[Released] Now in Beta: New Color Settings Panel with a refreshed user experience

[Neerja Rewal]

Edit: This feature is now shipping in Premiere Pro v24. Thanks to everyone who provided feedback while it was in beta!

We released a new color settings panel a few months back which consolidates the color settings in one place for discoverability and ease of use. Thanks to our users who gave us feedback on the feature and spoke up about their concerns. With this update, we are updating the settings pane’s user experience based on feedback we had received post Beta. The new settings pane experience groups the settings and helps you interact with them in a more intuitive manner.

Below are key new changes in the settings tab -

1. Intuitive grouping of settings into sections in line with terminology used in settings across dialogs in the app today for an easier learning curve for our users.

a) Preferences: This section allows you to choose ‘Display Color Management’ settings or ‘Transmit Device’ settings. The settings under this section will apply to all clips and projects within Premiere.

b) Project: This section allows you to select all project level color settings like ‘HDR Graphic White Nits’, ‘3D LUT interpolation’, ‘Viewer Gamma’, ‘Auto detect log video color space’. The settings in this section will apply to the project in focus.

c) Source clip: The color settings under source clip settings allow you to override the default color space and specify the media color space manually. The source clip setting in this section will apply to the source clip from the sequence selected in the timeline or the source clip selected in the project bin.

d) Sequence: The color settings under this section will allow you to modify the sequence settings like ‘Working Color Space’ or ‘Auto Tone Map Media’ for the sequence for the clip selected in the timeline or sequence selected in the project bin.

e) Sequence clip: The color settings here will apply to the clip selected in the timeline and will allow you to update the ‘Tone Mapping Method’.

2. More Intuitive source clip selection behavior: Our users reported that it was not intuitive for them to click on the source clip in the project bin to enable the setting for source clip which was in line with modal settings dialog behavior, hence, we updated the behavior to enable source clip section for the sequence clip selected in the timeline. Any change to the source clip setting will make the change for the source across projects and sequences. You can still choose a different source clip than the sequence clip selected by going to the project bin.

3. Help text for non-color managed media: Users reported confusion around being unable to edit certain sections like sequence or source when certain clips were selected. We explicitly call out media as ‘Not color managed’ next to the section titles to make it easy for you to understand why a section is disabled.

4. Project, Sequence and Clip names next to section titles: To help you easily correlate the sections with the selected media or section on the left, we now call out section names against each section based on the selection.

5. New styling to identify indents: For better usability, section titles have an expand/collapse icon next to them.  

Please try the refreshed settings experience and share your feedback!

[R Neil Haugen]

Thanks for posting!

A follow-up question though. Which cameras? As there are often camera-specific things due to the different in-camera chips involved.

[Amitzi Photography]

Sony A7sIII

[Tranquil_Cosmos157F]

I imported around 50 clips shot with the FiLMiC Pro app on a Samsung Galaxy S2021 Ultra yesterday, which all looked best with Per Channel as the Tone Mapping Method. I could not find a method to batch-change this setting, which meant more than 100 clicks where I'd expected to do it with one or two. 

Is there really no way to change the Tone Mapping Method on multiple clips?

Also, the footage (shot with the FiLMiC Extreme setting) was very hard to edit, probably because there's no hardware acelaration (it's h.265 422, so not an uncommon thing). So I used the Project Manager to Transform the sources into ProRes 422 HQ. When I open that project, the highligts are totrally out of whack, and everyhting looks different from the original project. The ProRes clips have Tone Mapping Method disabled, because they are Rec.709. Why? All the footage was Rec.2100 PQ. Why was Rec.709 clips created? 

Modyfying the ProRes clip color to PQ does not fix the problem, btw. 

[Tranquil_Cosmos157F]

I shold probably add that the Transcode setting in ProJect Manager was set to Individual Clips.

[Shebbe]

The project manager uses predefined presets. The ProRes encoding presets do not have the ability to set the color space and always assume Rec.709 I think. Otherwise you would've been able to also change this in Media Encoder. My suggestion would be to transcode these clip with DaVinci Resolve (if you're on a Mac) because there you can properly tag the files you export.

[R Neil Haugen]

Supposedly, Pr is now 'handling' color management for proxies, not in the encode, but in the use of the clip color space CM ... isn't that right, Jarle?

So it is now supposed to do that correctly with ProRes proxies in the beta build. At least, as I understand things. 

[Tranquil_Cosmos157F]

@R Neil Haugen Correct. But since the Project Manager transcoded the Re. 2021 PQ files to Rec.709, the proxies that it copied over look wastly different from the new ProRes 422 HQ files. So the Project Manager has not been updated to allow for the different color spaces that the rest of the software now supports. 

@Shebbe I do have a Resolve License, but I'm on Windows. 

[Luftar Von Rama]

Can the EXR source settings be added to Lumetri Panel

Can the EXR source settings be added to the Lumetri panel.

[Neerja Rewal]

Adding @eric escobar @Eric Escobar @Fergus Hammond to help on this

[Rustic Media]

Great improvement! My feedback so far is that if you work with a Proxy Workflow and Offline OCF in a Production Project, I can lose the ability to manage Source Clip. As an example, I have Alexa footage in LogC3, and made proxies also in LogC3. An AE imported attached proxies, and offlined full-resolution media. I am referencing and cutting with LogC3 Proxies. I want to apply a LogC3->Rec709 LUT as an Input LUT but have no way of doing that when media is set to Offline. Further, when Onlined media, Input LUT assigned, I get a Rec709 image as expected. Offline the media, Rec709 Input LUT still applies to the attached Proxy but is greyed out at the Input LUT level. I do not understand why I cannot have the option to designate the Input LUT when full-resolution media is Offline but Proxy is attached.

[Rustic Media]

*An AE imported the Alexa OCF full-resolution media, attached the proxies, and offlined the OCF full-resolution media. I am cutting the offline media with Proxies attached.

[Tranquil_Cosmos157F]

It's been a while since we got the Settings panel, but is there really STILL no way to change the Tone Mapping Method on multiple clips? Any plans to fix this?

It seems that the team thinks they have this done, because the Apply to All Instances button is there. But my clips are not instances of the same file, they are separate files. So I have to click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click-click a lot to change the Tone Mapping Method. This feels like going back to the late 90's, when it comes to user friendliness and efficiency. 

Please fix this very soon! Pretty please!

[R Neil Haugen]

AMEN Jarle ... ! That's a right pain.

[eric escobar]

Jarle, I totally hear you. And yes, Premiere currently has a limitation with a lack of a copy/ paste-all function for custom tonemapping in a Lumetri instance. I will follow up with the team to find a solution.

Thanks for bringing it up, it is frustrating to have to manually set those values. For now, the alternative is turn off auto log detection/ tonemapping, and create a custom LUT that transform your log footage to rec709 in the way you need it to.

Eric

Eric Escobar, Pro Video Workflows, Product Manager

[R Neil Haugen]

Eric,

Another huge frustration with "the Lumetri experience" is the lack of any quick way to grab/apply instances down a timeline.

I don't know if you had any experience with SpeedGrade  ... in that wondrous app, you could tap a couple keys to select and apply a grade of a clip up to 9 clips away either forward or backwards in the sequence.

I'm an evangelist for "bulk correction" work in Lumetri, applying instances to clips in bins or on sequences for different things. So I'm rather experienced at doing so.

But still, going down a sequence, and having no quick process for selecting/applying a grade from another clip is just painful.

And that's not even talking the other massive limitation, being forced to apply an entire instance, as there's absolutely no way to grab say the Curves or HSL settings from one clip to apply on another.