In Brief
- For most creators, Rec.709 SDR remains the ideal and most compatible color space in Premiere Pro.
- For HDR, film, or advanced color work, ACEScct or Rec.2020 / Rec.2100 offer wider gamut and dynamic range.
- Matching your source → working → export color spaces prevents washed-out or oversaturated images.
- Premiere Pro’s automatic color management now handles log and HDR media more accurately.
- Choose your color space based on your final platform — not on what looks best in the preview.
Choose the Right Color Space for Your Delivery
Ask First: Where Will Your Video Be Watched?
- YouTube, Instagram, TikTok, web: Standard Dynamic Range → Rec.709.
- Broadcast / Cinema: Wide gamut → Rec.2020 or DCI-P3.
- HDR content: Use Rec.2100 PQ or HLG, or the ACEScct workflow.
Why Rec.709 Is Still the “Best” Default
- It’s the universal standard for SDR delivery.
- All web platforms and displays expect it by default.
- It ensures predictable brightness and contrast across screens.
- It simplifies exports without requiring tone-mapping conversions.
When to Go Beyond Rec.709
- If you shoot in Log or RAW formats.
- If you deliver in HDR10 or Dolby Vision.
- If you color grade heavily and need a wider dynamic range.
In these cases, a Wide Gamut / ACEScct workflow provides more latitude before converting to Rec.709 or HDR for export.
Working vs Output Color Space — Don’t Confuse Them
Working Color Space
Your sequence’s internal processing environment.
- For most projects → Rec.709.
- For HDR or cinematic workflows → ACEScct or Wide Gamut (Tone Mapped).
Output Color Space
The color profile attached to your exported video.
- Web or social delivery → Rec.709.
- HDR workflows → Rec.2100 PQ/HLG or Rec.2020.
Matching Workflow Example
Always keep your entire chain consistent — mixing SDR and HDR clips without color management leads to inaccurate color previews.
Setting Color Space in Premiere Pro: Step-by-Step
1. Create a New Sequence
- Go to File → New → Sequence.
- Under Color Management, choose:
- Working Color Space: Rec.709 (standard)
- For log/HDR: ACEScct or Wide Gamut (Tone Mapped).
2. Enable Color Management
- Go to Project Settings → General → Color Management.
- Check Enable Color Management and Auto-detect Log and Raw Media.
- This ensures Premiere automatically transforms your camera’s native color into your working space.
3. Import Footage Correctly
- If colors appear flat or over-saturated, right-click the clip → Modify → Interpret Footage → Color Management → assign the correct input space.
- This step is crucial for log and HDR footage.
4. Export with Correct Tags
- When exporting, set Color Space → “Same as Sequence.”
- For HDR, choose PQ/HLG profiles and enable 10-bit or higher bit depth.
- Test your export on the device it’s meant for — web, TV, or HDR monitor.
When to Use ACEScct or Wide Gamut
Advantages
- Perfect for multi-camera, multi-format, or cinematic projects.
- Offers neutral grading and consistent transformations across platforms.
- Maintains maximum color detail for final conversion to SDR or HDR.
Use Case Example
- Source: ARRI LogC / S-Log3
- Working: ACEScct
- Output: Rec.709 (for web) or Rec.2100 PQ (for HDR)
This approach retains highlights, skin tones, and subtle shadow detail that standard SDR workflows can clip or crush.
Quick Checklist Before Export
- ✅ Working color space defined before editing.
- ✅ Input clips correctly tagged (Log / SDR / HDR).
- ✅ Scopes (Waveform, Parade) match your output space.
- ✅ Preview tested on calibrated display.
- ✅ Export color space and bit depth verified.
- ✅ HDR exports tested on HDR device.
Recommended Color Spaces by Use Case
Common Color-Space Mistakes to Avoid
- Leaving sequence in default SDR but importing HDR footage: results in washed-out preview.
- Ignoring display calibration: what you see may not match your export.
- Changing working space mid-edit: causes unpredictable color shifts.
- Using Rec.2020 for SDR delivery: oversaturated colors on normal displays.
- Forgetting metadata tags on export: leads to wrong tone-mapping on YouTube or HDR TVs.
In Summary: The Smart Choice
For 90% of creators, Rec.709 is still the best color space for Adobe Premiere Pro — clear, compatible, and fast to manage.
If you’re delivering HDR or cinematic work, upgrade to ACEScct or Rec.2100 — but always keep your full pipeline consistent.
Accurate color space setup = predictable exports, professional results, and better audience experience.
Take Your Premiere Pro Skills Further
Want to go beyond the basics and truly master color management, cinematic editing, and professional workflows?
Join the Miracamp – Adobe Premiere Pro Course.
You’ll learn hands-on through real projects, get one-on-one mentorship with industry experts, and receive feedback on every assignment — from mastering Rec.709 exports to building a professional demo reel.
