COLOR CORRECTION and GRADING with Lumetri - Adobe Premiere Pro CC 2018 - Entire Tutorial

hello everybody welcome to chin fat eye in this episode I'm going to be getting into premier pros color this is going to be a bit of a long and in-depth explanation of color correction and using the scopes and color correction theory and whatnot so everybody get ready to get into the comments and post a bunch of really nasty comments about how I should just get to the get to the point because I'm not going to just get to the point I'm gonna get in-depth here so yeah right so what we've got here is I've got all my audio muted cuz I don't want to like really mess with audio right now but I'm gonna go up here and I'm going to hit color under the arrangements by the way if you have some old settings in here what these are not displaying you can just go up the window go to workspaces and hit color as well it's the same thing as this bar right here but when you hit color there so when you hit color you'll notice it kind of gets this color arrangement laid out so you can start working on color correction and color grading I'm gonna move this down a little bit so we can just work with the video here I've got here so two special windows that kind of show up is this alimentary scope panel here and then this luma tree color panel over here this is where pretty much all the changes are done to your Clips here and what happens with it when you're in this color layout as soon as you start moving the playhead you'll notice it selects a clip so now this clip is selected and it's getting ready for changes to be done to it and then once you do a change I'm just gonna do a quick exposure slider on this and you slide that over and show you what happens and then move over to the effects controls and you'll notice it has added the lumetri color effect to my to this actual clip if you got the clip selected if you got the clip selected and you're on effects controls appear it will display all the effects that have been added to this specific clip that is selected and what you'll notice as we move the playhead to another clip here it automatically Clips this selects the clip that the playhead is over and actually what it's done if you go up under sequence it is check marked this automatically for this layout has checkmark selection follows playhead this kind of makes things a little bit quicker as you're grading you don't have to select the clip and then start grading it you just move your mouse over you move your playhead over a clip and it automatically selects that clip and then you can start grading and look right now under effects controls notice no effect has been added but watch what happens once I start moving a slider up here and changing something there you go it just added that lumetri color panel and all the numerical values of what you're doing in this panel shows up under this lumetri color effect right there so watch as I drag this out back and forth you'll notice my exposure is changing right there the numerical version is changing right there this is more of the visual slider making it convenient to change this the values numerically just with a visual just with this visual interface over here so I'm going to delete that effect right there just hit delete I'm gonna select that and go to this clip that I had it on it as well and I'm gonna select that clip select that lumetri killer and delete it so ting start from scratch here what I'm gonna do in this tutorial is first of all we're going to go through scopes then we are going to go through the panel and how you make the changes and then I will go into the goal with color correction theory and show what you're going to try to do when you're color grading an entire project so let's hit the scopes first I'm gonna move my mouse over this and hit the hit tilde so it goes full screen and let's talk about each one of these a couple of these in my opinion are fairly worthless if you go into something like DaVinci Resolve you do have what is called a histogram you do have a histogram instead of DaVinci Resolve but it's a much better functioning histogram than the one is in Premiere in my opinion I hardly ever use this histogram inside of premiere just because I think it is kind of useless because it is this vertical histogram as opposed to this a horizontal histogram and the DaVinci Resolve one actually shows the red channel green Channel blue channel well you can obviously see the differences on this it shows a red Channel green channel and blue channel and then your luma channel like I'll mesh together and it's really kind of tough to tell what's what in this so I'm gonna actually to get rid of scopes you just right click and I'm gonna go down to histogram and uncheck it like I said I think that at my opinion I think it's useless and I'm gonna go over to this one and now you'll notice a couple other things here one thing that I'm not gonna really be covering is this right here this scope here is called what premiere calls the HLS vector scope this is a vector scope and this is a vector scope and once again this I consider somewhat of a useless vector scope the ones that are most commonly used are these vector scopes right here which is basically what the web premier calls their y UV a vector scope in the industry these are commonly referred to as just a vector scope they've added this when they brought over when they showed using SpeedGrade years ago which has now been end-of-life to basically but they have both the scope from SpeedGrade and once again I've hardly ever see this used in the industry in fact I've even done some research online and I can't for the life of me figure out how this thing actually functions I'm a little bit of a disclaimer there but I guess I'm not putting them enough energy into it but you do not see this in the standard color correcting color correction software that you see on the market right now especially the DaVinci Resolve sorry I keep comparing it to DaVinci Resolve but I'm going to right click and I'm going to get rid of the HL s vector scope because we are just going to be using the standard vector scope so these are the three most in my opinion these are the three most useful scopes that you have inside of Premiere Pro you've got what's called your waveform down here and you've got your RGB parade up here and your vector scope right here you don't have to have these displayed on the screen all at once you can right-click and uncheck these or checkmark them right now I'm going to uncheck my vector scope y UV I'm gonna uncheck my pray'd RGB and we're left with our waveform monitor I'm gonna right-click on this as well because I want to change the nature of this right now this is considered what they call an RGB waveform and this is somewhat useful the RGB mode but I really like using the waveform for for luma levels or what's called tone levels so to get rid of the RGB by the way to explain RGB you've got red green and blue when you're working with a video channel when you're working with any video channel you have three different channels that are mixed together composited into one final image you have your red channel your green Channel and your blue channel there and these and the cameras that you use record in those three different channels and blend them together to create a and with different brightness levels and the Reds and the greens and in them and the Blues you get literally millions of different colors that create an image so I'm gonna right click on this and I'm gonna go down to waveform type and I'm going to tell this just to show luma so this is a typical waveform now showing just the luma channel this is your brightness LUT your waveform under the luma settings is basically just a scope representing tone or brightness you'll hear several different are words used for that the typical word and color grading is actually called tone and tone is equals basically your luma or brightness levels and pretty much - the color you don't need to necessarily worry about the color in this instance we're working just with brightness and if you move over here to the elementary tab here on the side you'll notice under tone you've got these features exposure contrast highlights shadows whites blacks these don't really deal anything these really don't have anything to do with color once again these deal with tone when you hear skin tone skin tone is not necessary furring - the color of skin it is referring to the brightness level of the skin whether the skin is dark whether the skin is light if you right click on this here because nearly everybody has I don't know I'm gonna get in some weird territory here so please don't don't don't don't come after me yet but skin color pretty much has the same color when you're working with color correction everybody has the same color that hue that's coming off of their skin for the most part because they have blood under the skin and blood reflux kind of a reddish color and we'll show this later as we get under the vectorscope under a vector scope you see skin color and hue kind of going off between a yellow and red because that's kind of the color of blood that's under the skin and putting forth that color but then when you get into skin tone skin tone is basically going to be how dark the skin is how light the skin is and that's going to be reflected in this area here on your waveform all right to kind of approve that a little bit what I've got here in my timeline is a picture of two different people we have yes this person and this