For the Lumetri Color Effect’s curves controls (Hue vs Sat, Hue vs Hue, and Hue vs Luma), cyan is in the center, while red is on the far left and right sides. This is inconvenient, because most users will probably want to adjust skin tones more than anything else, and skin tones are almost always somewhere in the reds and yellows. Therefore, I propose that red be in the center by default, while cyan is on the edges.
NOTE: Because a horizontal scroll bar is already available, it is possible for the user to essentially do this themselves... but because skin tones are the most common thing I adjust, I find that I have to manually scroll that bar all the way to the left or right, 80% of the time I use these controls. So it would definitely be less hassle (for me) if red was already in the center.
There may be a good reason to have cyan in the middle, but I can't think of it.

ProRes RAW has been implemented inside of Premiere now but it is cumbersome. My workflow remains the same as before support has been added where I need to conform my footage to LOG inside of FCPX and then import that to Premiere. This makes all the work that went into implementing ProRes RAW into Premiere useless to me because I still have the same workflow as before.

I am suggesting taking an approach like FCPX where in the clip options there be a selector for “RAW to LOG Conversion” that allows you to conform the linear footage that ProRes RAW is into a more traditional LOG file.

This would make it exponentially easier to handle.

When going back to a clip to adjust its Lumetri settings, there's no way to know which of the 6 categories or 6 subcategories have been previously adjusted, short of twirling them open one by one to see if anything has been changed. The lack of a visual indicator to show which categories have been adjusted is especially frustrating when working on a clip that has several instances of Lumetri. For example, if a user adjusted 'Curves' on a third instance of Lumetri, the user might end up twirling open and visually inspecting the 'Curves' category of all three Lumetri instances before finding the correct one for further adjustment!

Please add a simple visual cue (e.g. bold, underlined and/or different text color) so users can immediately know which parts of a Lumetri effect have been modified.

Although not essential, it would be helpful if the same visual cue were also used on Lumetri effects in the Effect Controls panel.

As always, thanks for listening!

When adding Lumentri to a video clip and changing any setting in these tabs: Curve, Color Wheel & Match, HSL Secondary or Vignette there is a bad black and white noise band that is added. This happens on old and new projects. On old projects, if one of these tab settings is already changed, the bad is already on the footage. All renders have it on the video when exporting from both Premiere or Encoder.

Happens of both of my systems:

i7 5960x // Geforce GTX 1070 // 64gb Ram // Windows 10 Version 1909

and, HP Zbook, Xeon E3-1505M v6 // Quadro P5000// 64gb Ram // Windows 10 Version 1909

Dear Adobe,

As of right now in the Lumetri panel we are able to apply two types of LUTS: a technical 'input LUT' and a creative 'Look' LUT. I believe the 'input LUT' is most often used to do a basic transformation of a log-like clip to a more suitable starting point for color (Rec. 709). The creative is used more often as a way to stylize for a look.

The main issue I come across is that both LUTs are applied at the start of the color processing chain. As LUTs are destructive this may already in some cases clip highlights or destroy details in the blacks. Changing parameters on other Lumetri tabs (basic correction, curves, color wheels) no longer allows you to recuperate those details as the LUT is already applied before these operations happen. The only solution is to add an instance of lumetri before the first lumetri clip effect, so you can compensate there. That is a cumbersome workaround that would not be necessary if a LUT could be applied as an 'output' LUT instead, thus allowing you to use the other color controls while still working in the LOG space.

This problem becomes an extra burden by the way when using hardware panels (like the Tangent devices): since the panel will by default control the last instance of a lumetri effect (which is the 'input' LUT that destroys some of the details and thus not the one you wish to control). Clicking a mouse to constantly add or change to the other instance of lumetri, or using adjustment layers on top of a series of clips are for me all extra steps and burden that can be avoided by just allowing a LUT to be applied at the end of the lumetri panel instead.

Dear Adobe,

Currently the amount of 'input LUTs' that come by default on a fresh Premiere Pro install is of a fairly modest amount. There is primarily access to LUTs for various ARRI cameras (LogC) and the Phantom camera. However many more cameras or log formats are now fairly common place and adding more choices for doing a color transformation to Rec.709 space would be very helpful for a large number of users. I am definitely thinking of a Rec.709 LUT for Sony Slog formats, GoPro Protune or DJI D-Log.

While you can download these kind of LUTs from third party websites or providers and install them into the LUT folders, there is a good reason why it would be very helpful to add these as part of a default 'clean' installation.

When collaborating with multiple editors (either in the same facility or remote) it is quite cumbersome managing everyone's systems to contain the same third-party LUTs. In the past LUTs have also sometimes got mixed up as the list of LUTs sometimes shifted depending on how many were installed in the folder, thus applying the wrong transformation when opening projects on other systems.

Having access to an extended list of default installation LUTs would help to alleviate these kind of problems and speed up the work getting color done on many more different cameras and log formats.

When working in Premier Pro color doesn't match the color of the same file in Quicktime Player. It seems that Premier is displaying rec709 color with 64 Black. With so many people now working at home without dedicated rec709 calibrated viewing monitors, and with so many people working on content that is not destined for rec709 broadcast, but will only play on the web, could we get an option for display on a computer monitor so color in Premier and Quicktime Player will match? Final Cut seems to allow this through Apple's ColorSync and Resolve has a rec709-A option that aims to address this issue. Files destined for the web all seem to match between quicktime player, Safari, Chrome (Youtube and other social and streaming platforms). With so much content destined for these platforms it would be extremely helpful to have a viewing option that allows viewing in Premier to match the color of the render in Quicktime Player. Thank you!