Advance colour grading is done in 3D - Premiere pro colour grading

hi fellows in this tutorial I'm gonna try and explain you how color works as a three-dimensional model reason is if you understand color as 3d you can easily push your color credit skills to the next level and let's try to do that in this tutorial let's take some gh 5 footage and match it to a movie reference and try to make it look exactly the same well not exactly the same but making it look similar and if you don't have to th 5 don't worry the principles apply to all cameras let's go [Music] okay let's jump right into Photoshop and let me try and explain how color works as a three-dimensional model these are some frames from the movie played runner and in Photoshop we have this nice tool called color picker and if we sample one pixel from this guy's forehead we get actually five different color models in this picker and we can see the values of that one pixel in in five different color models the RGB is the most common HSP l lab and as Mook or CMYK models and even though the numbers are very different in all of these models that color is exactly the same and this is to understand that with still talking about the same color but the models change and there's many different color models but there's one color model that I'm I'm gonna introduce you and this is the hue as a saturation and lightness column model it says L that is a very practical color model and it's very intuitive to understand and as you can see from this image already you can see that when we're talking about three values so hue saturation lightness or RGB we are talking about three values and we can create a three-dimensional coordinate system from those values just like if we would have X Y Z we now we have RGB or hue saturation lightness we can create these kind of three-dimensional geometrical forms that are like showing us where different values are located for example in this HSS a color model that there's actually this hole in the in the front it should not be there it's just for us to understand how the radiations work inside the cone but anyway that the column model is this kind of a cone we're in the middle of the cone of this column model there's this neutral axis from black to white and that is when there's no saturation we are at the neutral window so those pixels that bend down don't have any saturation they are located at the neutral axis so when the saturation is zero then located here so then the lightness of the peaks of the valley the lightness value of the pixels as determines how high or how low it is and the hue will determine on which what is the angle where the Big Sur is located for example this person's forehead pixel let's open up this is a tool let's talk about this tool in a second it will show me what whatever the value of the pixel is be underneath my cursor for example this is the hue is 14 so that's angle saturation is 33 so that's the distance from the neutral axis and the luminance or the lightness misses same thing is 41 so on this model we can see that at the pixel that we just sampled from in his forehead is floating somewhere it's just below the center point so about there in 40s and it's 30 percent away from the center of the neutral axis this way and it's towards the yellow greenness angle so it's floating somewhere here and the idea here is that why you want to understand where some pixels are example where is some pixel located in this column model is that sometimes you might want to change one color to another color for example if the sky would be in your picture it would be here but in your reference picture it is here you need to know how to push your colors in the color space to change their color into the source for source color into the reference color and to do that the easiest way in my opinion is to measure the value of your source picture and the reference the value of the reference pixel and then understand intuitively if I understand this color model looking at this map by the way this is the same thing as this but we're just looking from a top from pot from top and this is the neutral axis that is here this is the neutral axis it's here in the center and this is the hue angle as it is here the hue angle in this model we don't see the lightness value because it's well from above but you get the idea still so even pushed this for example this is here hundred fifty a few hundred eighty saturation 50 when I push it here 242 saturation 14 we need to know which direction we have the pen how to push it there and actually in this case it looks like we can use this slider and this as thin lines are actually the temperature and thin sliders in in a editing softwares so in this case I would probably just use the tin slider to push this color towards the Sun it's kind of pushing in that way if we're gonna use that in slider so this line is the tin slider and this line is the temperature slider so let me give you a couple of examples in practice how to do this so let's open a primary premiere and let's do a couple of practice sessions and by the way I have the Scopes open here but I normally don't use scopes at all because this small tool can do pretty much all the same things as the scope can and this tool by the way is a tool called classic kilometer it is this simple floating window actually it has something more it's this window and this is a program you can install on your Mac and will give you the values of whatever is underneath your cursor and windows you can go and bring float window open and then it will show you this if you're using Windows you can use this this is a zip pretty much the same application platform windows and then let's go back to premiere so here we have a bit of a practice practice a practice drill let's turn off the low metric color so this is our source and this is our reference and actually these are the same values that we just have here in a photoshop example so 180 and 50 saturation and 200 for 40 and saturation 40 so here are the same things 180 and fifty and two hundred 40 and 40 so now I'm gonna use my understanding of three-dimensional color to push this towards this and notice