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  • Editing & Post-Production

Dive into Premiere Pro: Adobe's Obsession with Color

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By Sponsored Content
January 18, 2018
Adobe Premiere Pro puts editing and color grading into one seamless program. 

[Editor's note: In this series, we will be exploring Adobe's approach to several aspects of post-production, and how Creative Cloud can help elevate your work.]

Filmmakers know that color is one of the most powerful storytellers, and being able to control the grade of a film is tantamount to being able to tell better, richer, and more profound stories. For quite some time, filmmakers have desired a tool that could combine the worlds of editing and color grading into one seamless program, and Adobe Creative Cloud solves many of the issues facing editors of all experience levels with powerful and intuitive video and color tools in Premiere Pro, including new color options, optimized layout design, and single-click professional looks inside the Lumetri panel.

We spoke with Patrick Palmer, Product Manager for Premiere Pro, about all of the high-quality color options the program has to offer, as well as the ideas and thought processes that went into turning Premiere Pro into the creative powerhouse that it has become today.

"In the 80s, when it was all tape-to-tape, it was unthinkable that a workstation would give you editing and color grading."

New color tools

Adobe has essentially combined two post-production programs, non-linear editing and color grading, into one. According to Adobe, the color and light tools, which came from its legacy tool Adobe SpeedGrade CC, are designed to give users more power and control over color without ever having to leave Premiere Pro. Users can now work with new curves, including RGB and Hue/Saturation, as well as color tools that adjust midtones, shadows, and highlights—all within the Lumetri Color panel.

LUTS, looks, and presets

Another big addition to Premiere Pro is the new LUT functionality, which gives users the power to apply professional looks with a single click, as well as preview them right inside the Lumetri panel. Not only that, but users can easily save and reuse their LUTs, looks, and presets in different projects or applications by exporting them as a .Look file or LUT file.

More dynamic workflow

According to Palmer, the interface is one of the most important aspects of the upgrade, because it changes the user experience so dramatically. Designed in "the spirit of Lightroom," this new interface makes using color tools more accessible and approachable by providing a panel with easy-to-use sliders, checkboxes, and other options, allowing users to work faster and more efficiently. No more jumping back and forth between multiple programs; Premiere Pro has everything you need to edit and color grade your footage in one program.

"In some of these editing programs, they have buttons that look like they could fly you to the moon and back!"

Easy enough for beginners, powerful enough for pros

Regardless of whether you're a beginner or a seasoned pro, Premiere Pro caters to your needs. Palmer says, "Too many people shy away from high-end software because there are too many tools. They just do what's easy." However, he asserts, Premiere Pro gives you both: tools that are easy enough for a beginner to get started and the option for experienced users to dig deep into color with scopes, curves, and HSL secondaries all within the same program.

Palmer adds, "In some of these editing programs, they have buttons that look like they could fly you to the moon and back! For people that want to fly to the moon, there are definitely tools out there for them. For people that maybe just want to fly to Costa Rica, we’ve got plenty of powerful tools that can get you there."

Be your destination the moon or Costa Rica, you're still going to fly in the same plane the whole trip. That is one of the greatest new aspects of Premiere Pro: being able to edit and grade footage all in the same place without having to interrupt your workflow. Palmer acknowledges that this feature comes out of an existing need from previous versions. "There is a moment of distraction when switching between different applications, " he says. Using Premiere Pro is a better experience because it "creates interconnectivity and allows you to focus without any friction. You don't have to change your mindset." 

It's clear that, in creating the Premiere Pro upgrade, Adobe was more focused on beefing up what was under the hood than adding a plethora of new tools to its already stellar library, and it has definitely resonated with users. Palmer says that this was among Adobe's most successful launches of new technology and that the adoption rate for Lumetri is staggering. And it looks like Adobe's not slowing down. "Adobe has a lot more to do. We're not done. It's a product that is alive and breathing."

If you want to learn more about how to put Premiere Pro's new color tools to work on your own projects, check out Adobe's online training session that teaches you how to make your videos even better with color. It's a three-part course that will be hosted at 9am (PST) on Adobe Creative Cloud's Facebook page on January 19, 2018 and January 26, 2018.     

See all parts of this series:
Dive into Premiere Pro: Dynamic Tools Make Motion Graphics Easy 
Dive into Premiere Pro: Adobe's Obsession with Color
 

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Your Comment

5 Comments

I hope Mr Palmer start to use Premiere / After instead to do managment to see all worst changment of interface that cause a downspeed of work
1) color choose for keyframe dark blu on dark grey interface
2) many tools not thought for high res (retina / 4k) monitor that are usable, sensible areas are small and weak to click
3) too many panel that are empty be cause developers fill controls OUT of windows...
4) GPU support good and broken every release that cause instability and crash also with certified Quadro cards on workstation (both win and mac)
5) try to learn how work permission under win and mac, to avoid problems on preview when you not work a disk (or a desktop) not formatted from your users, on in a san ...
i use premiere from 20 years, some is better than in past some is embarrassing...

January 18, 2018 at 1:30PM

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Carlo Macchiavello
Director (with strong tech knowledge)
954

Hey Carlo. I totally understand your frustration with Premiere. Just recently we had a work computer that kept getting a black screen for the project monitor. Turns out, after two days of trial and error, that it was a 3rd party LUT that works fine on a similar work computer, but crashed Premiere on the new comp.

That said, 4 of the 5 things you mentioned above are either things you can easily change within preferences in Premiere or Windows (or maybe Mac? I'm not sure). #5 is just a problem with disk permissions and has nothing to do with Premiere :)

January 19, 2018 at 1:28AM

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codyswanson
648

Now how about IPP2 support and tetrahedral interpolation?

January 18, 2018 at 9:38PM

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Josiah Duncan
262

Who is going to Costa Rica, and I certainly don't give a.damn about CGI Systems of the 80's. The bottom line is video is not still images. Adobe needs to stay on the gas and give us tracked power windows, PERIOD. The fact is the Resolve is light years ahead of Adobe because without features that are the reality of 2020, we are almost there, you can't say I get distracted by going from my editor to color. I get distracted by articles that continue to omit the obvious tools which are missing from Premier. Combine the whole CC and they are there so....p.s. I don't give a shit about editing clips on my tablet.

January 19, 2018 at 2:04PM

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Jake
95

a major bummer for me is when you are in assembly and open your clips in a new window with thumbs (on second monitor) and then switch to editing tab, the clips bin window disappears and I need to open it again and wait for all the thumbs to reload

January 20, 2018 at 2:30AM

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Vladimir Miketa
Cinematographer & Editor
359
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