Limitations in the Lumetri Color Panel
This video tutorial is about some limitations and illogical behaviors in the Lumetri Color Panel that you need to be aware of to use it correctly and get the best image quality. I think the Lumetri Color Panel is a great idea, but it still has two areas where it does a really, really bad job: Overbrights and Secondaries. UPDATE, April 2017: Adobe have fixed this in the 2017.1 release of Premiere Pro!
UPDATE: This was fixed in the 2017.1 release!
Surprisingly, when you drag down the Whites slider, the overbrights stay above 100%! This is really bad for formats that actually store overbrights. Furthermore, this is not how other software, like Adobe Camera RAW and others, work. So most people destroy their images with the Lumetri Color Panel without knowing it!
Because it’s the default setting, people clamp the scopes signal at 100 % and show 8-bit color resolution. So they never see their overbrights and think there is no more detail to be found in the clouds and other overbrights, and that their footage cannot be saved.
Then there’s the Secondary Color Correction, which looks at pixels after all other adjustments, instead of looking at the original pixels in the footage. That makes further tweaking very cumbersome.
These two limitations are the reason that I still don’t use the Lumetri Color Panel, even though I’d love to. I get much better results, faster, with the so-called “obsolete” RGB Curves and Three-Way Color Corrector effects.
Let’s hope the Premiere Pro team can fix these problems before the next release, and make the Lumetri Color Panel work as good as the old effects – or better.