Lumetri Scopes panel.
You can select 8-bit, float, or HDR in the drop-down list on the lower-right corner of the Lumetri Scopes panel depending on the nature of scopes that you want to analyze. For example, the scopes change to high dynamic range data ranges when you select HDR, with the scope scale showing a range between 0-10000 Nits.
You can select from two available vectorscopes:
- Vectorscope HLS: Displays hue, saturation, lightness, and signal information in a glance
- Vectorscope YUV: Displays a circular chart, similar to a color wheel, that shows the video’s chrominance information
Displays a statistical analysis of the pixel density at each color intensity level.
Histograms can help you accurately evaluate shadows, midtones, and highlights, and adjust the overall image tonal scale.
Displays waveforms representing levels of the luminance and color difference channels in the digital video signal. You can choose from RGB, YUV, RGB-White, and YUV-White parade types.
For example, if you are comfortable with viewing YUV waveforms, you can use the YUV Parade scope when making color and luminance adjustments. On the other hand, if you want to compare the relationship between the red, green, and blue channels, use the RGB Parade scope that displays waveforms representing the levels of the red, green, and blue channels in a clip.
You can select from the following available waveform scopes:
- RGB waveform: Displays the RGB signals overlaid to give a snapshot view of the signal level of all the color channels
- Luma waveform: Displays the IRE values between –20 to 120, allowing you to effectively analyze the brightness of shots and measure the contrast ratio
- YC waveform: Displays the luminance (represented as green in the waveform) and chrominance (represented as blue) values in your clip
- YC no Chroma waveform: Displays only the luminance values in your clip
You can select from the following available brightness settings:
- Bright = 125%
- Normal = 100%
- Dimmed = 50%
The Lumetri creative look presets have been replaced with a new package, called the SpeedLooks Studio Linear. These presets are optimized for Rec709/DSLR footage. To find the new presets:
- Open Lumetri Panel and further select the Creative section.
- In the Creative section, select the Look dropdown or use thumbnail preview to navigate through the pre-installed look presets.
- The new preset is labeled "SL". That is, "SL - Clean Fuji A HDR".
The previous SpeedLooks Log bundle (Camera Patches + Creative Looks) has been removed from Lumetri panel. Adobe supports these presets from legacy projects, however, and they are still available as Lumetri effect presets.