Adobe ships Color mode as a dedicated color workspace inside Premiere Pro beta. It uses a streamlined layout that maximizes the Color monitor, reduces on-screen clutter, and adds dedicated color panels that only appear in Color mode.

Colour mode centres the experience around three pieces: the Colour monitor for evaluation, a Clip Grid for picking shots quickly, and a Colour Controls panel for doing the actual work. The intent reads as editorial-first grading: jump between shots fast, make decisions with the image front and centre, and keep the toolset close to what you already do in an NLE.

Color mode switches the monitor between a sequence view for checking the timeline and a clip view for focusing on a single shot. It also adds a Solo mode that temporarily disables overlays and composited elements so you can judge adjustments without extra layers muddying the view.

The new workspace design lands alongside a clear compatibility message. The Lumetri effect remains available in the beta Effects panel and stays supported. Existing projects and Lumetri grades keep their expected look. The Lumetri panel itself no longer appears in the beta UI, and Lumetri changes move to the Effects Controls panel.

Clip Grid turns your sequence into a grading playlist

The Clip Grid presents clips from the active sequence as thumbnails for quick selection. It supports filtering, sorting, and grouping to keep large timelines manageable while you grade. It also includes view controls that change between a row style layout and a multi-row grid so you can either stay focused on a short run of shots or see more of the cut at once.

Color Controls and Operations aim at repeatable grades

The Color Controls panel acts as the hub for adjustments to the currently selected clip in the Clip Grid. It organises colour operations applied to that clip, and it frames each operation as equivalent to a layer or node of colour tool modifications. That puts grade-building blocks front and centre, with a structure that can scale from quick balancing to more involved looks.

Color mode also introduces an Operations system for grade management, positioned as part of the new experience alongside the interface and control set. Operations appear as the mechanism for managing grades across clips, groups, and sequences.

Color mode also leans heavily on feedback. Many controls activate a heads-up display that combines scopes, numeric feedback, and real-time visual guidance. The goal is to help you understand what a control does while you drag it, instead of making you guess and undo your way back to safety.

That HUD concept matters because many controls are bi-directional. One axis adjusts one parameter and the other axis adjusts a second parameter. There is also a modifier for precise single-axis moves. Each control can surface its own on-screen feedback as you work.

If you already live in scopes, the pitch is simple: fewer trips to separate panels, more continuous feedback while you push the image. If you are newer to grading, the design tries to teach you by making the response visible and measurable while you move.

New controls: from contrast to zones to hue isolation

Color mode adds a set of new control groups and built-in styles and modules. On the adjustment side, the control set includes contrast with contrast and pivot, exposure with exposure and black level, temperature with temperature and tint, balance for shifting color balance, saturation, and a Detail section that covers texture and sharpness. Texture offers global, single, or multi-band detail. Sharpness includes radius and threshold controls, plus blur.

There is a Zones section that grades the whole image globally or isolates grades into shadow zones and highlight zones. Shadow zones and highlight zones support multiple preset zones and custom zones, letting you target darker or brighter parts of the image with separate adjustments.

There is also a Color Shift section with Sat Shift, Hue Shift, and Lum Shift. These controls focus on specific hues, letting you change saturation, hue direction, and brightness for a selected hue range. Automatic Hue Isolation surfaces prominent hues from the image for faster selection, and it also supports an eyedropper plus a full RGB spectrum picker for manual targeting.

Styles and Modules show up as built-in starting points. The system includes modules such as Film Color, Contrast Kit, and Flare, plus style presets such as Cinematic Contrast, Varied Temp, Varied Lighting, Varied Sat, and Monochrome. There is also a Make Your Own path that combines modules to build custom styles.

Color management: SDR and HDR workflows in the same mode

Color mode links directly into the application color management system. It supports workflows that include Direct Rec. 709 SDR and Wide Gamut Tone Mapped. It also supports SDR and HDR output formats including Rec. 709 and Rec. 2100.

