April 9, 2015

Premiere Pro Just Got Some Massive Upgrades to Its Color Correction Abilities

Adobe Premiere Pro 2015 Lumetri Color Workspace
Today Adobe announced the newest versions of their Creative Cloud video applications. Though there are some great upgrades and new tools, Premiere Pro has benefitted tremendously from the update, so much so that it deserves its own article.

The upgrades in Premiere almost all have to do with color. Back when Adobe acquired Iridas (the original developers of SpeedGrade) a few years back, the hope was that not only would Premiere and SpeedGrade communicate with each other much in the same way that other Adobe programs communicated, but that some of the advanced and high-end color features in SpeedGrade would make their way directly into Premiere so that they could be used natively while editing. Not only has all of that happened in the past few Premiere releases, but today's update takes it to another level entirely.

Here's what you can expect to see with the next version of Premiere in terms of color functionality:

While the entire Lumetri color workspace seems great and very well thought out, I'm particularly excited for the basic "photo style" color tools that seem to be straight out of Adobe Lightroom. This doesn't necessarily seem like a big thing, but I've always found the sliders in most photo programs to be far easier and more intuitive than three-way color wheels and curves. These simple tools should provide an easy way for non-colorists to get great color from their shots without any kind of technical background.

For those more well-versed in color correction, all of the same color tools that we know and love are still there in Premiere, just in updated versions that not only look better (at least in my opinion), but which are more functional as well. I'm particularly stoked about the new hue and saturation adjustment controls, however, which offer another entirely new way to isolate a specific color and then intensify or desaturate that color irrespective of other chrominance values. It's a lot like the HSL controller in Magic Bullet Colorista, but with even more controls for fine-tuning color adjustments.

Here are a few of the other short feature videos that Adobe released today alongside the announcement:

Morph Cut is one of those things that will probably end up saving many of our asses at some point (those of us who shoot lots of interviews anyway), especially when we don't have the appropriate b-roll or cutaway to cover up a jump cut. While I haven't tested this feature for myself yet, it sure seems to work well in the video demonstration above, which makes me excited for a future in which Adobe's magical morph cut technology makes it so that I can easily hide the jump cuts that I've had to find other creative ways to fix in the past.

You can read about all of the new features in the latest version of Premiere over on the Adobe blog. And you'll be hearing about the other exciting updates to Adobe's video lineup (including some entirely new pieces of software), so stay tuned!     

Your Comment

65 Comments

Yuss! This is all so great!

April 9, 2015 at 2:47AM

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Isaiah Corey
Director of Photography
281

Slowly but surely, Adobe is building the NLE we all hoped FCP8 would be.

And people looked at me like I was crazy when I jumped ship to Premiere four years ago. Vindication, mofos! :)

I almost want to edit another badly performed interview with no B-roll just to try out Morph Cut. Almost.

April 9, 2015 at 9:40AM

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Great stuff! The lumetri color space addon is exactly what I've been waiting for years. I wonder if there will be a preset market now like for lightroom (with vsco etc).

I don't see the update live yet btw...

April 9, 2015 at 2:51AM

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Gerbert Floor
DP / Director / Camera / Editor
290

Task oriented workspaces is the way to go. Where Davinci Resolve is introducing editing in its software, Adobe seems to take the opposite approach. These upgrades could make our work easier to accomplish. The "morfcut" is no less than a strike of genius ; )

April 9, 2015 at 2:57AM

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The Morph cut was Avid's idea years ago, and is something Adobe users have been requesting as long as I can remember. I know, because I was one of those who made the feature request years ago.

April 9, 2015 at 3:48PM

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Brynn Sankey
Filmmaker
354

That MorphCut looks crazy!

April 9, 2015 at 3:48AM, Edited April 9, 3:48AM

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Viktor Ragnemar
Director/Cinematographer
1131

That morphcut looks like something created with some sort of witchcraft, loads of time this thing is going to save.