that the luminance is different from as well this is 50 and this is 17 so okay so let's open up this image this is the same image from Photoshop and let's just imagine that we want to push this peak so this color to this spot so we're probably gonna do it with this slider so let's try it we're gonna do that so let's open up our elementary panel and let's just start pushing towards magenta and if you end up hitting the wall of the slider you can still grab the number and continue pushing it and I'm gonna add a marker here because this tool has this nice feature that I can add this kind of a cross and you lock into that spot and I'm gonna push it until I get this hue 214 so I'm gonna push it towards even more margin down them I'll get 240 like this and now they are the same hue I'm gonna release this marker now the same hue but the saturation is way off this is hundred and this is 14 so then I could use the saturation to bring the saturation down to get the same saturation for our footage so now I want to be too much because it's know it's already 29 so let's click here and just use the up our arrow and sift and up arrow and to try and get this saturation to 14 yeah it's more or less okay so we got it there and now they're still very different because the luminance is different this is 64 and is 70 so let's call the exposure and pressing down command and up I can make it Alijah but here we encountered the first issue is that these sliders affect all the values in many cases for example this saturation and this expose of value added the saturation as well so I'm gonna just try and make this to be 70 like this and then I will go back to the saturation slider actually that's Adam art here command L it will add this marker and now let's decrease the saturation to make it 50 no was it I don't know 40 was it yes 40 and then let's add a bit of exposure again to get that in 70s and this again we need to push it down to get the saturation 14 like that and then maybe you can push this down a bit to get that dude to 40 as well and then the saturation we need to push that up up up a bit well you get the idea and they were got it we got it yeah we got it that's good so that's how we can make our sauce color exactly the same as the reference well it's not exactly the same there's a very very thin faint line between these two patches because this is a very rough because it's only have 360 decrease and only hundred for each of the saturation and luminance values so they can be still a different even though the values are seem similar but it's so small I don't care about that so that's less another trail and this time let's do it for skin tones so this is a skin tone so this is our source and this is our reference we try to make our source at the similar to the reference so this is 20 20 50 and this is 15 30 60 so the hue is more but the saturation is less and this time instead of using these sliders I'm going to show you something interesting because skin tones are occupied in this area from about 10 Q to 27 hue so around here and they are not fully saturated so there are somewhere here in this area so as you can see this line the temperature slider is corresponding almost to the saturation of the skin tone so if I push the temperature up it's actually making our skin tones more or less more saturated and if I push the temperature slider towards blue so pushing it this way we're actually getting more close to the neutral axis so we are decreasing the saturation of the skin tone and then if I'm going to use the tint slider you can see that if I use the green slider to push towards green we're actually increasing the hue and if I push towards magenta we're actually decreasing the hue so this is a nice trick to understand how to fix what is this some skin tones is the two kind of it is not exactly like this but to understand the hue is mostly affected by the tint slider and the saturation mostly affected by the temperature slider so let's try that so this is 20/20 and this is 15 thirty so let's try to let's add the marker here again and let's try to push at the saturation higher so we're gonna push it towards thirteen and you can see it does affect the hue as well but not as much and then we're gonna push the the tint so that the hue is smaller so let's get it to 15 there were almost there another saturation won't be too high so let's bring it down just a notch and now the tint went bit down so let's bring it bit towards green again and there we go yeah that's good enough okay so we know the hue and saturation are the same but the luminance is still different because it here is fifteen thirty and he is fifteen thirty but the luminance is 53 here on that side sixteen so now let's try the used exposure and my comment and open up up arrow I can make it in a very small increments all the way to 60 like here but now it affected this saturation as well so let's try to compensate for that by again locking it here and then [Music] then bring the saturation the lowest down a bit and you can see that we're kind of haunting the values that we want because everything is affecting but you get you kind of get the idea which directions you can push your sliders to get where you want okay so we got it it's not perfect but close enough and as you can see the bass is again very similar so this is a way you can use your understanding of three-dimensional color space to to kind of push your colors where you want them to be okay next I think it's time for more practical application for this cause you quite really would do any professional color work where you just try to match different batches together so here we have some footage from gh five and this is a reference still this footage I got from Kennett from Atlas pictures Kenneth is a subscriber to the channel and he asked me to help be a bit with color grading and this is a movie this is a movie called the unknown girl this is an in Finnish Finnish language translation but it's a French movie la Phil in canoe and Kenneth send me some reference stills from the movie and asked me to if I would be able to make the th5 look similar to the reference image and these images look