Wide Gamut Tone Mapped has more flexibility when adjusting images. Tone mapping aims to create smoother highlight and shadow roll-off, with the benefit of easier exposure and color adjustments without clipping.

There are also updated tone-mapping and gamut-compression settings for handling SDR media and graphics. An advanced option called Apply Inverse Tone Mapping and Gamut Compression targets accuracy when working across mixed media formats. But never change the working color space mid-workflow, since switching after adjustments can alter the appearance of the grade and force extra refinement.

This is the part that can make or break the experience in real projects. Colour management should behave consistently across cameras, codecs, and delivery targets, or editors will revert to what they trust.

Some workflows will still need careful validation on your own media, especially mixed camera jobs and sequences that move between SDR and HDR deliverables. Test new tools and innovations before use in production, and verify the pipeline from ingest to export with footage that matches your real work.

Plans, beta access, and what it costs

Color mode is included in the Premiere beta and it comes with any Creative Cloud plan that includes Premiere, with no additional cost for the feature itself. The beta installs through the Creative Cloud desktop app. New users can start with a 7-day free trial of Premiere. The official product page also states that the Premiere single app plan starts at US$22.99 per month for an annual plan billed monthly. Pricing changes by plan and region…

https://www.adobe.com/de/products/premiere/color-mode.html

The post Adobe brings Color mode to Premiere beta first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the Lineup: The ColorEdge CS Series sits below the ColorEdge CG Series (Highend) in the ColorEdge family, while FlexScan covers general office displays. CS targets color critical work with external calibration via ColorNavigator 7, CG adds the built-in sensor luxury tier.

A big new desk buddy for serious pixels

Meet the ColorEdge CS3200X. It features a 31.5-inch panel and 4K UHD resolution (3840 x 2160). which makes it the largest model in the CS Series so far, built for anyone who wants more room for images, scopes, UI chrome, and timelines that look like a subway map. The core stays familiar: You get a colour-managed monitor designed for image and video work where you need to trust what you see, not just admire it.

HDR targets and a shortcut for signal switching

HDR support comes via targets for Hybrid Log-Gamma and Perceptual Quantization. That lets the display slot into HDR workflows that use those transfer functions. A standout feature for this CS model is Sync Signal. With Sync Signal, brightness, gamma, and color space can adjust automatically based on metadata of the incoming video signal. The goal is fewer manual changes when moving between SDR and HDR and fewer chances to grade the right shot in the wrong mode.

More space, fewer gymnastics

The CS3200X targets workflows that benefit from a larger working area, especially in photo and video setups where multiple panels, large tool palettes, and long sequences compete for attention. The screen area increase gets a specific comparison: roughly 36 per cent more display area than a 27-inch monitor. That extra real estate matters when you keep a viewer large enough to judge details and still leave space for controls, without turning your workspace into a tab-juggling contest.

Wide gamut coverage and ready-to-go presets

CS3200X covers 99 % of Adobe RGB and 96 % of DCI-P3. That positions it for image editing, video post-production, colour grading, and print workflows. It ships with factory-calibrated presets for BT.709 and DCI-P3, plus an Adobe RGB preset. The point is speed. Switch the monitor to the standard you need and keep moving.

There is also a Display P3 preset aimed at consistent display when working with Apple devices such as a MacBook. The monitor can connect over USB-C and charge the connected laptop with up to 70 watts, which helps keep the desk from becoming a cable museum.

Quiet by design, tidy by intent

The CS3200X runs without active fans. That makes it a better fit for quiet rooms like grading suites or any setup where the loudest thing should be your keyboard and emotional distress about the producer’s notes, not your monitor auditioning for a wind tunnel role. The physical design also shifts. The housing uses a three-sided frameless look with an ultra slim bezel, aimed at saving space and cleanliness for multi monitor setups.

For the first time in the CS series, a light shielding hood comes in the box. It attaches magnetically and is intended to reduce reflections. It is a small accessory that usually feels like a luxury until the day you work next to a window and remember why hoods exist.