April 9, 2015 at 4:31AM

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Isaac Alonzo
Photographer / Cinematographer
301

Yes. Avid users have been using it since 2008 as Fluid Morph.

April 9, 2015 at 10:15AM

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Good thing it's in a functional NLE now ;)

April 9, 2015 at 1:32PM, Edited April 9, 1:32PM

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Taylor Russ
Director of Photography
647

Those jump cuts didn't look that bad. And the first playback was laggy. I just hope that it wasn't on purpose because it looks like a great tool.

April 9, 2015 at 10:33AM

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Juanky Álvarez
Video Editor | Photographer
107

So what do I do to get all this? I have cc2014. Do I simply have to refresh sg? Sorry for the probably basic question. M.

April 9, 2015 at 3:51AM, Edited April 9, 3:51AM

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Misi Dunai
cinematorgaper
154

When it's released the update will show up in your Creative Cloud app. (Where you download the programs). But, alas - it's not out yet...

April 9, 2015 at 9:53AM

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Lane McCall
Producer/Director
512

Thanks a lot!

April 13, 2015 at 8:48AM, Edited April 13, 8:48AM

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Misi Dunai
cinematorgaper
154

AAARRGHHHH! I need this update to be out immediately! I have several projects due and this update would save me tons of time!

April 13, 2015 at 1:35PM

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Caleb Price
Director
439

This is so exciting! They keep getting things right, kudos!

April 9, 2015 at 4:14AM

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Gleb Volkov
Director of Photography
330

...That morph cut is basically magic

April 9, 2015 at 4:29AM

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I dont get morph cuts, so it makes a smooth transition but the before after/shown in the video doesnt show it very well for me at least.

April 9, 2015 at 4:46AM

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Morph Cuts look great, but until the flickering issue (https://forums.adobe.com/thread/1547393?start=0&tstart=0 or https://forums.creativecow.net/thread/3/958590) is resolved for CC 2014, the software is unusable for many people...

April 9, 2015 at 5:24AM

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Adrian Tan
Videographer
1028

I hope they fix some stability issues as well, these updates are great for marketing but for day to day work we have been having a lot of trouble with the latest version of Premiere as of late (including Premiere making video files unreadable outside of the application). Playback issues, crashes are frequent etc. Really unstable and we are not the only ones having these issues.

April 9, 2015 at 3:52PM

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Brad Jones
Director/Producer/Writer/Editor
575

I just updated my CC, I cannot see Morph Cut. Looking in Video Transitions and it isn't there..the Lumetri stuff seems to be though. I am based in UK, anyone else having this issue?

April 9, 2015 at 6:22AM

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Hasn't been released yet.

April 9, 2015 at 12:03PM

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Steve Yager
Filmmaker
285

Are people seeing the update available now through the main CC app?

April 9, 2015 at 7:40AM

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Chris Hunter
Cinematographer & Editor
93

No release date yet.

April 9, 2015 at 7:47AM

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Gilles van Leeuwen
Filmmaker
377

No, if it's anything like the last time, it'll be a week or two.

April 9, 2015 at 3:50PM

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Brynn Sankey
Filmmaker
354

For the past two years I'm almost certain Adobe has released major updates for their creative apps in June. :( Hope they suprise us sooner!!

April 10, 2015 at 8:48PM

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Nick
Director/Editor/Compositer
364

I filed a feature request for this kind of thing on the adobe site with a few others, seems they have listened! :)

April 9, 2015 at 7:47AM, Edited April 9, 7:47AM

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Gilles van Leeuwen
Filmmaker
377

As did I, about 8 years ago :)

April 9, 2015 at 3:50PM

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Brynn Sankey
Filmmaker
354

haha allright. It all adds up! :D :P just took some time

April 10, 2015 at 3:28AM

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Gilles van Leeuwen
Filmmaker
377

That morph cut looks amazing if only we could do that in FCPX

hang on

https://youtu.be/q4UxEBMA3vY

April 9, 2015 at 7:59AM

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gavin nugent
creative director
81

Ahhh, yes.... I mean why spend seconds applying an automatic effect in Premiere when you can spend minutes hacking together a workaround in FCPx?

