The Adobe PremierePro Production Panel

A few notes from the San Diego PremierePro Users Group Meeting on 15 July 2020 on PremierePro Production Panel. Karl Soule from Adobe. Karl has been part of the Premiere and video apps team for a long time, and currently works in Hollywood helping filmmakers using Premiere Pro.

PremierePro Productions Architecture - Scalability
PremierePro Productions Architecture – Scalability

“Productions provides a flexible and highly scalable framework for organizing projects, sharing assets between them, and keeping everything streamlined, whether you’re working on your own or collaborating with a team.”

Van Bedient, (14Apr2020)

Adobe found that multiple projects open at one time, premiere was auto copying files = not always needed Have option to take sequence and then link back to other project

Deadpool had something like 750k items in their bins.

  • Each episode has its own project
  • Can go into other episodes to get sequences
  • Avoids messy duplications, and huge projects

PremerePro Production Panel Features

PremierePro Production Panel

PremierePro Production Panel detail
  • Media organized by day it was shot
  • Items on timeline no longer have to live in the same project on the timeline
  • KS’ setup more for multiple editors working at once (one editing, another downloading footage, organizing,…)

It’s a Designated Folder on the Finder Level

  • Productions changes name of clip/project on drive
  • Has locking mechanism so only one editor can be changing a file at a time (Dropbox not recommended because of the delay over syncing service)
  • First person has read/write access, anyone afterwards has read only access (see, copy only)
PremierePro Production panel

File>Production Settings>

  • Common place for settings
  • Items that are locked have a red padlock icon in Production Panel, and next to each project. There is also a name listed next to it in the Production Panel.

Really good documentation on how Productions work

TIP: All you need to know is HTML + Javascript to build your own Premiere panel

Possible Setup for All Remote Editors

  • B Bop Technologies – manage virtualization solution (shared storage, workstations) your machine takes over a machine at another location. Runs productions. Group of editors can be working on different machines at home, connects to BBT (use your own Adobe login) but use remote systems (a lot of broadcasters in his area have been using this)
  • Lucid Link – put production and media in centralized location (more experimental)

Aspect Ratio

  • Going from 16:9 to portrait (Quibi) for example
  • Right click on project, click on Auto Reframe Sequence
  • Give new name and a target ratio
  • Adobe magic – PP determines relevant content and reframes content
  • If select clip, can hit ‘Analyze’ to re-analyze a clip (ex. edited AE file)

TIP: To control where graphics go when changing ratios use the Responsive Design section under Essential Graphics

Scene Edit Detection (Beta Version)

Right click on a finished clip. Select Scene Edit Detection. It will automatically detect the cuts and gives a series of pre-cut clips.

O’Connell Design is a consultancy offering creative services in Animation, Motion Graphics, Cinematics, and Visual Effects for film and television.

Color Correction for Film and Television

Color Correction for Film and Television: Notes from the Adobe Premiere Pro Users Group Meeting 15Apr2020.
This is by no means a comprehensive summary of the event. It’s a few notes and a few extra links for a deeper understanding.

The presenter “Jason Bowdach is a professional colorist, finishing artist, and post production workflow engineer based in Los Angeles, CA. Jason’s immense passion for storytelling using light, shadow and color is evident in his work, which spans the gamut from commercial projects for clients such as Adobe and Google, independent feature films bound for the festival circuit, and immersive VR experiences seen all around the globe. Jason runs PixelTools, a company dedicated to improving the color grading process and workflow.” – San Diego Adobe Premiere Pro Users Group

When applying a Lookup Table (LUT), consider where is the clip coming from and what is it intended to do?

  • Optical/technical conversion (some LUTs are for technical conversion)
  • Creative look
  • Combination of both

(LUT (known as Lookup Table), is a term used to describe a predetermined array of numbers that provide a shortcut for a specific computation. In the context of color grading, a LUT transforms color input values (camera) to your desired output values (final footage) – StudioBinder).

Importing Clips

PremierePro is expecting a Rec. 709 space gamma 2.04 image. Highly recommended that you use the import LUT from the manufacturer. Apply the appropriate technical conversion LUT from the beginning for best results. (For example, this presentation uses a LUT downoaded from RED website.)

ITU-R Recommendation BT.709, also known by the abbreviations Rec. 709, BT.709, and ITU709, standardizes the format of high-definition television, having 16:9 (widescreen) aspect ratio. The first edition of the standard was approved in 1990.”

Balancing the Clip

Color Correction for Film and Television warm summer scene.
Warm Summer in a city scene.
  • Don’t just look at the shot, take the context in to 
  • Don’t take all the warmth out of a warm scene
  • You may want to work on this with curves and work on the highlights before applying LUT
Color Correction for Film and Television problem shot.
Sunset didn’t match other shots.

Keep in mind the order of operation

Shot needs more - Color Correction for Film and Television
This shot should be more punchy.

