Color Correction and Grading Tips for Video Projects, Using ProArt Monitors with Premiere Pro

As of 2026, ASUS ProArt monitors that support HDR include Adobe Premiere Pro color validation. For creators, the addition of an Adobe Premiere Color mode will help ensure greater consistency and accuracy across HDR workflows. 

In this article, we’ll provide key tips for color correction and color grading, as well as steps for setting up your monitor to help you achieve a professional-level production. 

Color correction and grading are fundamental storytelling tools that shape the audience's subconscious emotional response. By manipulating hue, saturation, and luminance, an editor can establish a specific atmosphere—using desaturated blues to evoke isolation and melancholy, or warm, golden tones to suggest nostalgia and comfort. 

Beyond setting the mood, grading ensures visual continuity across shots filmed under varying lighting conditions, guiding the viewer's eye to key narrative elements and defining a project's unique aesthetic identity. Ultimately, it bridges the gap between raw footage and a polished cinematic experience. 

Here are 11 steps to achieving professional color correction and grading for your video project.

Color calibrate your ProArt monitor 

The most important step in achieving professional color correction and grading is calibrating your ProArt monitor. Luckily, it is a simple process and takes only a few minutes. It is vital to warm up the screen for at least 30 minutes before calibration to ensure stable brightness. To download the latest ASUS ProArt Calibration software, as well as the latest software, manuals, drivers, and firmware, visit the ASUS Download Center. For a step-by-step guide to color calibrating a ProArt monitor, visit the calibration and setup page. 

Preparation and workspace setup 

Before undertaking any color work, switch to the dedicated Color Workspace to prioritize the Lumetri Color panel and Scopes. Pro-level grading requires a neutral environment, so room lighting should be consistent. Ensure the timeline is locked and all clips are properly labeled. Setting up the environment correctly prevents making fixes based on optical illusions or screen glare, establishing a reliable foundation for every creative decision that follows in the grading process. 

Normalization (Primary corrections) 

When working with LOG or RAW footage, the image will appear flat and desaturated. Use the Basic Correction tab to normalize the clip, bringing it back to a standard Rec.709 color space. Applying a technical Input LUT will save time, but manual adjustments to contrast and saturation should offer cleaner results. The goal is to reach a neutral, realistic-looking baseline. Normalization ensures that any subsequent color grades are applied to a balanced image rather than a distorted one. 

Evaluating Lumetri Scopes 

Surrounding colors can affect our eyes, but the Lumetri Scopes never lie. Use the Waveform to monitor luminance and ensure whites aren’t clipping and blacks aren't crushing. Use the Parade to check for color imbalances across the red, green, and blue channels. Finally, the Vectorscope is essential for measuring saturation and skin tone accuracy. Learning to read these graphs is what separates a professional colorist from a hobbyist; they provide the mathematical truth of the digital signal. 

Exposure and contrast balancing 

In the Basic Correction tab, focus on the Blacks, Whites, Shadows, and Highlights. Start by setting anchor points — pushing the blacks down until they sit just above zero on the waveform and the whites up toward the ceiling. Once the range is established, use Shadows and Highlights to recover lost detail in bright skies or dark corners. A well-balanced contrast ratio creates depth, ensuring the image looks professional and clear even before the stylistic grading phase begins. 

White balance and temperature 

Correcting color temperature is vital for realism. Use the Temperature and Tint sliders to remove unwanted orange or blue casts caused by lighting conditions. A helpful trick is using the eyedropper tool on a known neutral surface, like a white wall or a gray shirt, to automatically neutralize the frame. If the white balance is off, any creative color added later will look muddy. Achieving a clean, white light ensures that the final grade looks intentional rather than a technical mistake. 

Shot matching (Comparison View) 

A professional film must look consistent across every cut. Use Premiere’s Comparison View to compare the Reference shot and the Current shot side-by-side. Using the Color Match tool will let Adobe Sensei automatically align the tones, but it should be fine-tuned manually. Matching the exposure, saturation, and temperature across a scene prevents the viewer from being distracted by sudden shifts. This step creates the visual glue that holds the sequences together, making them feel like a unified story. 

Secondary corrections (HSL Curves) 

Sometimes it is required to change a specific part of the image without affecting the whole frame. The HSL Secondary controls allow users to pick a specific hue — like the green of a lawn or the blue of a car — and adjust its color, saturation, or brightness independently. This is perfect for making a subject stand out or for fixing a distracting background element. By isolating these areas with masks and keys, it is possible to gain control over the composition, allowing for a much more polished and professional final product. 

Skin tone calibration 

Skin tones are the most critical element of any grade; if they look unnatural, the viewers will intuitively feel something is wrong. Use the HSL Secondary tool to isolate the skin and check the Vectorscope. Most human skin, regardless of ethnicity, tends to fall near the flesh line (the diagonal line between yellow and red), though this can vary slightly from individual to individual and under different lighting conditions. Ensure the skin looks healthy and natural. Even if the plan is a heavily stylized look later, keeping the skin tone relatively grounded means the characters remain relatable and visually pleasing. 

The creative look (color grading) 

Now that the image is corrected, it is time to grade for emotion. Use the Creative tab to apply a Look (LUT) or use Color Wheels to tint the shadows and highlights. For example, a classic cinematic look often involves pushing teal into the shadows and warm orange into the highlights. This step defines the mood of the piece — whether it’s cold and gritty or warm and nostalgic. This is the most artistic phase, transforming a natural image into a stylized piece of cinema. 

Final polish and vignette 

The last 5% makes the biggest difference. Add a subtle Vignette to darken the edges of the frame, which naturally guides the viewer’s eye toward the subject. Adding a touch of Sharpening to enhance details or a small amount of Film Grain to give the digital footage a more organic, textured feel. Finally, use the Global FX Mute button to toggle the results on and off. If the grade looks better than the original without feeling over-processed, the job is officially complete.