Inputs, hubs, and the practical desk stuff

Connectivity covers modern and classic rigs. Over USB-C, the monitor can carry the video signal, USB data, and up to 70 watts of charging through one cable. For many laptop-based setups, that is the entire “suite of necessities” right there. For workstations and other sources, there are inputs for HDMI and DisplayPort.

There is also a built-in USB hub with four downstream ports. Two are specified at 5 Gbps and two are USB 2. A built-in switching function can connect shared USB accessories such as a webcam, audio interface, mouse, and keyboard to whichever source computer is currently active. The result is less unplugging, less replugging, and fewer moments where you stare at a dead mouse like it personally betrayed you.

Calibration, uniformity, and the long game

Hardware calibration support is included, using ColorNavigator 7 with external sensors. The calibration is a lossless hardware calibration (It is an Eizo, after all!). Uniformity control comes via the Digital Uniformity Equaliser, intended to support consistent luminance distribution and colour purity across the screen.

The housing uses plastics with recycled content to reduce resource use and lower environmental impact. The warranty is 5 years and includes on-site replacement service.

Availability and the first public showing

Delivery is expected in autumn 2026, with the note that exact timing can vary by region. The first show appearance is set for the NAB Show in Las Vegas, running April 19 to April 22, 2026, at stand N1123. Go there, have a look, say hi to the team from me.

Tec Specs for the ColorEdge CS3200X

Item	CS3200X specification
Panel size	31.5-inch
Resolution	4K UHD, 3840 x 2160
Color gamut	99 % Adobe RGB, 96 % DCI-P3
Max brightness	350 candela per square meter
Contrast ratio	1300 to 1
Processing	16-bit Look-Up-Table, 10-bit display output
Uniformity	Digital Uniformity Equalizer
Presets	Adobe RGB, DCI-P3, BT.709, Display P3
HDR targets	HLG, PQ
Sync feature	Sync Signal adapts brightness, gamma, and colour space to incoming signal metadata
Cooling	Fanless, no active fans
Video inputs	USB-C, HDMI, DisplayPort
USB-C	DisplayPort signal and up to 70 W power delivery
USB hub	Four downstream ports, two 5 Gbps, two USB 2
USB switching	USB accessories follow the active source computer
Hood	Magnetic light shielding hood included
Sustainability	Housing plastics include recycled content
Warranty	5 years, includes on-site replacement service
Availability	Expected autumn 2026, region dependent
Price	No Info yet, but should be reasonable

https://www.eizo.de/coloredge/

The post EIZO ColorEdge CS3200X adds 31.5-inch 4K first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Nobe OmniScope gets Live Pack for on-set and live monitoring

Well, this exhaustive set of visualisation tools for all kinds of technical parameters in video and audio could always be used for live sources. But until now, any DIT couldn’t get very far if he/she needed to do some real-time grading on a film set or for a live broadcast. Yes, there is Resolve Live, but it’s rather limited. Time in Pixels has recently added the „Live Pack“ to Nobe OmniScope (NOS for short), which integrates with Pomfort’s Livegrade 7, as reported by DP on March 11th. By now, we have driven it through its paces.

Why not Resolve Live?

Even the free version of Davinci Resolve (DR for short) has this feature, which allows some live grading. But it seems a bit like walking into a store and looking for a product that has not been asked for in a while. Some salesperson may say: „Oh, I remember, it must be somewhere in that lowest drawer down in the corner“. Resolve Live is limited to a single input device, even with more than one unit connected you can’t change that. So, for several cameras your (physical) desktop would soon have computers piling up.

And then, you need to set the timeline precisely to the right frame rate and resolution for both timeline and monitoring, i.e. both the input device and the monitoring one must support the same resolution. If not, you won’t see anything, DR will not tell you the parameters of the incoming signal. It’ll just tell you to match whatever there might be. If you want to work in UHD, for example, but monitor your colors on a calibrated screen in HD with a cheaper interface, that won’t happen with Resolve Live. It’s normally not a problem if you don’t use the live feature.