person I want to show you a couple different things here as we select this clip here and we're going to just choose the skin tones we're going to show our secondary color correction later on down the line but right now I just want to show a quick demonstration of the reddish hue that I'm talking about that's again that's like this eyedropper here and we're gonna select the skin a little bit right there dragged it across some of the skin and I'm gonna go to the color matte here show the skin that we're grabbing let's drag that out a little bit drag that out a little bit and get more or the skin colors and look at what hue we've got here the hue that's left over in the skin that's showing it there goes to a reddish hue right there so we've got so so the skin is a reddish hue however tone deals with how dark or light the skin is as we move over to the next clip here let's select this one the same thing grab the eyedropper drag it across the skin here and select go into the skin go to our color gray go to our color gray here and let's choose a little bit more of the skin colors drag this out and get more of that and there we go look how we have a very similar skin there we got someone going off toward the orange range sorry but mainly red there we've got a red hue none of the the skin hue there so when we are talking about skin tone we are talking about darkness or brightness or we're talking about luma brightness levels dark bright gray kind of not necessarily including color hue now how the waveform works is this is basically a reflection of your image from left to right or from right to left on this side you'll notice what's called an IR what they call an IR rescale the IR a scale basically goes from 0 to 100 it goes up a little higher than that to show like overexposure but but the kind of danger points are here at 100 and 0 let's move through a little image just kind of a little bit brighter here and you'll notice what we get is a larger spread on or contrast but also from left to right so I'm gonna move over to this shot we've got cuz I the overexposed sky right here so what we've got on this scale here is we've got as I mentioned from 0 to 100 on the IR II scale 0 basically is where your darks exist and what happens at 0 is details and your video signal disappear where they're kind of crushed out around 0 on the IR e scale and as you move up to 100 100 is where details crush or disappear on the whites in your image so the 0 is your darks the 100 is your whites and this is also director sense detail loss right here 100 and now the kind of the mid-range the best exposure level kind of exists in this area right here this is a area that's kind of I guess you could say a little more properly exposed so between 40 and 50 are considered basically what what they call your mid-tones this is where your Gray's or your mid-tones exist right here so as we look at this image to the right right here what God has got this kind of sky that's overexposed in these mountains that are kind of look like they're properly exposed there and that's what most of this stuff is right here that you're seeing in that mid-range are these mountains right here from the left-hand side of your screen notice we have a little bit less and it gets a little bit bigger over here that's because look we've got a little bit of mountains as we move over to the right we've got a lot of mountains right there on your image and this little peak right here represents that sky right there that is a ati re so this is almost so that the sky is almost completely overexposed if it hits a hundred it loses detail so in theory we should be able to restore a little bit of the blue to the sky by bringing down the highlights which we'll get into a little bit later I noticed that this guy goes from here and moves over about two-thirds of the way over to the screen and Sam over here it moves about two-thirds of the way over and it's gone so that's how this sculpt works and how that's represented and you can see as we play through it how it changes and how it updates with the the movement of the screen as we have like a less guy or more sky as this camera pans around you'll see the changes happening over it reflecting reflected over here on your scope to move to this shot right here without even looking at this I can already look over here and see that most of my stuff most of my signal is below 40 Ayari that tells me just looking at this that my shot is kind of overexposed if we grab our exposure and we drag that up and we get that kind of in the mid-range there now we have a lot of pixels that are in the in the 40 to 60 range and now we're starting to let see a little bit better exposure we do have some highlights over here which is probably on the branches showing a little bit of too much overexposure we're gonna show you how to fix all this stuff as we move to our first clip here once again this is a nicely exposed image we got a lot of stuff in the mids there some stuff in the darks which are kind of in the shadows and a little bit in the highlights which is kind of the brightness color the brights on the on the rocks here so let's go to the next go alright this here is called an RGB parade and why they call it a parade is it basically has three waveforms it has a red waveform a green waveform and a blue waveform this is exactly the same thing that we're looking at before brightness levels but this here from left to right of the red that includes that includes the full red Channel and full waveform therefore the red channel this is specifically for the green Channel and this here specifically for the blue Channel so from left to right we have in the red channel we have a waveform showing the bright darkness and brightness levels of the red channel the brightness and darkness level and the greens and the brightness and darkness levels and the blues right now you'll notice that all three of these look like there's fairly on the same level if they are then this is what is considered a fairly balanced shot meaning the colors when you look at it should look accurate to what they look like when it was actually shot so the Reds are probably are being represented in this the blues and the greens are as well and as you change different things over here as we add more blue to this you'll notice now we've got a bigger boost in the blues and the highlights and the Reds have been suppressed and the greens are built and in the middle there and we have what looks like a fairly blue shot if we take this the other way and go to the Reds notice it boosts up the Reds if we reset that and do the green Channel give this more of a green presence you'll notice the green boosts up more but as you get these fairly even here then you're gonna have what's considered a balanced shot in the shot light starts to look a little bit more accurately color balanced and let's move to a shot here that maybe it looks a little off color right here this shot right here looks like if you look at the image that looks like it's got a little bit too much blue in it if we look at our RGB parade here we got the red which is a little bit below the green and then we've got the green which is kind of boosted up in the highlights and then you got the blue and it looks look at the signal right here or the person standing it's like everything's came in kind of pushed up on the blue including the highlights everything is like too blue in this shot so if we're gonna balance this here and we'll show we're gonna get into this in details later I just want you all the scope works but if we remove some of those blues there and bring it down and maybe bring the green in PAL ittle bit more now we look at the shot let's look at it before and after here I'm gonna go to effect controls and turn this lumetri color effect on and off there's before there's after we have more of a properly balanced shot so basically what this prey is being used for is it's showing the brightness levels again so we are working with tone but it shows how those tones are affected in each individual color Channel and this is where we want to do what's called balancing a shot and to balance a shot makes it look accurate makes it look so like the way it should when you shot it which isn't always necessarily true because if you're shooting a blue sky the blue the sky should look blue but if you don't have much but just the blue sky in it then you are gonna have a natural push in in the blue channels as opposed to the other two channels but typically speaking when you're looking at most normal shots that have a wide range of colors and images in it this is going to represent more of an of what we call a balanced shot next we're gonna show the vectorscope I'm just gonna refer to this as vector scope they call it the vector scope y UV but this is more commonly referred to as just a vector scope I'm going to open up the vector scope and let's look at this what a vector scope is used for is to measure a couple different things basically on a base level it does show hue it shows kind of a color balance in hue showing which color direction you've got in this image what this is is basically a representation of your Reds your yellows your greens your sands your blues and your magentas and this is also used to measure saturation and saturation is basically saying well okay we've got red but how much red do we have in this we've got cyan and how much cyan do we have in that it's basically showing how strong or how intense those colors are in your image so right here in the middle point