FCPx FTW!!!

/s

April 9, 2015 at 9:37AM

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About time....i've been still having some trouble with my davinci and premier round trip workflow...was even thinking of switching to speed grade but this is impressive i must say.

April 9, 2015 at 8:10AM

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"And you'll be hearing about the other exciting updates to Adobe's video lineup (including some entirely new pieces of software), so stay tuned!" Any speculation as to what these new "pieces of software" are?

April 9, 2015 at 9:21AM

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Brendan Bequette
Director, Director of Photography, and Editor
74

April 9, 2015 at 1:11PM

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Liam Leyland
Videographer/Editor
110

What a fantastic update! (What else is there to say, really?)

April 9, 2015 at 9:49AM

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I agree - the photo style color tools look great. No more adding "Fast Color Correcter & RGB Curves to all my stuff!! Next they should add some sort of power window/masking feature and I'll be set for years.

April 9, 2015 at 9:56AM

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Lane McCall
Producer/Director
512

Good news—that's exactly what they did last year.

http://prolost.com/blog/2014/7/1/mask-tracking-and-color-grading-in-cc-2...

April 9, 2015 at 6:44PM

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David S.
3041

These are amazing updates! I'm pumped to start using them. I've been wanting something as simple as the sliders in Adobe Lightroom and CameraRAW for years now. They are much more intuitive (and efficient) to me. I've always hated switching into Speedgrade for doing basic coloring fixes - this should help me avoid that. I think sharing .look files will start being a fun little activity for us.

Brace yourselves, "faded film" videos are coming.

April 9, 2015 at 9:57AM

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Is any of the color workspace GPU accelerated? Also, can the task-oriented workspaces be tweaked and saved, perhaps to account for dual monitors?

April 9, 2015 at 10:01AM, Edited April 9, 10:01AM

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The comment about morph cut makes me laugh at how lazy it sounds:

"Magical Morph cut will allow me to cover my jump cuts without having to be creative"

I love new tools, but don't ever let them be a crutch to your creativity.

April 9, 2015 at 10:10AM, Edited April 9, 10:10AM

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I think the idea behind the Morph Cut transition is most beneficial to people in the corporate video arena. When your doing a ton of interviews and you don't really have time to record or purchase b-roll this type of transition will hopefully save you from potential migraines. Beyond that I'm curious to see what's possible when using this effect on a video essay montage (*birdman hand-rub*).

April 9, 2015 at 10:46AM

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Saskamodie
Filmmaker
345

April 9, 2015 at 10:36AM, Edited April 9, 10:36AM

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Ian Hopkinson
Videographer/ Editor
168

Wow this is great! I hope this has saturation vs. luminescence control and some clip matching capabilities :D

April 9, 2015 at 10:41AM

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OMFG this is great! Dont have to do the raw video convert workflow anymore to get my lightroom controls. This coupled with my anamorphic adapted lens, makes me itching to go home and shoot.

April 9, 2015 at 10:50AM

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Chris Hackett
Director, Director of Photography, Writer
1041

How lucky are we to be shooting/editing in this times? I think this update is a shot across the bow to Blackmagic, who are clearly assembling an editing suite of their own. I welcome this exciting competition as we are the victors, ultimately. In the not too distant future, I hope Premiere will add another Task-Oriented Workspace titled 'VFX' and make AE a tab in the Premiere workspace. Who wants to bet that Resolve and Fusion merge into one program?

April 9, 2015 at 11:45AM

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And this why I have no problem with a CC subscription. Damn nice update.

April 9, 2015 at 12:51PM

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Steve Sprague
Amateur film maker, photographer
74

That was exactly my thoughts!