Once you have developed a LUT, save and export it, then move it to your LUT box or camera and load it there. Not really a smooth process in the heat of production, and Blackmagic Design (BM for short) doesn’t seem to care much about adding any features to Resolve Live recently. Nevertheless, NOS can connect to it and deliver the signal to its scopes with very low latency by direct GPU access, and you can feed a Rec. 709 signal, even to monitors which don’t load a LUT, while working on log sources from the DIT cart. Scaling the output for an HD device is easily achieved with NOS. Don’t forget to exit from Resolve Live when done, since most of Resolve’s non-grading features are disabled while it’s running.

Why Pomfort Livegrade?

The whole toolset by Pomfort is a well-establised suite of software for the film and broadcast business, and Livegrade is their solution for real-time grading and look preparation. While it always had its own scopes, they are not as sophisticated and flexible as those in NOS. Livegrade can work with multiple sources, both cameras or references. Live grading for up to 4 cameras can be handled directly, but more than 20 can be controlled by loading LUTs into external LUT boxes, or into some cameras via Ethernet. All of this can be handled right from the software (full details here).

Looks developed here can also be exported as a CDL for dailies or post. Integration with NOS is currently limited to two live slots, but Pomfort is encouraging users to contact them if they need more, so they may be working on extending this number. Quote: „For workflows that require more OmniScope streams, extended configurations can be evaluated on request.“ NOS lists the slots you have prepared just like any other source, while both apps run concurrently. No wiring or additional interfaces needed. So, no extra cost, bad connections or latency introduced, since Direct GPU access is also applied to the signals from Livegrade 7. 

Configuration and Performance

NOS is highly optimized and still running pretty well on older machines. We tried it on a 2017 iMac, which is based on Intel and can’t run any system newer than Ventura (MacOS 13). It can support 2 HD sources and 7 Instruments without fully saturating the GPU, an AMD Radeon Pro 580 (see title). The older interfaces for HD, the UltraStudio Mini Recorder and Monitor, can be found cheaply on the second-hand market and that large screen and its design are still looking good. Maybe you got one waiting for resurrection?

Of course, it’s no match for modern Apple silicon. We tortured a Mac mini M4 Pro with 15 instruments, one source in HD and the other in UHD, and it didn’t break a sweat. GPU load was no more than 60%, most CPU cores were idle, and it used less than 4 GB of RAM. It’s absolutely credible that a Mac mini M2 Pro with 16 GB, as recommended by the author, will be plenty. All of this was tested without scaling or any of the performance options activated, but all the demanding QC features were running. Without all of the latter and some of the performance optimisations, even a Mac mini M1 with 8 GB will do. Nevertheless, you may want a Mac Studio to get more Thunderbolt ports if you need to connect more interfaces. Now, why don’t we mention any PC here, when there is NOS for Windows? (see here for hardware needs).

Well, the other component of today’s review is Mac-only, even Apple Silicon, for that matter. Minimum OS is Sequoia (15) or Tahoe (26). And then, you’ll need the latest Desktop Video driver by BM (15.3.1) for any of their compatible interfaces. There were some reports of installation issues in the forums with recent versions on macOS, but we didn’t experience any of them. It seems that you just have to watch and follow the messages popping up to give the additional components access rights under Apple’s overprotective mother, called an operating system.

All together now …

Once everything is up and running, both apps coexist nicely on our single machine, with Livegrade also just sipping on system resources, both regarding cores and RAM at about 500 MB. Finally, the installer for NOS is quite sleek at not much over 400 MB. The highly flexible and easily configured GUI of NOS can even co-exist nicely with Livegrade on one ultrawide screen like ours. Of course, you can also move the apps to two separate ones. And then, other than by DR, the parameters of incoming signals are detected by either app automatically once you have chosen the interface. You can even get an output in HD from UHD by NOS, so it’s a software issue in DR.

