SAN JOSE, CA - Adobe (adobe.com) is responding to the requests of creatives by improving the color management and performance of Premiere Pro. The new color management system in Premiere Pro can transform raw and log formats from most popular cameras into consistent-looking footage that's instantly available upon import and without the need for LUTs. The automatic system normalizes raw and log media while taking advantage of all the data in the color pipeline for better control and beautiful images.
The update of Premiere features a new, wide-gamut working color space that’s much larger than Premiere’s HD Rec.709 working space. This new wide-gamut color space leverages the ACEScct standard, with high-fidelity tone mapping that provides the kind of color and fidelity results that were previously not possible with Premiere Pro. Six simple “set-it-and-forget-it” presets in sequence settings and Lumetri color settings let users work in traditional Rec.709 for legacy projects or the new wide gamut color ACEScct with ease.
Most-used effects, like Lumetri, are now color-space aware, with smoother and more flexible control for refining skin tones, balance and creative looks when working in a wide-gamut preset. And there is now consistent color and brightness when using Dynamic Link to send clips to and from Adobe After Effects for motion design and compositing.
Adobe is introducing a new properties panel that makes Premiere Pro easier to learn for beginners, and makes video editing faster for experienced professionals. It places the most popular effects, adjustments and tools in an all-in-one, context-sensitive panel that shows editors everything they want to adjust, and hides anything else based on the media type selected in the timeline. With the new properties panel, editors can crop video directly from the program monitor, or highlight and adjust the properties of multiple clips or graphics at the same time.
On the performance side, Adobe has been working to make Premiere Pro faster and more reliable for every job. With more hardware acceleration, users will have faster playback for codecs like AVC and HEVC. ProRes exports are now up to three-times faster too. There is also increased support for more Canon, Sony and Red cameras. And on the user interface side, Adobe has introduced two dark modes, a light mode and a high-contrast accessibility mode so editors can customize the look and feel of Premiere Pro to their liking. All of these features are available now in beta, and are planned to be generally available this fall.