April 9, 2015 at 1:34PM

5
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Learn DaVinci Resolve 11! It changed my life... Fucx the nle color correction.. No disrespect to this upgrade, however resolve is the real deal. You want pro results go with DaVinci. Game changer

April 9, 2015 at 1:07PM

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Kyle Lamar
Director Producer DP
942

Yes! The efficiency and control that resolve gives you is where it is at for color. When I use the resolve editor its not as fast as premiere, so I don't .

April 9, 2015 at 1:59PM

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Peter Staubs
Camera Assistant
439

I won't shortcut the music... Eddie Wilson 1964'

April 9, 2015 at 10:25PM

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Kyle Lamar
Director Producer DP
942

Actually, forget Morph Cut.... the big news is customisable vignetting. Finally.

April 9, 2015 at 1:54PM

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And to think, I once hated the subscription model. If paying monthly means I get these big updates and added features on a semi-regular basis, then the choice becomes super simple.

April 9, 2015 at 4:32PM, Edited April 9, 4:32PM

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about the Lumetri Color Panel.

A few things have been bugging me though since I watched the video demo, I am curious for your opinion.

* Its not the full Speedgrade capability. Notably its got a 3 way controller but not the Speedgrade 9 way controller. (Not that it should be) But it points to it can't do everything Speedgrade can.

* The 3 way Color Corrector. The names on the wheels are different Than Speedgrades. On the Lumetri Color Panel it's Shadows, Midtones, and Highlights: just like the basic Premiere Pro 3 way Color Corrector (and virtually every other NLE for that matter) behaves, and is drastically different from:

Speedgrade which is: Offset, Gamma, Gain. Or my other favorites
Resolve and Colorista which are: Lift, Gamma, Gain.

That is a very interesting change and not one that I am happy for, I vastly prefer Offset, or Lift Gamma Gain to Shadows, Midtones, and Highlights. (Just a preference)

Which makes me worried:

* Most 3 Way Color Correctors that I've encountered that use Shadow, Midtones, and Highlights, are also additive color mixing controls, Like the default controls in Premiere, FCP, FCPX, AVID, Vegas, and Lightworks. (Edius might be that way to, but I cant remember) The color Mastering systems that I do like: Speedgrade, Resolve, and Colorista are Subtractive color mixing methods, and in my opinion are drastically more effective than the Additive way of doing things. If the 3 way in the new Lumetri Color Panel is Additive I will be sad :( Because I really want to like this thing.

* Another thing that is bugging me about the 3 way, is I don't see any controls for controlling the Influence falloff (where one begins and the other ends) for the Shadows, Midtones, and Highlights. Which is again sad, Reslove, Speedgrade, and Colorista can do this.

* Lastly I really like the Hue Saturation controls, I hope Speedgrade adopts this version verses it's old version, because it looks really easy to use. But it does point to 1 glaringly big omission. Where are the HSL Qualification controls? Or a rose by any other name; Secondary Color Correction (if you prefer the Speedgrade or Colorista terminology) To not have the ability to do Pull an HSL Key or do a Secondary Correction is bad in my opinion. Not that I don't have hope. Adobe has yet to demo the last slot on the panel, "Speedgrade Custom" I hope it is in there, and just not yet demonstrated.

With all that I am skeptical if I would use the Lumetri Color Panel at all. I like the Basic (Lightroom style) Controls, the Hue and Sat controls, the Vignette control is awesome. But even the Premiere Pro standard 3 way can do a secondary correction. :( This may seem nit-picky but my opinion is most NLE's that have built in color mastering features are rubbish. The king of them all right now is FCPX, it is down right nasty in my opinion. Colorista and MB Looks really are the base line standard for me when it comes to color correction, because it's a darn good in app color control. To justify the hassle of leaving the App, the Color Mastering Software needs to be a lot better than those 2. And for the record, I do think Resolve and Speedgrade are better tools to use than Colorista. I also don't think round tripping to Speedgrade is a hassle, either which is why I use it more than Resolve. But I would like to see the Lumetri Color Panel meet or exceed Colorista. Sadly I don't think it is right now, without going into Speedgrade. (I like competition, it gets us better stuff)

April 9, 2015 at 7:03PM, Edited April 9, 7:03PM

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David Sharp
Video Editor, Cinematographer, Teacher
268

It's really a case of horses for courses.