we've got what's called d saturation at this point the image is like there's no color at this little bit cross-section little midpoint right here there's no saturation at this point and then as we start pushing out these are going to be what we called recommended saturation limits and now here are actually broadcast saturation limits for HD out of the points out there but these ones it's Rickett premier recommends that you keep your saturation within this line right here that's the recommended saturation limit point so as we go out here and regard our saturation and we boost it notice how this spreads out and we get the saturation kind of starting to hit these warning points I'd say sometimes about like the half point is starting to get into an area where your image is gonna be way too saturated but if we grab this and now look at the image this is obviously too saturated and of course it's hitting those warning points but as we grab our session and drag this in watch what happens to that scale there it just sucks in to the midpoint until it is completely d saturated and now this image here is black and white so if we undo that there double click on this dot and it will return it back to normal back to its neutral state and we look at this here so this image here has some heavy saturation points going off to the Reds a little bit kind of over toward yellow and it has some going off towards cyan if we look at that a cyan is probably coming from the shirt and the Reds are probably coming from some of the rock and the background area there and we also have that that rope color there as well so so you can see some of the images but the red does not have a really heavy concentration it has a heavier concentration between red and yellow but that's like at a normal kind of saturation limit there so this kind of tells you if you need to draw back the saturation on specific items in a shot and we will get into that but those are the three main scopes that I use inside of Premiere to do to really get an accurate idea of what you're doing to your image and what the colors are especially when it comes to matching shot and getting everything to kind of look consistent throughout your your project you're gonna use the Scopes and your eyeballs to cut off to get a good idea of what what looks what's gonna look good generally speaking and as you start getting into color grading you're gonna notice things like these wheels down here but you'll notice that this wheel here the color wheel matches the same color scheme as this vector scope this vector scope is measuring colors based on the red greens and blues and then kind of these colors in between with the yellows cyan and magenta and you'll see those things like right there you see the yellows and the Reds and up here see the yellows and the Reds and and so on so as you start creating your so grabbing your mid-tones and dragging them over to the Blues you'll see your vector scope changing and and updating and as you drag them into the same direction you'll see a push over to those areas there on scopes lists are getting into the panel over here on this site and what these all these functions doing here I'm going to close that they're over the loom entry panel you have these basic categories you got basic correction creative curves colors wheels and match HSL secondary and vignette let's go over each one of these first of all basic correction and I select that and that expands this menu here and under that you've got your input Lots white balance and tone and at the bottom you get saturation so you've got all those different categories within the basic correction input LUT is if you're using a specific camera if you're using something that usually shoots law you can install different type of log presets which will take an image that looks fairly flat and give it kind of a pre calibrated look to it we're not going to really go through this right now but if you're shooting in a specific camera format you can download these Luntz online in different places you can browse and add those here and just select this one or set this clip here I'm going to remove attributes and take off the lumetri color panel there but as we pull down these lots and you click on different ones of these here you're gonna see sir you're gonna see usually a lot of contrast added to them because like I said this is used for cameras that shoot analog so ever click on one of these is connect it's gonna change it as you go to different types of cameras here so I'm gonna go to effect controls we're gonna delete that we're gonna move down to the white balance right now there's the original shot this one as we as we mentioned was a little bit on the blue side I'm going to right click and on my Scopes over here and add the parade to demonstrate white balance I'm just gonna use the RGB parade and kind of show it's happening here first of all you have your temperature slider and your tint slider under white balance this little eye drop here you can actually if you can find something white in the image you can click on this and this will give you a good starting point that's not really anything like white white in here just that rock a little bit but you can go and click on some pixels here and it will try to see it did detect there was a heavy amount of blue in there so it just these sliders here to kind of try to white balance is to get your shot balanced I'm gonna undo that though I'm gonna show you what these sliders do here but we can look on our RGB parade and see that this one it has a higher push in the greens and the Blues so we've got a a blue and red slider up here and they put these up here because these are kind of opposite colors here they kind of did you pull it over to blue it's gonna remove the Reds as you pull it to red it's gonna remove the blues and this looks to blue so if I grab this and start dragging over the you're gonna see that blue channel dropping and adding more red down below you've got the green and magenta slider and we see that the green isn't quite up to the same level as the blue and the right especially in the highlights so in grab our tenth slider which is basically green and magenta which are also opposite colors often times in front of green screens people we use magenta gel on their back lights just to kind of kill the green spill on the subject so those are literally literally opposite colors there as we grab this and drag it this way you'll notice that's boosting the greens in the shot and you can see the greens being boosted up or if you drive it toward the magenta that's suppressing the Greens so if we want to get that kind of balance bring the greens up and we have a fairly balanced shot down below that you have your tone and your tone is going to adjust once again what tone is is basically brightness levels or luma levels I'm going to right click go to our waveform and get rid of my RGB prayed and let's work on brightness levels here once again zero is where your details disappear in the darks 100 is where your details disappear and then and the highlights are in the whites and as you go from 0 to 100 it's going from dark to grays to white at the top now the way Premiere works with tone is basically your exposure kind of shares the your exposure kind of affects the region between around 40 to 60 in your meds that's kind of the exposure exposure area I'm gonna skip contrast going into highlights highlights are going to affect the region pretty much from like 60 to 80 and then whites are going to affect 80 to 100 and then if you go down lower below exposure which can search around 40 your shadows are going to affect the regions around 40 to 20 and then your blacks are going to affect the region from 20 to zero that's approximate that's just kind of what you'll see that as you're adjusting so this shot looks kind of generally a little bit overexposed I do have some stuff pushing up into the 80s here I mainly probably off the shirt and so in the rocks and skin there so I'm gonna grab my exposure I'm gonna turn this down a little bit and you can see we bring back a little bit of detail by doing so now if you grab highlights right here this does not have many highlights because it's not looking up at the sky but you'll notice as I move highlights back and forth this is affecting mainly the top exposure was affecting the middle highlights kind of the top and then as you go to whites it's gonna affect the very tippy top of your image there and eventually as you drag that up it's gonna start stretching the rest of it now locks are gonna do the the very bottom of the scale there and shadows are gonna effect just above the black reach in there so that's the way these tone sliders work you have a lot of control over controlling your exposure one thing that you can really do is work with contrast once you get your exposure set what contrast is is makes it look a little bit more filmic because what it does it separates the highlights makes them further apart from the darks watch as I grab contrast and I slide it to the right look at the waveform there it is stretching the highlights away from the darks it's making them go further apart and then look at the difference you get in the image here you get more definition and that kind of makes that's what kind of helps give it a little bit more of a cinematic look is by adding a bit of contrast y'all have to go nuts with it but it helps your shot not look so flat and the reason why they call it flat watch we're going to drag it to the left and kill contrast