Keeping the HSL tab open, there’s a neat little trick you can do. The Blur and Denoise sliders will save your image from degrading and help you get much better results. To avoid that, in the Lumetri Panel, you should head down to the HSL secondary instead.
However, a heavy manipulation using only those tools can break down your image, especially if you are dealing with a heavily compressed 8-bit file. Most people will head to the Hue and Saturation curves in order to enhance a given tonal range. The input LUT is applied before any other tweak made to the image, thus making impossible to recover overexposed bits or else. The main difference here is the timing when the LUT is actually applied. In both cases you can choose a LUT and apply it to the footage, but what is the difference? When we should use one instead of the other? Once in the Basic correction tab, under “Input LUT”, and a second time in the creative tab, under “Look”. You’ll probably have noticed already that there are two different places where you can apply LUTs in Premiere Pro. If you’ve been taking your first steps inside the Lumetri tab, you could probably make use of Jordy’s tips from covered in great detail in the video below. Indeed, it may not be at Resolve levels of tools and power while lacking the incremental adjustments that the dedicated color grading suites have, but it’s more than enough for almost any situation. It used to be a simple effect that you could add to your clip, but with every new update, it morphed into a separate tab with a quite complete set of tools. The Lumetri Color Panel has evolved a lot from its initial implementation. As you may already know, if you’ve opted to work with Premiere Pro as your main NLE of choice, there’s a full tab dedicated to color grading.
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