If you need serious colour correction tools, you're most likely going to be sending your edit into a dedicated colour correction program (or suite, more likely).

However, for quick and dirty jobs, these tools are going to do most of what you want and do it quickly and easily.

In any case, this update is a step in the right direction.

April 10, 2015 at 12:50AM

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After my fury with Canon and their bullshit C300/XC10 disappointments, I'm so so relieved to see Adobe's still getting it right at least. Can not wait to get my hands on some of these features.

April 10, 2015 at 1:02AM

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Jeremy Abbott
Video Producer/Independent Filmmaker
365

I noticed a small drop-down option that said "8-bit" in the scopes panel. Does that mean that we can now color correct in 16 and 32bit color spaces?
Morph cut looks so cool!

April 10, 2015 at 8:15AM

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Fotis Fotiou
Director/Editor
81

i like the saturation controls for certain color tones, but it also brings up the question why they would only implement this feature for saturation? why not includes tone specific controls for luminance and hue as well. just like it is in lightroom, since they mentioned it so often.

this way it looks very uncomplete. a nice addtion, but uncomplete.

April 10, 2015 at 9:33AM, Edited April 10, 9:33AM

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Paul-Louis Pietz Pröve
director / dop / editor
569

Morph cut...what is this sorcery!?

April 10, 2015 at 3:57PM, Edited April 10, 3:57PM

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Yash Lucid
Filmmaker
67

Does anyone know how I can achieve the "Faded Film" look without having Creative Cloud? Sorta like what VSCO cam does with their "Fade" effect for photos

April 10, 2015 at 6:29PM, Edited April 10, 6:29PM

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Frogy
Director / Shooter / Cutter
297

i havent tested this as the update isnt available yet, but it seems like this popular "milky blacks and whites"-look.

you should be able to achieve something very similar by lifting the output black level to something between 5-25 (meaning 0% black isnt 0% black anymore) and lowering the white point accordingly.

April 11, 2015 at 8:22AM

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Paul-Louis Pietz Pröve
director / dop / editor
569

Jump down to the part of this that talks about using curves. Hope it's helpful.

http://www.premiumbeat.com/blog/dissecting-hipster-look/

April 12, 2015 at 11:18PM

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David S.
3041

OMG, the color wheels are arranged in a pyramid shape. That'll definitely make grading easier and better then when they're arranged side by side. Thanks, Adobe!

April 10, 2015 at 8:23PM, Edited April 10, 8:23PM

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Chris Santucci
Cinematographer
259

Too bad Adobe only rents software now.

April 11, 2015 at 10:18PM

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David Gurney
DP
1824

Ok, this is the first time in a while (actually after pluraleyes came out) that i had my mouth wide open while watching a "coming-to-adobe" video pure for editing. Amazing! This makes things a LOT easier.

Confession of an editor:
I silently love Premiere Pro... okay, not only silently.

April 12, 2015 at 5:15PM

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Michiel Eskens
Director & Editor
232

I love not having to leave a program for effects. 'Magic Bullet Looks' is pretty fast end easy but makes you have to render the timeline. And if it needs an update, which is often, it stops working. I'd assume this new effect doesn't require a sequence render to play black. Anyone know? Nice work once again Adobe!

April 27, 2015 at 3:23PM, Edited April 27, 3:23PM

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Josh Ethan Johnson
Video/Music/Photo
74

I've been so excited about this. I have a project coming up in a few months that will probably result in more footage than I've dealt so far, and this color panel will help get through a lot of that color correction much faster.

June 2, 2015 at 2:07PM, Edited June 2, 2:07PM

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Brett Allbritton
Cinematographer
303