Comparison view and Lumetri and copy/paste go hand in hand. Improvements that would be good to have:

1. Comparison toggle shortcut should be universal (i.e. not require program pane to have focus) - I want to toggle it when lumetri pane has focus and when timeline pane has focus

2. Comparison view should have an option that is 'full screen' (to complement side by side, horiz & vert wipes) - I can make the wipe full screen but ideally I'd like to be able to shortcut directly to at least 4 different comparison views.

3. Comparison view should default to showing current clip, rather than first frame of sequence this might fix....

4. There is an annoying 'feature', when comparison view is toggled on and a different frame is set to be the comparison - for the comparison to be first to the first frame of the sequence before it jumps to the correct comparison frame

5. Gallery of reference stills please (see Resolve gallery)

6. Next / Previous uncorrected shortcuts please for lumetri. (i.e. to step to clips that may have a lumetri effect applied, but it is at default settings). See Avid CCR next/previous uncorrected.

7. Be good to have a 'copy grade to next/previous 2nd next/ 2nd previous clip' shortcut

8. In absence of 7 - copy and paste attributes should work from lumetri panel, not require the timeline pane to have focus.

9. multiple instances of lumetri are mostly not needed - but can inadvertently stack up with pasting. Be good to be able to limit clips to 1 instance ordinarily (so pasting would replace existing instance).

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!

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.