At a time when multimedia content is booming, video applications are becoming more interesting for companies in the audiovisual sector. And in this scenario, the solutions proposed by Adobe are the most in demand by organizations.
One of the reasons for this leadership is due to its constant consultation with users to implement the necessary improvements in successive updates. In this sense, the new improvements focus on Adobe Premiere Pro, where the company has paid attention to color management. The company has incorporated a new color management system in Premiere Pro that transforms raw and log formats from almost any camera into consistent footage instantly after import, without the need for LUTs. This new color management system is the beginning of new updates to make professional color workflows more powerful and accessible for video editors within Premiere Pro itself.
What is the problem?
Today’s cameras, from an 8K RED V-Raptor to the iPhone 15 Pro, capture RAW or log footage that contains more color data and dynamic range than any monitor can display. This means that the vast amount of color information captured by these cameras must be translated into a color space that our computers can work with and that today’s monitors can display. Rather than simply mapping source files into a reduced color space causing data loss and image cropping, it’s critical to have unique algorithms that intelligently map data into a working color space that preserves as much data and quality as possible to achieve the kind of professional results clients want.
The new improvements focus on Adobe Premiere Pro, where the company has paid attention to color management.
There are dozens of RAW and log formats, each with its own characteristics. While managing the complex science of color comes naturally to professional colorists, editors need a foolproof system that delivers great results with minimal intervention, while giving professionals the level of control they need to create custom workflows.
Premiere’s new color management brings all of this technology together to make it easy to work with both RAW and log formats natively in Premiere Pro, so you always get a great start—you’ll see high-quality footage as soon as clips are placed on the timeline, without having to waste time adding LUTs. This automatic system normalizes raw and log media while leveraging all that data in the color pipeline for greater control and beautiful images.
With the new update, Premiere color management provides these features among others:
- – Consistent color and brightness when using Dynamic Link to send clips to and from Adobe After Effects for animation design and compositing.
- – An all-new color management system that automatically transforms RAW and log footage from virtually any camera into high-quality SDR and HDR, so users can spend less time managing LUTs and start editing immediately.
- – A new wide-gamut working color space that is much larger than Premiere’s HD Rec.709 working space in which all image processing operations are performed. This new wide-gamut color space leverages the Hollywood industry standard ACEScct with high-fidelity tone mapping that delivers the kind of color and fidelity results previously impossible with Premiere Pro.
- – Six simple set-it-and-forget-it presets in Sequence Settings and Lumetri Color Settings allow users to work in traditional Rec.709 for legacy projects or the new wide color gamut ACEScct with ease.
- – Popular effects like Lumetri are now color space aware with more fluid and flexible control to refine skin tones, balance, and give creative looks when working with a wide gamut preset.