This should be more punchy. More red than green than blue on scopes.

Basic Tab

  • Can you pull more out of the image. 
  • Tweak temp to cooler

TIP: You can take temp control way beyond 100 if you type it in manually

Creative tab

  • Balance out shadows 
  • Add contrast to separate shadows and highlights before tweaking shadows > tweak shadows to just above crushing

TIP: There are masks in Effects panel for each LUT

Order of Operation for Color Correction

  1. Adjust contrast, black/white, highlights/shadows, gamma
  2. Saturation
  3. Color Balance

Play clip several times, find hero frame, and play it back several times during process

Hue vs Curves (PP Curves Panel)

  • Hue vs Hue: Select a hue and adjust with another hue
  • Hue vs Saturation: modifies a hue with saturation
  • Hue vs Luma curve: can be destructive
  • Luma vs Saturation: you’re going to love this, can reduce saturation in just highlights, just shadows, or both
  • Saturation vs Saturation:  can decrease saturated colors (that might fail QC) and increase sat in other areas
Enhanced - Color Correction for Film and Television
Enhanced version.


Jason Bowdach
WFH2020 for 30% off
Twitter @jbodacious 

Pricing Color Grading for Film and Television Services

Jason prefers to market himself as an independent colorist, and prices his services just under facilities pricing. 

The Blue Collar Post Collective is an accessible and focused grassroots initiative supporting emerging talent in post production. 

Should you use Color charts on set? Depends on camera and situation.  Sometimes they can be helpful, but not necessarily needed.

Tips for Editors handing files to a Colorist to minimize problems

  1. Minimize tracks and simplify the timeline (before XML export)
  2. Organized (label ex. Underscore for color)
  3. Communication (reference movie with burn-ins of timecode as DNX or ProRes, can see frame for frame)
Full San Die

O’Connell Design is a consultancy offering creative services in Animation, Motion Graphics, Cinematics, and Visual Effects for film and television.

Client Video Review Software

Notes From the San Diego Premiere Pro Users Group Meeting

Client video review software FrameIO, Wipster, and VimeoPro

In this discussion on client video review software, Eric Addison of 100 Acre Films, and co-manager of the San Diego Premiere Pro Users Group, presented Wipster. He talked about how he uses it in his workflow, from the panel inside Premiere Pro to the Wipster review website. Final Cut Pro User Group co-manager Michael Towe, and owner of M2 Video Productions, presented Frame io, and talked about how he uses in his workflow. While he showed it from a FCP X point of view, much of it crosses over to Premiere as well. And finally, Bill Davis, owner of NewVideo, showed how you can use VimeoPro for client review as well.

“The toughest part of any of these is to get the client to use them.” – Michael Towe


“How professional creative teams deliver faster.”

The offer ($25/mo. for team of 2)

  • Starts at 250GB storage
  • HD Playback & Delivery
  • Comment and review tools
  • Per seat pricing
  • Unlimited free reviewers
  • Video, Image, PDF, and Audio
  • Dashboard and Activity Feed
  • Integrations
  • Support Center
  • Storage add-ons 
  • Custom Branding
  • Private internal comments

Pros: Free basic package with 5GB storage and 540 playback, works with Mac/PC and Android App

Cons: Slightly more expensive


“Our cloud-based collaboration hub keeps your teams focused on creating great content — from across the hall or across the planet.”

They offer ($19/mo. for 1 seat, $49/mo. For 3 seats, and up)

  • Comment and annotate on videos
  • Unlimited review pages
  • Unlimited free presentations
  • Version management
  • The web’s fastest uploader
  • Active storage 250 GB to 1 TB
  • Archival storage 750 GB to 1 TB
  • Apple award-winning iPhone app

* A seat is the filmmaker/video provider. Unlimited links to the client.

Pros: easy to use, tutorials for clients, has an approval button

Cons: Company is focused on a Mac-based product and doesn’t seem keen to support filmmakers using PCs


“Create high-performing videos, collaborate with your team, and share anywhere.”

Bill Davis of NewVideo speaking about VimeoPro and his workflow at the San Diego Premiere Pro Users Group Meeting Feb2020.

They offer ($20/mo. 3 team members)

  • Video creation
  • Private team projects
  • Customizable Showcase sites
  • Video file transfer
  • 3 team members
  • Review & approval tools
  • Unlimited reviewers
  • Private video presentation
  • Version history
  • More

Pros: Offers a great balance between security and the ability to distribute (and upload a replacement video at a later date), ability to create portfolios of videos

Cons: Because part of Vimeo’s services are streaming videos to the public, there is the potential for it to be less secure than Wipster and Frame.IO

And how do you get clients to use the client video review software? You kindly explain to them how it benefits them with more accurate corrections and efficient communication.

O’Connell Design is a consultancy offering creative services in Production Design, Animation, and Visual Effects for film and television.