Hey, everyone, Kelsey here, and welcome back to Gal. Today, I'm giving you a complete color grading guide in Premiere Pro. So if you're a beginner just getting started, this is the place to be. And even if you're advanced, you want to be here, too, for a nice refresher. I'm going to go through all of the Lumetri color basics, as well as how to use Lumetri scopes to accurately read color and make sure you're setting the color in the brightness within the right limits. So the sample footage that I'm using to color grade in this tutorial was shot on a red camera in a log camera profile. Now, log, you've probably seen it before. It's kind of more of a Milkie look, a lot flatter of a look. And what it does the reason why people shoot with log is that it retains so much more detail in the highlights and in the shadows. But it requires color grading to bring back in that detail and the color. So I'll be showing you how to do that, as well as how to use LUTS as well. Lookup tables to quickly grade in Premiere Pro. And thanks so much to our sponsor today, Loupdeck. They sent me the Loupedeck CT, which allows me to color grade faster because it comes with a bunch of presets on the console that lets me control the matricular panel. So rather than clicking and using my mouse, I can just use their dials and knobs to quickly control the sliders and turn off certain effects. So I'll be using the Loupedeck throughout this entire tutorial and I'll be telling you more about them later on. But for now, remember, all of the time codes where you can review different chapters are just down below. And let's go ahead. Jump on it. First, we're going to start with the overview of the color space in Premiere Pro. You're going to be using the Lumetri color panel and Lumetri scopes for color grading. So I'm going to just hit this basic corrections to pull up the Lumetri color panel from my loupe deck. If you don't have a loop deck, you can go to Window Loomer tricolor to open up telemetry color panel. Here, you'll see all the different section controls for basic correction, which is the exposure, the contrast, the highlights, et cetera. And below that is the creative section. And this is where you can apply creative looks and make some adjustments, such as faded film, sharpening vibrancy and saturation. So I will cover all of this. This is just the overview. Then below that, there are secondary controls such as curves, color wheels, HSL econdary and the vignette. And then we can go to window to open up Lumetri scopes. And the scopes are visual representations of the color. There's a waveform vector scope and histogram, and you can click on the wrench tool to turn on and off different scopes. You'll see that you can also select ten bit and other viewing modes, 10 that gives you a little bit more detail. But if it does the job just fine in terms of beginning color grading and it performs a bit faster. So I'm going to be referencing these scopes throughout the tutorial and that's when I will show you how to read them and use them for specific use cases. So for log footage, the best way to do a color grid fast to fix the log footage is to use an input LUT, which I will show you in the next section. But first, I want to show you how you can use the basic correction tools to essentially build your own what manually. So that way you get an understanding of how the color grading works. First, let's start with exposure. This is where we're going to bring up the scopes and make sure to have the waveform selected and also from the wrench make sure to have the waveform type LUMA. Now, the Luma waveform, this represents the brightness of the image. And as we scrub through, you can see that the wave moves and changes to the movement of the image. Now, this bright point right up here, you can see that this is the hottest, brightest point of the image. That is a little bit overexposed. And it's coming from the window as this is the brightest point of the image. Now, ideally, in general, it's best to get the top of this waveform as close to 100 value point here without clipping. And then we want to move the bottom of this waveform as close to zero as possible to get more contrast. So how do we move this waveform? Well, first, let's start with the exposure slider. So let's move the exposure slider until it looks brighter. Now, we don't want the Luma waveform to go all the way up to 100 as we want to leave some room for growth of the waveform as we will play around with some of the other controls, like contrast and notice that throughout I'm using my Louepdeck CT instead of using the clicking and sliding because it gives me a little bit more control using the knobs. Now, for contrast, as we increase it, you can see that the waveform is moving up and down at the same time, increasing the contrast between the light and the dark parts of the images. And we can see it starting to look better. So also at mine at this value for now. But I might change it later on because of. This is a very nuanced process, right, it's like painting the image. So you may go back and forth and change different values, and that's completely fine. Now, let's play around with the highlights and I'm going to bring it up and then bring it down to see how it affects the image. I think I'm going to lower this slightly to around minus 15. And then for the shadows, let's darken them and let's bring them down to around minus 40. And for the whites, let's boost them up a bit. And then we can play around with the blocks and lower