this waveform gets flatter and look at the difference in the image that we've got there so there's worth contrast there is without contrast you can see the difference in the look as you go to the bottom we've got our saturation slider here let's bring up our vector scope and kind of show what saturation does we've already kind of shown that but as we boost saturation you'll notice those colors get more exaggerated and they grow out towards these region regions here as we drag that back the other way it kills saturation as you drag it all the way over the left it makes it completely be saturated everything's going into a fine point here and the image is in black and white notice my waveform here that it hardly affects the way for artists as a little bit of difference kind of changing on there but the the difference is fairly insignificant there what the saturation does cuz this is mainly a tone reader not necessarily a set a saturation or color reader the waveform now say we want to get something back to normal say we boosted the saturation and we want to get aspect or that's default all I have to do is go over this dot and you double click and it resets this value back to normal and you can do that to any of these here on your contrast double click and over set these individual parameters back to their original defaults you can also do that by going up to this little reset effect and this will reset the entire panel and now everything I clicked on that now everything in this little entry panel has reset back to zero everything is the way it was when it started and that's basically how that works so let's close our basic correction and we'll go to creative I cannot wish that they would put this one it's the very last feature on here this is usually what people do as the last step of color grading is gives you you'll give your shot a special look now these are already pre-created color correction presets that they've installed into premiere if you pull down a look it has different types of camera looks different types of contrast looks a whole bunch of different features you can you can choose here and you can even find some online and you can download them and you can hit browse and install them into your Premiere Pro as well if you want to see some of these all you have to do is choose these arrows this whole list right here what the arrows use is you click on them it's getting a toggle through this through these looks that are in this list here from beginning the end so let's hit the arrow left and it's gonna show what these different looks look like I'm gonna tilt it over this we have a bigger screen you can kind of see so lets arrow through this and find one that we like we I haven't corrected this shot yet so it's still looking a little too bluish but say we find something that we really like like maybe that look all I have to do is click on it and it adds that look to your image and if you don't like how strong that comes in and grab the intensity and slide it down so let's reset that everything's back to normal also down on the under the creative tab is adjustments you'll have the faded film look and the fate of film look here what we've got is this basically is a contrast killer tries to make it look kind of like old faded film as you drag it over the over to the right you'll get kind of this faded film look another thing they have is sharpen sharpen will sharpen your pixels usually this is helpful if you just sharpen it just a little bit just to make it and make the edges of your pixels a little sharp and mix just makes it look a little bit more crisp then we move down and we've got vibrant what's vibrance it does is basically changes the the lower saturated colors with less effect on the higher saturation colors so it kind of maintains a higher saturation so if you grab your saturation and drag it up it's boosting all the saturation everything up let's say you already have part of the image like right here you have some of the blues it's already saturated it grabs the the lower level saturation colors and boosts them up instead of boosting the ones that are already high so it's kind of a little bit more can give you a little bit more control over the saturation tool because the saturation actually just boosts everything in the entire shining and kind of see that on our vector scope over there and watch what happens when we do vibrance here as we drag it up notice it's kind of boosting just the lower end here and leaving the higher end alone then you have also some basic adjustments and these adjustments are really there for adjusting the LUT that you installed and down here you have shadow tint and higher highlight tint usually people try to kind of pull out some of the blues out of the darks and the highlights and I might do that by grabbing this and one of these sliders here and just dragging it up towards the Reds which just affects mainly the shadows and we're coming up here and doing it to the the highlights or you might even want to add blue to the highlights and pull out the the blues in the darks and it's just another tool that you have and which is affecting your look that you've added then you have the Tim Bela to change the color of the tint of your shot there to kind of cool it off or to warm it up as well and that's just more adjustments for the lookup table for the LUT or the look that you've added to your clip you know close that get rid of the lemon tree look on that and go down to the next one curves this is where you have a lot of power and with the curves what you've got here is you start off with this box and you've got a got this line right here this is where you have a lot of specific control over the tone of your shot or over a very specific color channel as well you can do it up for the overall tone and that's what these little nodes up here stand for the white is your overall tone that's why it's white it just basically represents the brightness level and if you click on the red now you're gonna be changing specifically just the tone and the red channels and then if you say green it'll affect just the tone and the green channels and the blue and the tone and the blue channels as well whatever one you select so I'm gonna select this first one the white here and the way the way this works let me bring up our waveform scope get rid of our vector scope here and look at our waveform because there's we're affecting tone since we're gonna be working mainly with tone here now you've got two nodes you have a touch you have a node down here at the bottom the bottom left hand corner I never know it up here and the on the top right hand corner the reason why they call this a curve is because you can add no nodes and it will change your tone based on a curve so what we've got down here in the bottom left hand corner this is what I call if this is kind of what you would call your light your darks manipulating note down here this affects your darks and this affects your highlights right here this note up here and everything in between is goes from dark all the way on up to your highlight so down here is in the middle portion as your mids are your meds or your greys and now we have kind of our exaggeration point areas this is your highlight exaggeration area and this is the dark exaggeration area down here I kind of called coin that I kind of call it that that was just myself to help people understand it as we got this a dark note here and we drag that up look at the way for modern look what we're to the darks it is bringing that the darks up because this is the dark nun we're boosting it up and this is the lower section down here so we pull this so if we pull this note down and drag it over this way it'll start crushing those darks and look at the way for them look what it's doing there if you go up the highlight node same here if we drag it to the right it will brighten them more and start crushing the details in the highlights if we grab this and drag it down it'll bring those down to the darks until it's just completely everything's completely black now if you go here in the middle if you want to boost exposure here you can go in the middle you can add a note exactly in the middle and we drag this up to exaggerate them it boosts the exposure if we drag it this way it brings down the exposure and it treats this on a curve so it kind of gradually affects all these darks as well like so but not beyond this note here and the same up here keeps these nodes exactly where they are the highlights defined where they are and the darks to find where that where they are but it gradually decreases your your your darks and tell gates to the mids and so on up to the highlights or increases them if you fall in this direction I'm going to double click on this note here and it resets everything but it resets that node and it gets rid of that node but what I can do here is we can also create contrast as we showed you contrast where it was pulling the darks down the highlights up to make it more contrast II you can add a node down here in the darks want up here in the highlights and we can decrease our darks and increase our highlights and you get a lot of strength in contrast here now there's a really heavy contrast the image right there and this is called an s-curve that's how you kind of create contrast without crushing your darks and without crushing your highlights it's worked you work it out on this s-curve here now if we want to move over to the red channel the green channel or the blue channel here let's go to our parade