June 17, 2015

Premiere Pro's New Lumetri Color Panel Is Super Powerful & Intuitive. Here's How to Use It

Premiere Pro CC 2015 Lumetri Color Panel
Yesterday, Adobe released one of the largest updates to Premiere Pro in recent memory.

Of the many new features that are integrated into the software, the most exciting of them is Lumetri Color panel, which comes in a completely revamped color correction workspace. While the workspace itself features new scopes (courtesy of SpeedGrade) and a few other nifty features for editors who find themselves correcting and grading footage, the Lumetri Color panel provides perhaps the biggest boost in grading capability and ease of use that has ever been seen in Premiere.

Alex Jordan of Learn Color Grading just put together an in-depth look at how the new Lumetri panel functions, and he shows us how to use every single tool in the panel to maximum effect. Check it out:

https://www.youtube.com/watch?v=Q3iJwzIeUq4

Even though Alex is definitely correct in his remark at the end of the video that the lack of a "Hue vs. Hue" control like the one in Resolve is a big oversight, the new Lumetri Panel is definitely a major step in the right direction for Adobe. While dedicated colorists who are used to more powerful grading platforms might find these new features in Premiere a bit lacking, editors who need a simple, yet powerful set of color tools may find the new Lumetri Color panel to be just what they're looking for.

Have you had a chance to play around inside of the Lumetri Color panel yet? If so, what were your impressions? Let us know down in the comments!      

Your Comment

22 Comments

As someone coming from photography and Lightroom, this makes sooo much sense. It actually makes me want to use Premiere now

June 17, 2015 at 6:05PM

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Guido Gautsch
Education Person
338

Lumetri also works with Blackmagic RAW files as well, even if you Expose to the Right.

June 17, 2015 at 6:08PM

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D.L. Watson
Filmmaker
81

I've been following along with the video using BMPCC footage shot in ProResHQ. So far I like the results I can get right inside Premiere.

June 17, 2015 at 6:37PM, Edited June 17, 6:37PM

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Jeff Payne
Writer/Director
185

This is just what I'm looking for. Actually very impressive. I can't think of a quicker powerful grading workflow.

June 17, 2015 at 10:00PM, Edited June 17, 10:00PM

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Stu Mannion
writer/dir/dp
605

I don't know how I feel about this. As an editor, you shouldn't have to concern yourself with coloring. If an editor makes these changes are they going to transfer as metadata into a color program? Will it play nice with resolve or scratch? When it is changing the "original", is it the source file? Seems like a good tool for projects with a quick turnaround, that need a fast polish, that's about it.

June 18, 2015 at 12:34AM

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chris Larsen
1st AC
88

No, but it'll play nice with Speedgrade and After Effects. And for those of us who stay in the Adobe ecosystem, this is fantastic.

June 18, 2015 at 9:07AM

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Alec Kubas-Meyer
Writer/Director/DP
289

It does not change the original source file. Still non-destructive. Master means it affected the source clip not the source file. So if you used the clip 5 fives in the timeline, the color changes will appear in every instance that clip was used, instead of having to copy and paste that change into each instance. Definite time saver.

June 18, 2015 at 9:32AM

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Zhibo Lai
Filmmaker/VFX
74

As an editor, you should absolutely have to concern yourself with coloring. Sure, if you're going to work with a colorist, they're going to scrap everything you did before they dive in, but don't you want your client to see a good representation of what your project will ultimately look like when you're making revisions and edits? That's like not doing any audio work because you're going to send it out to a sound engineer anyway so who cares what it sounds like right now. It also offers direction for the pros you're going to send the project out to, so they see what the client/director/producer is looking for and they can dive right into that. Huge timesaver.

June 18, 2015 at 10:03AM

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John Hrindo
Editor
171

As an editor you should he concerned about any looks you set in the edit causing issues down the line. Unless you are doing no budget work then faffing about beyond roughing a look in is a bad idea. Not only are you wasting your time you don't have the experience of knowing whether the look you are getting your client used to will necessarily be viable in the final grade. It takes years to be a good colourist and a decade to be a great one. That is on top of natural talent. But then again am sure the instagram generation would disagree...