them to bring in some more contrast as well. And now let's go back to some other values. Let's crank up the contrast just a little bit more to get our waveform as wide as possible. And now let's scrub through our video to see how it's affecting our image. Next, we can boost the saturation. Let's say, I don't know, around 120 or so is looking good. And I'm going to boost up the whites to bring the waveform up a little bit closer to one hundred and play around with the blocks as well . And the contrast until it looks just right. And now when we turn off the Lumatri panel effects icon from the loop deck, or you can select the effects icon and turn it on and off from Luma tricolor, you can see the before and how much smaller that waveform was before we made all of these corrections. And now when we turn it back on, you can see it's looking so much better. And now we can see this as our own fleet, which is a dot cube file extension. So you can save this as your own light by going to the hamburger menu and selecting export cube. But I actually made a custom shortcut on my loop tag. So all need to do is tap export cube and it'll bring up a window for me to save my alette to my computer. So that's how you correct manually. And right now, it looks pretty good. But what if you want to start from a lot? Let's go on to input LUTS. So LUTS are lookup tables and they contain basic math that basically just changed the values of coloring your images without affecting any of the controls. And so what I recommend doing, if you shoot in log to always save on your computer, the lutt, that will automatically bring those colors in, the highlights and the shadows back. So if you have a catalog, have one of the Canon, Lutts, Sony, Nikon, anything that you use. And what I did for Red is I downloaded a whole bunch of input LUTS that will do this automatically. And it's completely free from the read website. And most cameras should have free lights that you can use. So I've already downloaded the whole pack and I've linked to the red lights just down below if you're interested in getting them. So make sure to hit the reset button to all the basic corrections are reversed because we don't want any corrections. And then from the light dropdown, select browsed import one of your own LUTS But what I've done is I've already pre installed a bunch of Red's free input buttons, and I'm just going to choose the one with some medium contrast to see how it looks. And then, voila, you can see automatically it made a bunch of great adjustments to the waveform, and it's looking really good. But let's go ahead and try a low contrast version just to see how that looks. Now, I'm liking this because it's looking more softer and a little bit more cinematic. And I think it does a great job. And we don't have to make any further adjustments. Now, you can stop here or you can go on to creative adjustments. So as you've seen throughout this tutorial, I've had the Loupedeck in the corner just to show you how you could use loop check with your colored reading workflow. Now, I'm just using the color profile that it came with, which made it super easy. But I was able to make some customizations. For example, I added to one of the touch screen keys here. The export cubes. That way I don't have to go to the hamburger menu and click and every little click adds up. So you may not see that this thing will speed up your workflow that much in just a few minutes. But over long chunks of time, it can help reduce the amount of clicks that you're using while you're color grading. Now, Louepdeck can be used with more than just Premiere prose, Lumetri Color. It can be used with their editing workspace. It can be used in Premiere prose, audio workspace. It can also be used with other software like audition that can be used with final cut pro X, as well as for photo editing apps like Photoshop and Lightroom . So if you're interested in trying out Loupedecl, you can try out other products as well. This is the Loupedeck CT, which is designed for professionals. That's why it has a higher price. But there's also the loop tech plus, which I made a whole video on, which you can check out through the card right up here . And they also have a Loupedeck Live now that works with streaming software such as Twitch and ObS. So thank you so much, Loupedeck, for sponsoring me. And I'll put all of the links down below. Let's get back to the creative section of this tutorial. So from this creative section, we can go through a bunch of preset looks to give our footage more. The mood so I'm simply using my Loupedeck shortcut to toggle through the different inputs right now to see how it affects the footage. But you can also import your own Creative Cloud. What I've done is I've downloaded Red's free creative LUT pack and I preinstalled it into the dropdown. So you can see all of them are here in the dropdown. Now, if you're wondering how I got them in the dropdown Multiple Lights at one time, you can watch my video up here where I show you exactly how to do that. So I'm going to try out a couple of these creative Luts. And you can see that I actually made the image super distorted and strange, and that's because it now has to. Let's apply to the same image. So we need to and uncheck the basic correction to turn off input light. And now we can see what the new creative looks are doing much more accurately. So I really like this red lush option. And after you apply it, you can use the intensity controls to adjust the intensity of