and we can see that this has get rid of the way for me we see that this has a high pushing button in the blues and the Blues are actually peeking out at 100 Ayari so I'm going to drag this node right here the blue node and I'm going to drag that down and notice how it's just controlling the highlights we're not bringing everything down but we're bringing the Blues down from the top how many kind of recent let's kill the contrast on this a little bit it's a little too contrasty and we're also gonna go to basic correction bring the exposure down sir and kind of see what we're doing here and now I'll go back to curves we brought the blue is down I'm gonna bring them down even further when I select blue and bring down the Blues even further there get those kind of where they need to be you can select on the grain and bring the greens down as well and you can even do color contrast here by adding an s-curve on those as well but not nothing entirely necessary and let's look where the subject is standing kind of in this region come in this region here and see we've got a little bit of boost on the greens so you grab that and bring the greens down look how much power we have with just these curves here quite a powerful tool now as we move down we've got hue/saturation curves here now this is what would be called a hue versus saturation basically you can select specific colors and you can bring down or bring up the saturation in a in a very just it is a very specific color vector I'm gonna right click on here and go to our vector scope and as we look at our vector scope because we've got a big push toward the cyan we've got a bit of a push toward the counter between red yellow there on the on the skin color line right there and that's probably dealing a lot with the skin color of this fellow right here remember how we said the blood under the skin kind of creates this almost right on that exact line there where everybody will share kind of the same skin color but not the same skin tone as I move down here to this we can select let's let's start working on the cyan here let's go down and we can select our cyan button here click on that and what that will do is that will add three nodes and I adds these two nodes so the rest of the color wheel stays exactly the same and as you drag it this direction it's going to desaturate that specific color as you drag it this way it will increase saturation you look at our vector sculpt there and see how it does it on that on that cyan line there but I'm noticing it's just doing a little bit to the side here it's not doing it right over here so what we could do is reset that let's go back to our cyan and I'm gonna grab this and drag it out a little further and drag this one and move it in and see if we can kind of nail those colors and there we go right nailed that color right there and now I'm decreasing that cyan you can see the scions decrease there and I can drag it out here and increase the saturation on this I am scale there and you see that the cyan is actually right there in the short that's the color of the shirt so you can see that decrease and look at this we get it they saturated SAP sort of most all color and we can move this around to see where that is but this is just something usually used to just kind of decrease that or increase the saturation just in a very specific very specific color vector and you can do that with any of these colors and experiment with them like you can do it with the leaves in the trees or the blue and the sky and see what you get and you can actually choose let's double click that you can actually choose a range of colors by going let's go cyan and blue and it puts nodes on the side and blue and now you can really start figuring out where that short exists and what you need to do to get that shirt do not bleed so much or to increase the saturation in that blue area moving on to color wheels and match under this panel here they've got some cool little features this is just this is kind of just different tools for doing some of the things that we've already been able to do under basic correction but something was just a little bit more control kind of like the curves here it's just a different tool what you've got under under color wheels and match let's describe these down here first and then we'll come up here and talk about color matching this is kind of a cool little feature that they've added into Premiere Pro for the 2018 updates down here you've got three wheels you've got hue wheels these are the hue wheels here that affect basic color temperature in the shadows in the mid-tones and in the highlights and then you also have tone sliders next to us so this is just another way to affect your tone you can affect your tone in your and your shadows your mid-tones and your highlights as we grab our shadows here's when we drag them up and down you can see it's mainly affecting the lower region down here on the on the tone of the brightness levels of those three coat channels if we had the waveform it would show that the white waveform it showed all the the brightness levels for the entire shot but here were just since I've got this chart up they were just showing it on here the mid-tones you'll notice it starts affecting the exposure area in the middle of your image and then as you do the highlights let's double click on that and reset it the highlights you'll see it's affecting the tone and mainly your highlights you'll see it is affecting the tone mainly and the highlights of of the image you can see that kind of stretching in this upper region there and then you have your hue you have your shadows you can kind of blew up the shadows a little bit or won them up and this is gonna mainly affect the shadows first until you drag it all the way over then it will start affecting the entire image but you'll notice that it's affecting it mainly in the shadows right there the mid-tones are going to be kind of the once again the 4260 region and as we move that up that's going to warm them up that's going to cool them down or make them green and make them magenta or whatever region you've had to drag them once this little area in the middle kind of disappears it fills in with color that means that this has been affected so you notice that these things have been changed if that color saw it has filled in if you double click and we set it back to normal then you got that white open circle there and similar on the tone as you move tone it turns that little node you know this has been changed and that's been changed and that's been changed by either the blue here or the filled in circle so double click back to white double click double click and back to normal now the color match feature is kind of cool here what you can do is correct an image let's move to this shot right here and we're gonna do some some quick adjustment on it I'm gonna bring down the exposure a little bit and I'm gonna bring down the saturation live ever got quite a bit of saturation so bring over the bring down the overall saturation and it looks like it's got kind of a bigger push and kind of reds there so we can kind of cool this off a little bit there and after we've done some adjustments on that clip there let's go to this clip we want as we play through from this clip to the next there an obvious mismatch in color tone and contrast and whatnot so what we're gonna do is go to this color wheels and match here and this is going to look what this really does is if you got this check mark right here face detection it's kind of look for matching the skin color from one face to the next here so I'm gonna come I'm gonna come up here and hit the comparison view so it has something to compare alright now this is the shot that's gonna be correcting and it's got a mini timeline here that has your entire timeline from down here I embed it up into this window here so you can kind of move through and this would jump between edits right here if you hit this arrow it'll jump to the right to the edits or to the left of the edits and I know this is about like and I know that this is the shot that we want to compare it to is about two minutes and four seconds into it you can actually click in here and do two zero four zero zero for the frame holder the frames there and hit enter and it will jump to that shot there it is so let's give this where we see kind of that lady's face there so you can see the skin colors there we go and what we want to do is want to match this one closer to that one so we can go over here now that we've got this viewer up and I'm going to hit apply match and we'll try to borrow the tone from the end I'll try to borrow the hue from this collar and a Jessie's car wheels to match this shot let's give it a try apply match and there it goes and that is a really good job actually this one looks a lot more like that one and now you can actually do the fine tuning and tweaking here if you wish but do it that as a really good point to start from and what you've got here with this comparison view if you move over to your window here you've got the side-by-side view you have a vertical split which splits it right down the middle there and right there the split doesn't work because these need to be kind of rearranged so you connect over here and swap them and there we go and then you compare them to see if they look close and now I can see he's a little bit brighter than he is so going fix exposure but you've also got a horizontal reference as well so just depending on the type of shot and then you could