the lighting is quite similar in those also I think we could be it's quite possible to make this look the same so let's try that I actually did already and here you can see the result but let's try to do it from scratch okay so first of all I'm gonna do some very basic color correction by applying a lookup table from the color correction kit for the change 5 to this footage and let's try and find a good frame where it's not too much motion blur so here so this is now color corrected well actually only translated and the first thing that I like to do is to match if we start this model I want to match the lightness so I want to ignore the hue and saturation of the image and system just match the lightness of this image and to do that I'm actually using a tool called Nocturne that will make my screen black and white and this tool you can go call it it's a Mac and it's an application that is just the idea of it just to make your screen black and white I don't know what's the point of it but it works for color correction very nicely so let's go back to premiere and now I want to make this match and because there's no color anymore are more sensitive for the lightness values and actually I can use this measurement to measure where is this pixel on her forehead located in the 3 dimensional column model it's 70 so it's 7 very high 70 and here this forehead is 56 or 55 so we need to get this down and I'm just going to use a lookup table from the color correction kit to lower the exposure and the reason why I'm using a lookup table instead of using this that this lookup table is very accurate on making the foods look like just like it would have been shot one exposure spot stop under and now let's see this is 59 and here it's 55 so we can make it just a bit more lower with the sliders so now it's 50 to 54 well there let's get it big higher no once there you go it's quite good it's there it is okay okay and now if I look at this images side by side I can still I still think even though the highlights on the same level I think the shadows are more like stronger in this one so I'm gonna go to the curves and I'm gonna add a spot on the forehead or in a note under the curve a corresponding in the forehead so that's 54 so it's above just above here I'm gonna add a note there so I don't want to make that darker but then I'm gonna add another note to the shadow areas and just try to match the shadows so that they look pretty much the same in these two images and now I think we are quite close okay let's continue so now I'm gonna bring back the colour I'm gonna start examining our reference to kind of see what is going on first of all the skin tones are very off because we used a lot of contrast so that will increase the saturation but that's easy to fix but first I want to make everything else than the skin tone so everything else except the skin tones match with this image and if we zoom into this one and analyze it a bit so this one I can see that there's clearly a like a like a teal tint to everything else than the skin tones the skin tones are quite okay as you can see as I said the skin tone should be somewhere between ten and twenty seven so they're nicely right in the middle and the skin tones are relatively desaturated but they look lively because everything else in the footage is very blue so it kind of gives a nice like color contrast to the skin tones making them look very normal and natural and but everything else in this photo is actually quite blue as I can see maybe this board should not be blue it should be white and the hue is 160 159 and if I open up the reference I can see that 159 159 160 is around this area so we were talking about teal teal colors so apparently at the neutrals and well overall this image is pushed towards teal so let's do the same thing to our image and now as I said I'm gonna ignore the skin tones and I'm just going to work with everything else so let's push the whole image a bit towards teal and B towards this blue as well and I can use the these sliders or then another option would be called the color wheels and use the mid-tone slider to push the colors towards the hue that I want something like that but I don't like how it's affecting the the shadows so the shadows are becoming bit too like saturated so I'm gonna compensate for that a bit in in this shadow area so pushing to the other opposite direction and now it's not the metals are starting that's nice steel look but the shadows are still keeping clean because I'm pushing I'm kind of contour balancing it with this okay let's see how it looks before after even the skin tones got a bit better with this treatment okay so let's see that that's done you could continue tweaking it forever the next I'm gonna do the skin tones and for that I'm gonna use the ages of secondaries and with this tool I'm gonna just paint over her skin to different areas on her skin and let's see how well we got it quite okay let's try to get more of the skin tone and by the way as you can see this is HSL it's the same values as here so because we just didn't we didn't cut the right side of her nose we're gonna actually go here and measure what is the right side of the nose look right here it's 14 so it's a normal skin tone hue the saturation is a 30 I think that's okay but it's very dark so so it's probably located here outside of the mask so now if we just make the mask pick wider and push it a bit towards the black we can get but we cannot okay so there's something else as well so let's try maybe it's the saturation yeah we're starting to get there that's cute and I kind of don't want to get the lips into this so let's try if we can get rid of the lips we can almost get let's see I would say that that's quite okay okay and actually I want to get her hair in this election as well because as you can see when we did that we'd use these color wheels we made her hair look bit green so let's try to add her hair in this election because I know that that will help the hair to be more like normal as well so let's add a bit of the green here as well so okay now we got the skin quite well selected and we got this hair as well because I know I it