the lut Look on the footage. There's also a few more adjustments, such as vibrancy that you can play around with or fitted film. But faded film kind of makes your footage look more milkie, which is exactly the opposite of what we want to do. So there are a couple more controls here at the bottom that allow you to add tints to the shadows or the highlights in the images. But I'm not really going to cover this because we're going to cover more of that in the color wheels and the curves. So if you've made it this far in the tutorial, we are now on to the curves section. Now, curves are really cool because they give you specific control over the color, specifically the hue saturation curves is what we're going to be talking about. So one scope that you should have open when we're doing this is the vector scope. So let me show you how to use this. Simply go to the wrench tool and select vector scope YUV to display it. And the vector scope displays all of the color in the image. So when you're looking here at the circle, the farther away this little graph is from the center, the more saturated that color is . So this is why we have such a strong pull towards the red region here, because of the red hoodie. So if this crosses the line, this little inner line, then this color is too saturated. Right now, it's safe. But if you want to adjust the saturation to lower it or increase it, this is where we're going to use the hue saturation. So from Lumetri color, we're going to go to hue versus saturation. Now, hue versus what does this mean? All this means is that we're adjusting the saturation of a specific hue, which is just a fancy word for color. So if you want to adjust the red, all we're going to do is use this dropper tool to select the red color of the hoodie. And then you're given three dots. When we pull up the center dot, you'll see that it increases the saturation of the red. And if you pull it down, it'll make it less saturated. So with this control, you can move it up to make it more saturated. As long as it doesn't go past that line, then you're good and it's really up to your creative eye. How saturated do you want it to be? And you could do this with any color in the image. So if somebody is wearing a yellow hat and you want to change the color to be a little bit more orange, this is where you can use this tool. Now, hue versus hue is the next curve. That's really interesting. Hue versus hue allows you to change the color of an existing color. So if you take that dropper tool and select the color of the jacket again, you can then move the center court up or down to change it to a different color entirely. Now, it's not completely perfect, because as you see, when I'm changing it to a color like green, for example, it causes part of her face to change because there's some red in her skin. So you just have to be careful with this so you can do a more subtle color, such as like a pink or an orange. So that way doesn't affect the skin tones too much. Next is Hue versus Luma, which allows you to change the brightness of a color. So just like before, we're going to use a dropper tool to select our specific color and then moving that middle line up, it'll make that color brighter. And in this case, we don't want to make it to break. So it starts to look distorted and strained and pointed down. It makes it more rich in tones. So I'm going to pull it down just a little bit to make it more of a deeper, darker red. The hue versus luma might also be useful in a case where your face is overexposed or your subjects face is underexposed . You can select the color of their face. And what you can do is you can bring in a little bit more detail in that area of that color. Now, another thing you can do is use Luma vs Sat, where you can select the overexposed area and then you can increase the saturation in that overexposed part. But the other two curves here, I don't really use that often, but if you want to read more about how they work, I'll put more information in the description box below. So color wheels and match. This is generally a section I use when. I want to match two different shots that are shot on different cameras, right, so that way they can have the same look. Now, I made a full tutorial on how to color match two different shots, which you can watch right up here. And it's really useful because you can use comparison mode and you can really see how it adjusts the color wheels to match the other shot. But of course, you can go in and manually use these controls to the shadows, the midtown's and the highlights. And you can also move the target into a specific color, for example, the shadows in the blues. But I don't really like how this looks, which is why I generally don't use color wheels unless I need to just make a little subtle amount of, let's say, the highlights in some of the warmer color. Right. But that's that's pretty much it. So now let's go on to HSL secondary. HSL Secondary is a tool that I don't use very often, but for the right shots, it can be really effective, controlling specific colors, such as increasing the tint or the contrast, the shadows in the highlights of one specific color. So it's kind of similar to the hue versus hue, which I showed you before, but it works a little bit differently. So let me show you how it works. For this example, I have another shot here of the sky inside of this bush, and it looks really beautiful. And what we're going to do is isolates the green. So let's use the dropper tool to set our target