Color Mode feedback survey - We want to hear from you

there is now a new mask for HSL that could work for your example. It functions like the lumetri HSL section (not the curve HSL but the one that functions like a mask). 

Hey, Jason.

My 2 cents:

Having Curves in Lumetri is priceless. This gives me much more control of levels where I can create “key points” in the curve that will restrict the levels of what I want to change. The adjustment circles in Color are not precise and “Add a zone” or “making a selection” doesn’t help much. Example: I have a person sitting at a table with a red mat in front of him. I want to change the color of the mat so I select the “Hue Shift” eyedropper and select the red color in the mat. Adjusting the Hue Shift circle also changes his flesh tones. In Lumetri, I can change the area effected and narrow down the luminance and hues that are affected without having to add a mask.

I might use Color for “quick adjustments. I don’t see it working for detailed or critical correction. And by the way, my employer is not allowing the use of your AI features. So the Object Mask Tool is unavailable.

Maybe folks new to Premiere that haven’t used Lumetri will find it useful. I think more time should be spent on getting “Auto” and “Color Match” to work better. More times than not, it doesn't.

Bob K.

Still baffles me the properties panel has no access to highlights/shadows//whites sliders. I don’t need a whole dedicated section of premiere to do colour, all you’re doing is forcing me into a more inefficient way of doing my work. I’m not colouring a feature film here, I need to be agile and get things done quickly. You’re taking away access to quick controls.

This is so true. As a professional editor I’d love to see Lumetri improved (being able to change grades on multiple clips simultaneously, AI to match and create looks, intelligent tracking, improved secondary colour correction to easily identifiable areas, grouping clips to make changes in one go (‘let’s make all the car shots a bit more contrasts and less blue.. etc.).. this feels like dilution not evolution. We need a timeline as often have multiple clips (my current edit has 14 video layers full of different levels of Vfx all with grades on, we don’t just grade a finished film we do it as we go along, and several clips combined in one shot will all have different grades.

At the very least leave (and ideally improve) Lumetri panels that we use with our dedicated hardware. Come on Adobe, you can drop the ‘pro’ from the name but we are still professionals and need a robust system inspired by our needs.

Unfortunately, rather than accelerating everyday edits or introducing the intelligent tools editors actually want, the update trades intuitive efficiency for an over-complicated layout and frustrating physical ergonomics. The UI relies heavily on cramped, small circular controls. Trying to make fine adjustments with a standard mouse requires sweeping gestures that stretch your wrist across the entire mouse pad, only to hit the edge, reset, and start over. It forces repetitive, unnatural hand movements that strain your wrist for very little payoff. The vertical and horizontal mouse-tracking logic feels completely unintuitive. Instead of speeding up grading, it introduces an unnecessary learning curve that fights against how editors naturally map mouse movement to visual adjustments. 

Perhaps the most disappointing aspect of this update is the stark gap between expectation and reality. Editors are looking to software companies to solve tedious, repetitive bottlenecks through smart automation. Expectations were high for robust, native AI-driven color matching, shadow matching, and highlight matching that could harmonize mismatched camera angles or shots with a single click. Instead, this beta delivers a dense, clunky manual interface that fails to leverage modern AI capabilities, leaving editors to do all the heavy lifting manually through a worse UI. Willingness to adapt to a new workflow only makes sense if the new tool actually saves time. In its current beta state, this color overhaul adds friction rather than removing it. Last but not least, I teach video production at the University of Florida and I for the life of me cannot imagine having to teach this.  Tim Sorel- tsorel@ufl.edu