Latency

We measured latency using a 100 fps recording of a TC display, with 50 fps over the whole chain from the lens to the source display in Resolve Live or NOS, so the precision should be +/- 10 milliseconds. After slowing the recording down to 50 fps, we were stepping through the footage and observed the change of the frame numbers. The camera’s LCD was already about 40-50 ms late, but at that point, we don’t know if this is caused by processing in the camera or the display.

Display in Resolve Live was some 80-90 ms late, which includes hardware latency in the DeckLink card, of course. The value via Livegrade was a tad slower, like around 90 ms. The display in NOS via direct GPU access appeared about 10 ms later than in Livegrade, demonstrating the efficiency of that approach. The new focusing aids by coloured or isolated edges felt quite usable, not at all as if wading through molasses, like on systems with too much latency.

Recently Added Features

Support for multiple sources and the helpful Input Strip were already celebrated in DP last year, but now you can also record sources to disk in 720 or 1080 HD, either as H.264 or H.265 in an MP4 wrapper, or the two lighter versions of ProRes in MOV. These recordings are perfect for generating proxies for later editing. Most video speeds are already recorded correctly at constant frame rates; only those pesky fractional rates for the NTSC world are still showing VFR. But the author is aware and working on a fix. Even with 3 recordings running in the background, the GPU load didn’t climb to more than 70%.

New Instruments

There is even a new instrument, the Hectorscope, named after colourist Hector Berrebi. It enables you to examine your shot in 3D, with two dimensions representing the image and the third showing brightness. This is great for checking your shadows for noise or color casts. Loudness metering for the two established broadcast standards in audio, namely EBU R128 and ATSC A/85, is another recent addition. While SDI or HDMI output is already on board, recently the author has added Web Remote output as a very early alpha demo preview. The list of smaller, but nevertheless useful features added would literally fill several pages. Does that guy ever sleep?

Any Shortcomings?

There are only minor issues, like LiveGrade not being able to switch between SDI and HDMI sources. You’ll need to use BM’s Desktop Video Setup to do that, while NOS is handling such tasks in its own GUI. The GUI of Livegrade is less flexible than that of NOS, and it has rather coarse tooltips, whereas those by NOS are very detailed. When disconnecting a source in Livegrade, it’s still not available elsewhere; you’ll need to quit the software first. Both apps recognise and display incoming formats, but you’ll need to switch shortly between sources in Livegrade to see the new values if the source’s parameters have changed. Finally, if you quit only one of the apps and start it again, things can get messed up.

Documentation

Both apps have complete online manuals, including video tutorials. Some of the tutorials for Time in Pixels were made together with Daria Fissoun, who is also a specialist for DaVinci Resolve and explains the use of most of those scopes very well here. And then, the changelog for NOS is excellent, far better than many others; it leaves nothing unclear. If you’d like to dig even deeper, head over to Tektronix and read about the basics and scopes as artistic tools. Their hardware scopes, which used to be expensive marvels of engineering, can be found for a few hundred Euro second-hand now, left far behind by software like NOS. Their learning resources are still valid, though.

Commentary

Nobe OmniScope is getting better with every update and works fine both with LiveGrade and Resolve Live. Unfortunately, while being free, the latter is quite limited and not even really stable. We have experienced stalls when simply trying to add a node while Resolve Live was running.

Livegrade 7 is not cheap at over 1.000 € per year, but it’s stable and does what it promises. You can get a 10-day temporary license for 179,- € if you just need it for a single project.

OTOH, the Live Pack for NOS is a steal at its introductory price of 85,- € if you already own OmniScope Pro, and it’s a lifetime license. After the introduction ends, it is 128 €, which still is cheap for a tool of that magnitude. NOS itself is a subscription, but a fair one: it won’t stop functioning; you just won’t get updates anymore if you stop paying. You can even reactivate your subscription later.

The post Nobe OmniScope is a Live Act now! first appeared on DIGITAL PRODUCTION and was written by Uli Plank.