- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Capturing and importing
- Capturing
- Importing
- Importing from Avid or Final Cut
- Supported file formats
- Digitizing analog video
- Working with timecode
- Capturing
- Editing
- Edit video
- Sequences
- Create and change sequences
- Change sequence settings
- Add clips to sequences
- Rearrange clips in a sequence
- Find, select, and group clips in a sequence
- Edit from sequences loaded into the Source Monitor
- Simplify sequences
- Rendering and previewing sequences
- Working with markers
- Source patching and track targeting
- Scene edit detection
- Video
- Audio
- Overview of audio in Premiere Pro
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- 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
- Advanced editing
- Best Practices
- Video Effects and Transitions
- Overview of video effects and transitions
- Effects
- Transitions
- Titles, Graphics, and Captions
- Overview of the Essential Graphics panel
- Titles
- Graphics
- Create a shape
- Draw with the Pen tool
- Align and distribute objects
- Change the appearance of text and shapes
- Apply gradients
- Add Responsive Design features to your graphics
- Install and use Motion Graphics templates
- Replace images or videos in Motion Graphics templates
- Use data-driven Motion Graphics templates
- Captions
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler in Premiere Pro | FAQ
- Upgrade Legacy titles to Source Graphics
- Animation and Keyframing
- Compositing
- Color Correction and Grading
- Overview: Color workflows in Premiere Pro
- 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
- Display Color Management
- HDR for broadcasters
- Enable DirectX HDR support
- Exporting media
- Collaboration: Frame.io, Productions, and Team Projects
- Collaboration in Premiere Pro
- Frame.io
- Productions
- Team Projects
- Working with other Adobe applications
- Organizing and Managing Assets
- Improving Performance and Troubleshooting
- Monitoring Assets and Offline Media
The Reference Monitor acts like a secondary Program Monitor. You can use a Reference Monitor to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes.
You can cue the frame of a sequence displayed in the Reference Monitor independently from the Program Monitor. This way, you can cue each view to a different frame for comparison—to use the color matching filter, for example.
Alternatively, you can gang the Reference Monitor and Program Monitor together, so that they both show the same frame of a sequence and move in tandem. This is especially useful for color-correcting tasks. By setting the Reference Monitor’s viewing mode to a waveform monitor or vectorscope, you can make adjust the color corrector or any other video filter more effectively.

You can specify the Reference Monitor’s quality setting, magnification, and viewing mode just as you would in the Program Monitor. Its time ruler and viewing area bar also work in the same way. But because it’s for your reference and not for editing itself, the Reference Monitor contains controls for cueing to frames and not for playback or editing. When you group the Reference Monitor and Program Monitor together, you can use the Program Monitor’s playback controls. You can open only one Reference Monitor.
Andrew Devis shows how to correct brightness and contrast, and use of the Reference Monitor in this video on the Creative COW website.
Open a Reference Monitor
The Gang functionality is a handy feature since it lets you see how a source clip compares to your sequence, and it is ideal for tasks like matching the look of one piece of footage with another. The Gang to Program Monitor button can be powerful for workflows like color correction, Multi-cam editing, or when comparing edits.
The Gang Source and Program button gangs the Source Monitor and the Program Monitor together. Click the button to toggle the gang functionality on and off. When it is enabled, the play heads are locked together and move in tandem. When it is off, the monitors function independently from one another.
You can gang the Reference Monitor and the Program Monitor so that both always monitor the same frame.
In the Reference Monitor, click the Gang To Program Monitor button
.
In the Reference Monitor’s panel menu, choose Gang To Program Monitor.
In the Program Monitor’s panel menu, choose Gang To Reference Monitor.
Moving the playhead in either the Reference Monitor, the Program Monitor, or the Timeline moves the playheads in the other two to the same frame.
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