With Lumetri and ACEScct, Adobe Premiere Pro's new Color Management system makes color grading for mixed footage easier and provides smooth SDR and HDR workflows.

Working with mixed video from many camera sources is made easier with Adobe Premiere Pro's revolutionary Color Management technology, which is still in beta testing. Editors may now obtain consistent color and contrast across SDR and HDR (PQ and HLG) outputs without the need for LUTs, regardless of whether they are working with native, Log, or RAW formats. Because of this system's versatility, editors may turn off the functionality if they prefer using bespoke LUT processes.

Now, editors have a wide-gamut working color area in which to create and perfect their own color profiles. ACEScct, a color space that is extensively used in the industry, is supported by the Adobe Color Management toolkit, enabling intermediate work or excellent final results. Because ACEScct procedures are non-destructive, the original video is preserved for any necessary future edits or further colorist grading.

Adobe Premiere Pro links editors with the industry-standard color pipeline, which is frequently utilized in professional SDR and HDR outputs, by incorporating ACEScct. During grading, ACEScct's log-like tonal curve provides fine-grained control over highlights, midtones, and shadows by mirroring camera log characteristics. This guarantees reliable color reproduction and gives editors the freedom to seamlessly transition between SDR and HDR processes.

To improve the editing experience, Lumetri, an integrated panel in Adobe Premiere Pro, provides six main settings. These consist of three Wide Gamut settings (Tone Mapped, Minimal Tone Mapping, and No Tone Mapping), Direct Rec. 709 for SDR, and Direct HLG and Direct PQ for HDR. With the help of these tools, editors may make important creative choices while preserving color accuracy and uniformity throughout their work.