will benefit from the skin tone a work that we're gonna do and I'm gonna add quite a lot of blur so we the lines will not be visible something like this and then I'm gonna start working with the skin so I'm gonna I'm gonna press this to see these three different like shadow mid-tone and highlight options and here if we analyze the food the skin tones we can see that there's a quite big berry variety like big variance what is the word that's a kind of the the skin tones are occupying a wide range of hue values for example on the forehead it's 24 and here it's below somewhere here it's like going below zero as well so going to the really red areas so there's a very wide like how does a like a wide range of you values but on their own are reference if we look here the skin tone hue is not that much so all on here forehead it's 24 and here it's 13 so it's it's like 11 decrease but on our footage it's almost like 25 or even more yeah it's even more so here's an idea let's open up the reference of that image again so our skin tones are occupying a very wide range of hues and we want to kind of push them towards like we want to decrease we're going to kind of press the hue values because now her skin looks bit too colorful we want to decrease the hue values to done to do that we're going to take all of these pictures and I'm gonna push them towards the neutral center kind of compressing them because every when we push them towards the neutral center they will become smaller and the huge that the hearings will come small as well and after that we're gonna push them back where they belong so then we end up kind of narrowing down or compressing the hue values on the skin so let's do that in practice so first let's just decrease the saturation and already you can see the skin starts to look it looks like a zombie but other than that it's starting to learn less it's starting to look less colorful because there the skin tone hue variability is now less and then we're going to take the mid-tone slider and we're going to push the skin tones back to the orange area that we started from so something like this and now if you take a look before and after before and after it's it has a bit a small drop in saturation but the skin tones are more much more even and much more pleasing to the eye next let's try to match the skin tones or her skin tones well her skin tones to her skin tones and to do that I'm actually going to turn off this reference still and I'm gonna use the comparison view in Premiere Pro if you don't find this tool you can just + use the plus icon and then we're gonna go here the like reference teal and I'm sorry my computer is very slow because I'm doing the screen capturing and I'm just gonna copy I'm gonna put the playhead here to the reference steel and I'm gonna copy the time stamp paste it there and then come back do the actual footage here and if we now just wait for a second our reference still will appear on the left and our working image will appear in the right okay now the computer catch up so good and I want to place their faces very close to each other so I'm gonna use this tool and well now it looks very weird but I'm gonna pull our reference still be to the left and then I'm gonna slide this divider here in between the faces okay and here we can see that the faces the tones are actually really close already but we can make it match even better so let's measure it so the hue is 13 a saturation 17 and our hue is 6 and 13 so the saturation is like bit less and the hue is less as well so let's fix that so let's see that we want to have it to 17 and 17 so let's push this to 17 and 17 and let's add a marker there around there maybe and then let's start a tweaking the colors in the HS or secondary tool so actually we could use these sliders so because skin tone the tint slider mostly affects the hue and the temperature mostly affects the saturation so we're gonna add just a bit more saturation by adding minimal temperature something like that and then we're gonna work with you by pro adding a bit of green and let's say that looks quite good it's not seven in 17 points 15 15 and the thing with skin tone is that it depends so much from where do you measure the skin tone but I think our skin tones are looking rather similar now let's make this back to normal okay so let's say that this is done you kind of cut the idea here how you can use these tools and as I said we were not using scopes at all in this example but we really got a nice match I would say that if this would cut between each other I wouldn't know that know the difference of course we could continue working on this image forever but you get the idea here and we can kind of say that we are done with the tutorial okay the tutorial is done and trust me when I say that this was probably the most complicated tutorial I've ever made and from that you can understand that if you didn't understand everything that I just explained it's okay this is rather complicated stuff but I'll try my best in the new in the videos in our future updates to try to kind of hone my skill of explaining these complicated skills and complicated concepts to understandable form so if you're still here subscribe to the channel because there will be more content like this and if you have any questions please ask them below and yeah and then by the way the core correction kit that I mentioned in the video that are used for th5 footage is you can check out their look up tables and every all the other tools from here from these links as well ok I'm gonna take a nap now I'm so exhausted by

Channel: Joo.Works

Views: 7,806

Keywords: Joo.Works, color grading, color correction, color grading tutorial, colour grading, film look, cinematic color grading, premiere pro, premiere pro tutorial, how to color grade, premiere pro color grading, cinematic look, cinematic film look, colour correction, how to color grade in premiere pro, panasonic gh5, lumix gh5, premiere pro cc 2019, premiere pro update, lumetri color, adobe premiere pro, premiere pro lumetri, color grade, premiere pro film look

Id: fX4G4druCiI

Length: 27min 34sec (1654 seconds)

Published: Fri Nov 09 2018