swap this as well so it's got those three different viewers and then the swap sides there but I kind of like the side by side and that comparison viewer is really helpful as one they added into the 2018 updates next let's go to the HSL secondaries there's a very powerful tool that's added to the alumina tree color panel the difference between primary color correction and secondary color correction primary color Corrections when you're correcting the overall image is called the global image it corrects everything if you add blues to it it adds it to the entire image or if you do anything else to it it does it to the entire image what the secondary does is it will just correct a certain portion of your image based on these three things right here HSL hue saturation and luminance if you first of all is just like a basic is the basic kind of color that it has based on that on these cars over here red yellow green cyan blue magenta and you see that range of colors all throughout this little slider here down at the bottom so those those are you huge right there now over this little middle point lands right there and now you can correct it you can select a portion of your image based on saturation right now it's in that kind of like a teal area there so right now this saturation is kind of that teal color and then luminance notice how this goes from in the saturation slider goes from kind of desaturate goes from D saturated all the way up to full saturation and now the luminance here is based on how dark I said that teal color is on up to how white that that uh how bright that teal color is well and I'm just saying teal because it's right now it's on that color right there what you can do is let's say we want to bring out the Blues in this guy but we don't want to bring out the Blues we don't want to make this this rock blue first of all it was just a basic correction and make that sky blue we could go up to our temperature slider here and drag that over the glued now look how blue this guy is but of course it's changed everything else as well and that is primary color correction so that doesn't work so let's go down to our HSL secondary and we're going to choose the sky based on hue saturation and luminance and you do that you start that by grabbing this little eyedropper here moving it over to the image and you select a portion of this blue I clicked on that notice it select selected a little range of blue here and what you've got here this little diagonal slide right here is where it kind of falls off of that and that kind of feathers off of this portion of blue and feathers off on this portion and then this solid region here is the region that's selecting that blue area there and it's done that with saturation illuminance as well if we go down here to this little pulldown you can shoot you can tell it to show what you've selected based on color and gray let's check mark this and I will show that I've selected this portion over here gray is what's being left out and it's not going to be touched and this blue it right here had left in color is the region that it's selecting you can also do this by color and black and color and white just so you see what you have the white is now the region that is selected and the black is the part that's being that it will not touch and if you color black of course it does color here and then black showing the stuff that's being left out color gray is pretty common it just depends on what your preference is if you really need an absolute color block or color white as a way to go now if we need to increase that range of hue what we can do is grab this little top triangle here and you can drag it and it will widen out the blue and I let go and now it's like accepting all these colors here and it still it hasn't changed them asked very much so I'm going to undo that hit control Z and I can change the feather off as well but it doesn't look like it's really changing the mass based on hue I guess as a skin do it mainly on the luminance and maybe a bit on saturation so let's grab this and expand the saturation of that blue and notice how it's changed this bar down here to kind of blue to drag that across it it's trying to get more of it look at this it's starting to get it into the mountains and the reason why is because that blue sky is kind of reflecting a little bit of blue color on the mountains because this over here is in the shade and this is in sunlight so this has a little bit more blue to it than this mountain sighted us here so I'm gonna pull that down until you get rid of the mountain because I don't want that but it is grabbing a wide range of the sky blue here and now for grab luminance now look at that now starts eating into the clouds there starts eating into the kind of the blue filtering through the clouds we want those clouds to stay white you know I want this guy to be blue so I'm going to kind of back that off a bit it right there and feather this off a little bit feather it into the clouds so now that I've selected that portion there we've got a couple other little tools down here to kind of refine the edges of your mat here so the denoise feature is really helpful if you're using compressed footage this is red footage so it's not going to be as bad but if you're using compressed DSLR footage or something it would help to kind of drive this across and denoise a little bit because of the compression noise now what the blur is gonna do is it's gonna kind of soften the edges here of this watched as I drag it over and if you drag the blur slide over you can kinda see what it's doing if I dry it way over that's gonna be way too soft but if you back that off a little bit usually just pull it over just a little bit just to slightly soften the edge so it's just not so hard edged I drag it over maybe about right there now and check there like this and now you have your correction features down here that work with the second and that works with just that mask right there with this mess that we've selected right there so as we grab this wheel here this is a hue wheel we can grab this and we can start dragging it over to the blue and now look at the sky what happens to the skies that drag that over yes become any more blueish now if you go up to your basic correction you can still do the basic correction on the entire shot here we can change the exposure a bit we can have some contrast to this image we can mess with the we can warm up the shot a little bit as well if we want to warm that up and that doesn't really affect necessarily this second area down here the secondary let's check mark that and see if that mask still looks the same see and it looks really same it did affect it up here a little bit so it does kind of do this downstream effect so I'd suggest doing your basic question before you do your secondary but it's still doing a pretty good job there and change the luminance and grab more and there we go yeah this is a really cool feature where we can bring out the Blues in the sky or the greens and the leaves or even desaturate something that do we don't want in in the shot and we can go down here with EMS with all these all these sliders you recognize from a previous basic correction tab you can now have a temperature slider and a tint slider a contrast slider sharpen and saturation you also have a luminance slider right here and if you want to you can even click that click the the three wheel shadows mid-tones and highlights function here if you just do the single it's just basically the mid-tones if you hit the three wheel you've got control in the shadows highlights and in the mid-tones and then the sliders on the side here this is the luminance as we bring this down here you'll notice see look what it's doing to the sky there that brightens the sky and this makes a little dark I've got a deeper darker blue there you go so secondary color correction is a pretty cool feature that they have here I'm going to go down to vignette and that's the last one this one's a little bit cheesy if you're working on some like DaVinci Resolve this be the equivalent of like doing power windows but it only has the limitation of the vignette is it only has one shape and it's just a basically a circle shape those ooh grab the amount here and we drag it to the left look what happens as is kind of darkened vignette around the outside of the of your image here if you grab our feather here and turn this in you'll see what it was really doing is creating this dark shape around the edge then you kind of feather it off to just kind of add a little bit of emphasis to whatever may be in the middle of the shot let's grab this feather and turn down the Union see what's happening with these other shapes midpoint changes where you want the how large you want the circle to be and roundness changes the from oval to circle and and so on depending on what aspect ratio you're working with so you feather that off a little bit and make it just kind of subtle usually vignettes are just kind of using a subtle manner but if we check front this here you can kind of see the before and after adds a little bit of kind of highlight to this the section makes it look like the lighting is kind of different here sometimes I'm moving shots you can really notice a haven't yet and if you're on ecstatic shot you don't notice it as much so there's before and after and one other thing you've got here is with the vignette if you take the amount down to minus it does the dark if you could take it up to the plus it does a highlight almost kind