June 22, 2015 at 3:21AM

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keith
451

Love the new color panel...but what I want to know is: Where are the old Lumetri looks? I've used some of the CC2014 looks, like cinematic and compression, but they're not present in the CC2015 looks?

Or am I blind?

June 18, 2015 at 12:55PM

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seanmclennan
Story Teller
869

I love this update! Made a quick start of grading my last project this afternoon. Only thing that didn't quite work for me is grading on adjustment layers. I used to grade on adjustment layers inside PP to be able to quickly turn on/off all grading of the sequence, and to extend grading to a range of clips by just pulling out the adjustment layer. In this update it automatically switches back to adjusting the underlying source material a lot, which can be annoying and confusing if you want to keep working on the adjustment layer.

Oh well, still a great update!

June 18, 2015 at 1:20PM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
965

I've found if you turn off the track selectors for the other tracks it will stay on the tracks you want.

June 19, 2015 at 3:20AM

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Stu Mannion
writer/dir/dp
605

Ah great tip, will test it out asap!

June 19, 2015 at 3:28AM

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Jeroen Rommelaars
Animator - Videographer - Motion Tracking
965

Anybody else finding that Lumetri colored footage is slowing down their machine quite a bit? Running on a D700 Mac Pro so not really used to that. Are Lumetri effects not GPU supported?

June 18, 2015 at 3:43PM

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No. They're GPU supported and fast for me.

June 19, 2015 at 3:21AM

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Stu Mannion
writer/dir/dp
605

I've been using this extensively for a while. the color saturation wheel makes matching skin tones from different cameras much easier. its probably the best part of the entire panel for shot matching.

However, round tripping with SG is an entirely different beast. in SG the PP lumetri panel shows up as its own *uneditiable* layer for now within SG, and you have a new standard SG correction layer above it. You can do all the usual SG things here and when done, send it back. when its back in PP however, in the Lumetri panel now shows a new "Speedgrade Special" uneditable control. check box to turn it on or off. Well what if you aren't quite happy with what you did in SG ? send it back to SG and the SG grade layer is now no longer editable. So basically **FOR NOW** its a one way round trip. if you need to say, mask a sky, apply a second lumetri layer in PP and mask the 2nd application with the PP effect mask tool.

for a TV series I'm about to start grading, we are staying on 2014 for now :(… or maybe PP2015 + resolve but thats not nearly as slick a workflow as PP<>SG. So if you normally bounce a grading pass thru SG 2-3 times like I do, the 2015 **CURRENT** situation may not be what you can work with.

June 18, 2015 at 3:50PM

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Steve Oakley
DP • Audio Mixer • Colorist • VFX Artist
476

My first impression with this new feature set is they're slow, really slow. Granted, I was correcting 4K footage, when compared to Magic Bullet Looks, Premiere was really struggling with every move of the sliders. I thought is was going to cause a freeze. I like the concept though, and I hope it improves with time.

June 18, 2015 at 3:55PM, Edited June 18, 3:55PM

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Joe Baker
Educator, Video Production/Film Making
81

Been grading on this this afternoon and I love it. So fast and powerful. I've done a lot of work in Davinci, Speedgrade and Colorista (my previous favourite) but this beats them all for what I want 90% of the time. The Vibrance slider is a godsend as are the shadow, highlights, blacks and whites sliders.

June 19, 2015 at 3:24AM

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Stu Mannion
writer/dir/dp
605

has anyone there actually TRIED the new premiere pro ? it's an absolute mess.
check the forums out. there is a stampede to reinstall 2014 ....

June 19, 2015 at 12:48PM

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stephen knifton
owner / creative director
414

I like the new Premiere. I feel like it's good enough for 85% of shots and it's so much faster than going into Resolve or After Effects. I figure for those more complex shot, I'll just bring those individually into Resolve or After Effects and save a ton of time.

June 21, 2015 at 12:03PM

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Gene Sung
DP / Director
725

Very easy to use... seemed almost too easy for how powerful it was

October 16, 2015 at 11:10AM

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I'm still looking for a solution to use a Color Chart - like the X-Rite ColorChecker Video INSIDE Premiere.
What are you thinking? It's not necessary? I would love to have a function like in Resolve oder ColorFinal.

March 17, 2016 at 7:49AM, Edited March 17, 7:59AM

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Jan
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