to the green color and then we can turn on the color slash gray mask to show the mask specifically just around this color. And what we can do is we can add to this color by using the plus dropper tool to add in the different shades of this color green. And you can see the mask starts to build out as we do this. You can also subtract unwanted colors using the minus dropper tool. So this is useful if you accidentally select a part of the image that you didn't want. Now, once everything's selected that you want, we can turn off the color gray mask. And then we can adjust the brightness of the midtown's, for example. And you can see how it's just affecting the greens in not his face. We can also adjust further controls like the tint or the contrast, using the sliders just down here below. If you select the three wheel icon, we can then adjust the shadows and the highlights of this color as well without affecting the rest of the image. And now we can turn off this checkbox to see the before and after. And you can see we have a much more deeper, richer color than we had before. So this is just one example. But another way you can use it is through skin tones so we can do the exact same thing. Use the dropper tool to select the skin tones of this man here. And if we select too much of his eyes, we can always use the subtraction dropper tool to remove some unwanted color. So once we have the best selection we can get. We can now see in the vector scope that the color is now just along this intersecting line. And this line here is the skin tone line. And we want everybody's skin to lie on this line between yellow and red. So where it's at right now is where we want it to be. And now we can just make some adjustments to make him a little bit taner, maybe a little bit richer using some of these secondary controls. So we can make some adjustments to the temperature to see if it'll make him a little bit more tan, but not too much. And we can play around with the shadows and the tones and highlights as well. And then we can turn it off to see the before and then the after. So you can see that you can have a lot of fun manipulating just individual colors. So this is just one way of adjusting the skin tones of an image with HSL secondary. But I actually have a better way of working with it, starting with camera white balancing all the way to post-production tips. That does not involve HSL secondary. So if you're interested in learning more about that other process, you can click up here to watch that. So the next section, and certainly not least, is vignettes. It's the last section of Lumetri Color. And we're going to go back to the original demo clip here. And I love vignettes, because it will give you just a little bit of darkness around the edges and makes it look a little bit more cinematic. So the first thing that you need to control is the amount moving at left is the correct way. And just a subtle amount to add a little bit of black vignetting around the edges. So the other controls help you shape the vignette. Right. So moving the midpoint to the left will bring the vignette more in towards the center and moving in the other direction or move it outwards towards the edges. Using the roundedness controller will affect the overall shape of the vignette in the feathering will make the edge more obvious or more discrete, depending on what you're going for. I personally like it to be really feathered, so that way the is not that noticeable. And now we can uncheck the box to show you the before and after and add some more moody shadows around the edges, just making it, in my opinion, looking a lot better in the last section of this color grading course here on YouTube is working with adjustment layers. So if you have multiple clips in your timeline and you want to apply the same effects to all of them, this is where adjustment layers come in handy. So I have this sequence here at the dancer, multiple clips all shot on the same camera. So I'm going to go to the demo clip and select the clip in the timeline then from Effect Controls. I'm going to select the Lumetri color effects and then go to edit to copy it. And then we need to create an adjustment layer. You can right click new adjustment layer and drag it into your timeline or from Loupedeck here. I just have a shortcut to select adjustment layer and it will pop up and I can create one right away. And with the adjustment layer now on the timeline selected go to effect controls in. Now you can go to edit and paste this effect. And now the LUT that we had before and all of the cool effects we added had been applied to all of the clips beneath it. So that way, you don't have to go in and apply it to each individual clip, but you still might have to go in at the individual clip level and make some minor adjustments depending on the exposure of each shot. So now, as we play it back, I will turn the visibility on and off of the adjustment layer. And you can see the beautiful after and the before. So that's all for my complete guide to color grading log footage here on YouTube. If you have any questions about anything that I covered that you're still stumped on. Please be sure to leave a comment below. And if it helped you out, be sure to give it a big thumbs up, because then it helps. The channel helps me know if you want more color green videos. Thanks so much to Loupedeck for sponsoring today's video. Don't forget to check out the links down below. And yeah, as always, keep creating better video with Gál Bike.