of like a dreamy sort of look there so and do that those are the features that they have that's how to use the features inside the lumetri color panel so what I want to do next is kind of move into the process of color color grading an actual project so let's open up a project and we're going to show you how that that in the next step here all right for the third part I'm going to show you guys how to do an actual kind of color correction we've got a project has been edited in a minute start going through and doing color grading on it I'm gonna select color of course range for color and I'm gonna move my playhead here and it selects the first clip go to alimentary scopes here on the first process I always like to start working with tone before I start getting into color so I'm gonna open up my waveform and turn off the other scopes and now if we take a look at it here we've got our Ayari scale here and we can see that our image looks it's like it's fairly dark most of the pixels look like it's kind of below 40 they're a big heavy concentration and looking at the shadow does look like it's a little bit underexposed so a couple things that you want to do is you want to make sure that your highlights are not hitting at 100 and they're not peaking this one that's not you've got a little bit of crush from that light right here on the side but it's around but it looks like it's around light between 80 and 90 Ayari here so it's not so it's not totally losing detail according to my waveform here so let's go under basic correction and we'll start messing with us a little bit but I want to find those the darker regions a little bit as as as darkness here but first of all let's let's bring the exposure up let's fix the exposure a bit bring that up and that starting to look better now we're getting certainty at some of those pixels here in the in the mid range and we've got a good exposure in the face then I'm going to mess with the whites a little bit the tippy-top of the scale and see if you want those whites to really pop metal bring them right right up to 100 I don't want to crush them around 100 too much or it's gonna blow them out too much but just to define those a little bit now we can grab our darks I want my darks that are above 10 usually want your darks somewhere around like 5 ioe it just really depends on what you're doing but you don't want to touch on 0 if they're on 0 you're gonna bring them up right now I'm gonna bring the the blacks which is the bottom of the scale here I'm gonna grab that and drag it to the left tell us about hitting around 5 I re and now let's take a look at our before and after uncheck or my basic correction as before there's after and I'm liking that so once I get that set I might want to do a little bit of contrast at this so let's grab a contrast and drag that to the right and spread apart the highlights and the lowlights there and get a little bit of contrast but I'm noticing it's kind of crushing my white so I'll back that off a little bit and bring those back down and there we go maybe a little bit more exposure and I like that okay let's work on our color balance so first of all I worked on tone got the tone knew exactly where I wanted to and then right-click and go to RGB parade take away my lay away from here you're working on two monitors by the way you just have one full monitor with all your scopes up so you're not sit here right clicking and changing your scopes constantly it's I'm just doing it so you can see the Scopes a little a little bit better looking at these here it looks like it's got a bit of a push in the red and looking at the low lights look at the how the pattern down here how the red is higher than the blue so this is looking more reddish than it is blueish so I might correct that a little bit but grabbing my temperature slider and dragging it over to the blue and notice what it's doing that my blue already has some peaking highlights here so maybe I don't want to do that I could grab a use a little bit more control by using the curves here so I'm going to double click clear that and go to curves and under curves here I'm going to select my Reds and select my red here and I'm gonna grab kind of like around maybe 50 or 40 here maybe in the mid region right about here and bring that down and notice how that just drops a little bit of red out of the image there in the mids let's look at it before and after there's before there's after and that has chilled out the red a little bit that's looking better and now I'm gonna go to blue because this is it looks like it's just peaking at the very tip there so hitch get blue I'm gonna put a point here in the middle so it doesn't touch the middle part and then I'm gonna pull this down just to kill that at the top but look at that little tippy top at the other blue just come down off the top there so it's now it's not crushing so much okay so my first step I did tone my second step I worked with balance and it looks like it's kind of crushing a little bit on the on the blue and the green so it could actually go to curves and bring up the blue scale on the bottom a teeny bit get the and then I could go to green and bring the of the green so they're kind of hitting around five I area as well and that pulls a little bit of green and blue out of the out of the shadows there so that's looking that's looking pretty good I like that alright so the third thing I'm going to work on is saturation I'm going to right click and go to vectorscope y UV yeah and looked at my vector vector scope and look at the blooming saturation that I've got in this image some of the saturation is almost to these limits here and really where I'm seeing that it's especially in the end the skin color here in the skin color once again getting it in the skin and also look at this right here we're getting it right here a big peak of red right there that looks very very saturated to me so first of all I'm going to work on global saturation maybe we can the saturation down overall so I'm gonna rub saturation and just drag it back a little bit and make a little less saturation I don't want to take too much color out of it there's a Reds that believe it that's bleeding not not everything else I brought the general saturation down now we're going to go to curves under curves we can go down and we can see if we can do it with this if not we can do it with the secondary but let's let's try it with this first actually I might try both just to see what we get but this is going off right toward the red so I'm gonna click on red down here and a crease these three nodes there and I'm going to grab this middle one and drag it downwards and let's see if it's actually taking and look at that on the vectorscope it is actually sucking that red in there so I'm going to drag that down maybe not too much just a little bit just so it's not peeking so badly so let me show you undo watch watch the red here when I hit undo see that red glow and then I'm gonna redo and watch this and see what it did there - just killed that so it's just not blooming red we still have a nice red color there but it's not blooming red let's go up to our effect controls and here is the luma tree panel here's the luma tree effect for this clip that I just fix let's hit the effects and turn it off and on and look at the difference now look what we've done to this shot and how it looks so much better and we might even want to kind of finish up by going down and going to vignette and adding just a little teeny vignette around the corner here let's drag it to the left a little bit just darken these edges here just a teeny teeny bit so watch this there's before and there's after and look at the difference it makes it look like it kind of falls off into the dark back here it adds a little bit more depth to it so as we play four through this it cuts from one shot to the next and now we're gonna work on this shot here so the next shot so let's go to our scopes and let's go to our waveform and we're going to work on tone and we're gonna repeat this process I'm gonna go through this one more time here the kind of the step process let's bring up the exposure a little bit looks like kind of my mids are kind of need to be brought up on her a little bit I'm gonna bring that up just a little bit till those whites now I don't even have to increase the whites those whites are kind of getting there where they're popping a little bit and let's get our darks and bring those down a little bit and see you don't run down too much maybe right about there and and that one actually looks it looks pretty good and now we're gonna add a little bit of contrast stretch those out a bit and make it a little contrasty here's before and there's after so it looks pretty good and now I'm gonna right click and I'm going to go to RGB parade and let's look at the let's look at the color balance tanks and on this one it's very similar it looks like the red color that looks like the Reds a little dominant over the blue so I'm gonna go to curves I'm just gonna skip right to curves this time because this has a color stretching all the way from top to bottom so I'm going to go to Red's and I'm gonna bring down the Reds a little bit in the midsummer let's see what this does right about there and let's say the greens are also kind of up there as well so I'm gonna select green and just bring down the mids in the green and get this thing so it looks a little more balanced and that's looking a little bit better there look it before and after and we've taken a lot of that red hue out of there so the next we're gonna work on saturation a bit so let's go to our vector scope look at our saturation we've got kind of a balloon toward the red and toward the yellow here so we can probably just correct this so it's not too bad on a heavy concentration so we probably just go to basic correction and bring the saturation down just a little bit and there we go let's see if that looks like it matches as a place from one clip to the next looks like this shot has a little bit more magenta in it and those two aren't necessarily it looks like this one has a little bit more green in it and then this then as it goes to the next shot this one has a little bit more magenta I kind of decide which one I want to go with do I want to go with this shot and bought the green or go at this shot and keep the magenta what we can do is we can go to our comparison view which is this little icon right there if you don't have this icon you can hit plus and grab your comparison view and drag it and drop it down here which I already have so I'm going to cancel and hit comparison view and it brings up this little side-by-side thing that we showed you before where we have the clip that we are correcting and then we have our little timeline beer here means get through this and get to the clip that we want to compare it to let's move this in a little bit cuz that fade in happens and let her get to this point there let me move my mouse over hit tilde so we can kind of compare these two like I said this looks like it's got a little bit of a green greenish into it this has a little bit of magenta it's actually on this clip we could kill the magenta a little bit and take this toward the green just a teeny bit and then go to this clip and move this the viewer here at the comparison viewer to the next clip let's put a little bit more magenta in this one so we're kind of meeting in the middle a little bit and there we go those look pretty pretty match that looks pretty good now I can turn the comparison view off and play through and see how it looks and play through and see how it looks and she stands up what's the cut and they look like they're matching a lot more just so you get the process down here I'm gonna cover it one more quick time if you have to or if you wanna skip forward rest as you can but I'm gonna go through this one more time just to kind of make it solidify this so once again waveform work on tone first the exposure looks a little bit low some and bring up the exposure here so brightens up the face I can bring up the whites here so it's barely meeting I'd say if you got whites that are crushing you grab the whites and drag them down so it goes below 100 Ayari as we grab the dart so we're gonna find darks here and bring it down a little bit right around 5 IRA that's a little too much right about there then we're gonna work on color balance bring up our RGB and looks like we got some prominent red there so we're gonna go under curves like I said you can usually get away with it by using your little white balance slider up here but if that's not working if it's not if it's not like it like I said I've got a large spread here where you got stuff at the bottom and the top so it kind of makes this and you drag it to the if you start adding more blue it's kind of crushing the blues at the top so usually you can use this to do your basic balance but I'm in this instance I do have to use curves go to red and bring the red down a little bit right around this region I kind of get those matched up and now look at the difference here's before after that's looking good and I like the balance on that the green is kind of bottoming out there something I will grab the green and bring up the green channel just a little bit at the bottom there we go and then bring it down in the mids just a teeny bit hear that balanced and there we go let's go to our saturation now on our vector scope I just hope we got this big poke of yellow that's end up poking out out here so and I'm not sure what that is I'm looking for something yellow in there it might be that little light right there let's do this and we're going to go down to the bottom and select my yellow and bring that back and see and that is killing that that little spiky yellow that we have there we could just kind of bring now the general saturation as well I'm out there maybe that looks good and I did forget to do some contrast on this let's add a little bit of contrast and that kind of brings down the exposure in the mids go to curves use the white here and just bring up let's do this where we just see it bringing up on our face right about there and now you bring the exposure down just a little bit there we go now as we cut from one shot to the next and then just add a little bit of a vignette it's a subtle one right about there and now let's play through it cuts from this shot then add a little bit of in yet here and darken up those edges a little bit as we play through for one shot to the next something a little bit different so once again let's look at our comparison view and look at the colors here this looks like it's got maybe a little bit too little too much magenta so I can just kill that a little bit I go into basic correction and adding it for the opposite form and let's see other things a little bit more blue and there we go that looks like it's matching a bit more so as we play through that let's turn off the other comparison view as we play through it see if it looks like it matches from shot to shot okay to do the rest of this you don't have to grade every single individual shot if you have shots that it cuts away and that cuts back to the shot that's exactly the same like if we arrow down here let's move down to this shot right here this one we've already grade that we've already graded it right here on the timeline so we don't have to redo this thing all over from scratch what we can do is move down to this clip here go up to the effect controls select the lumetri color panel select the elementary color effect do control C or command C and copy it move down to this clip and do command V selected and paste it and there we go and that's finished and I can do that throughout the entire project and copy and paste copy and paste on shots that are exactly the same and then even if you copy and paste it and it's not exactly the same you can go over here and tweak a little bit till you get it just right and that is the basic process of doing color grading in Premiere Pro there's one more thing you can kind of do to finalize this as often uses a technique with color correcting creating and it is we'll be adding a look your entire scene what I'm gonna do here is I'm going to move down onto my project window let me tilt it over this so I can bring it fullscreen and I hit on my new item here and hit new adjustment layer I hit OK and it creates an adjustment layer generates an adjustment layer into my project window so what I'm gonna do with that adjustment layers I'm gonna drag it up I'm gonna drop it on my timeline and this is just one Scene here but I'm just gonna dry it over the entire scene you can also drag it over your entire movie if you wish and now what this adjustment layer is going to do is this going to affect everything below it so we've already done the color grading on the stuff down below so now I can go up to my creative panel and I can arrow through this and I've got this selected so it's gonna add that look to everything below it I can find a look that I like I can arrow through this and find something that I like and let's say I like that look right there it says Fuji codec look here so all I have to do a single click on this and I adds that look to the adjustment layer which affects everything below it so as I go from shot to shot you can see that looks been added there and if we don't like that if it's too intense we can take the intensity down there so it's just maybe about like 65 percent or so and have the faded film look a little bit sharpen the image a little bit and maybe boost the vibrance I don't know just some things are just that adjustment layer so if we turn this adjustment layer off it turns it off for the entire grade there let's intensify it more just so you kind of see what it's doing there turn on and off and there's our look for our movie we still kind of have that contrast but we have this faded film look as well we've got a unique look for our entire project now you do this scene by scene or you can do it for the entire movie and give it a different look for each scene after you've done your basic color grading so that's it on the processors are the basics of color grading inside of Premiere Pro if you have any questions please post in let me know and if you want to stick around and watch at the end I will post this little edit here that I'll post this little edit here that we use in the example and you watch is a little short film so thanks for watching bye [Applause]

Channel: chinfat

Views: 74,896

Keywords: How to color grade, how to color correct, Adobe Premiere Pro, Software (Industry), Adobe Systems (Award Winner), Effects, After, Industry (Organization Sector), Episode, creative cloud, Episode Part, tutorial, project, setup, Setup (Film), Film (Media Genre), 2017, sequence, editing, video, video production, masks, Media Encoder, Color Correction, Grading, davinci resolve, Black Magic, vectorscope, rgb parade, waveform, IRE, Saturation, Hue, Luminance, Skin Tone

Id: PyhOXQGEIwo

Length: 64min 5sec (3845 seconds)

Published: Wed Aug 29 2018