E38 - COLOR CORRECTION with Lumetri - Adobe Premiere Pro CC 2017

you [Music] are you all on the pill hello everybody in the next few episodes I'm going to be going over a kind of general color correction and how to do that in Premiere Pro but before we get into the premiere pro part we're going to cover a little bit of color theory so if you're one of those people that complain about my episodes being too long um go outside and do some hiking or something yeah so let's talk about color correction and color correction is basically being broken down into two distinct processes which is primary color correction is secondary color correction and we're just going to quickly define these and then dive into this here but primary color correction is basically defined as the process of setting overall tone contrast and color balance of an image and we're going to start by defining what tone contrast and color balance is first of all tone tone is basically how bright or dark something as I'm working on this stupid PowerPoint slide here that I've created that's really amazing but I tone is not referring to necessarily the color of something people think of like skin tone say oh they've got different skin tones don't think of the color of skin and that's not necessarily the case it's basically talking about how dark skin is when they're saying how dark or light the skin is when they're talking about skin tone and that's why it works with color correction tone is basically referring to how bright something as if it's dark brighter light so like down here on this gradient we've got kind of this this that we got lighter purple here and we got darker purple here but the purple side of this was just basically grayscale you see this is dark is kind of medium grain and this is bright down here and that's basically talking about tone the contrast refers to how far apart those lighter parts are from the darker parts we're going to demonstrate this as we get into color correction here and color balance is the basic color hue of an image this is like a purple image right here so that's kind of that is talking about the color balance of this image it is kind of - we should say the hue of this is purple when you're doing primary color correction you are correcting the overall tone contrast and color balance of an image that's kind of a global correction on the entire image secondary color correction instead is basically correcting this very specific color vector based on usually hue saturation and luminance basically like taking the sky the blue in the sky and boosting up the Blues or suppressing the Blues or with your reds or green to yellow or anything else in the image you have something in an image that just really pops ad that you want to bring back like a very oversaturated like yellow label or something like that you can select just the yellow colors and pull that Dec so it doesn't like bloom too much in that secondary color correction but primary color correction comes first and the goal of primary color correction is threefold in my opinion here there's obviously more to it than this but your first step is to just visually look at the image and assess the tonal range of a picture and see what's wrong with the picture or what needs to be corrected in the picture and we're going to go through all these steps then you meet the legal requirements of an image and then you match the tonal range from shot to shot aside from assessing and fixing what's wrong with the image you're going to meet the legal requirements based on your Scopes that you're using meeting broadcast requirements and film requirements will show you that how that works with with your scopes and then once you get your image to where you like it you're going to match that tonal range and the hue I should put the hue and the tonal range and the color from shot to shot can't imagine that so it's consistent as you play from cut to cut to cut some things we have to be concerned about like what they call legally is meeting those requirements on your scopes is watching the brightness and and also the darks out bright or dark your images and where you're losing details in your shot from your brace to your darks and also color saturation needs to basically not exceed this a maximum level that's been determined for specific delivery channel for for a video like if you're going broadcast or film is going to be standards set up what that you have to meet those general standards are met within the scopes you're going to be working with in any sort of rock color correction software okay with that being said let's take a look at a project that needs to be color corrected here first of all I'm going to go up and hit my color range by the color setup here so up here in the top left hand corner we've got our elementary scopes to have I'm going to click on that right now I've just got my RGB parade turned on and nothing else you can turn these on and off by a check marking these but I'm going to look at we're going to kind of assess this overall image here and I'm going to look at kind of two I'm going to look at three different scopes to do that right now I'm going to look visually with my eyes and use the scopes to kind of confirm it and this image here looks a little too kind of orange issue magenta to me and that can be confirmed by RGB scope over here we're looking at a waveform of our red green and blue channel and it's showing a high push in the Reds the Greens kind of in the middle and this blue is suppressed if we look at our waveform here I'm going to put this in luma waveform and look at this scope here and this image looks maybe a little too dark it looks like it could be brightened up a little bit I'm looking at kind of on mid regions here and my mid regions on my waveform monitor are down around 20 to 40 here's almost hitting 50 there so it could be a little underexposed and now let's look at our vector scope or vector scope Yub is used in measure saturation and I'm looking at my situation it looks like this has got quite a bit of saturation coming in from this camera here usually when it's getting close to these points it's kind of warning you that your saturation is getting a little bit too saturated these are kind of the maximum saturation points out here for your color so right now I am getting going to get into the nitty-gritty details of what I'm talking about with all these terms but right now I'm just kind of giving a general rule for assessing your overall image I'm looking at the image I'm saying it's too orange or to red and it maybe needs to be brightened a little bit and it's a little too saturated we're going to be talking about correcting those things so before we get into all that let's look at our lumetri panel and our scopes so we kind of know what we're talking about what we're getting into here over here on our panel here when we've arranged for color we've got all these different sections we've got basic correction creative curves color wheels HSL secondary and vignette all these items you can use for color correction go under basic correction you have a few different things the input LUT is mainly used for cameras where you're using log footage if you're shooting with raw raw data and you're shooting in a log format you can do it you can do it what's called an input LUT it basically fixes your log footages if it's very slice if I click on one of these here it's going to look too extreme and too dark because this is not logged footage that's already been somewhat color treated in the camera so I'm going to do none on that now with your white balance here if you've got something white in the image you're able to select this item here move over to something that's supposed to be defined is white like maybe her little sleeve here click on that and it will compensate and try to fix your image based on what is defined as white and that is actually looking a lot better there you have your temperature slider which fixes these opposites your red and blues you have your tint slider which fixes these opposites green and magenta and you can grab these and just slide them back and forth and you'll see you're giving more of a push to the red or more of a push to the blue or vice-versa to the green or to the magenta I'm going to double click on this one here we set it double click on that one reset it and now here you've got your tone sliders the way tone works in prim Premiere Pro is first of all you get your general exposure let's bring our waveform up and with our waveform we've got our Ayari scale is to find what our Ayari scale does here a zero you've got black what's defined as black or dark up here you've got 100 which is defined as white or highlights here and in between you got this scale goes from black into the grays up to your highlights up to white so it's kind of this scale that goes from top to bottom showing in your image what parts of your image is dark what parts your images in the mid range what parts are at 100 I or at the top of the highlights if anything hits 0 your details disappear in the darks if anything hits 100 your details disappear in the highlights and this waveform goes from left to right or right to left as you may prefer of your image over here so we see this lady here this is the waveform fit lady right here and as we move over we have the midsection and move over to the right in fact as we move over about two thirds of the way over we see some little teeny specks of peaking there on highlights we move about the same distance over and boom we're getting these little hits of highlights here on the on the watercooler so that is basically how your waveform works here it shows you if you are losing detailing your highlights or your darks and it shows if your exposure is kind of in check there so after kinda understanding the waveform here if we move over to the tone sliders under the basic correction panel you're going to see several different items here going to say exposure contrast highlights shadows whites and blacks and the way that premiere kind of defines these things are based on the Ayari scale here except for the except for contrast of course here but basically what exposure is is the range is between 40 and 60 now go and then you've got shadows why it's blacks and highlights and I've got a little list here that I've kind of typed up that shows where those areas hit the black slider is the one that affects your range around 0 to 20 what we call eye re on the eye area scale areas Institute of radio engineers is the standard set up on the way for a monitor that's affecting your levels in the 0 to 20 range shadows is a little bit above that to 20 to 40 range exposure is the kind of mid range the 40 to 60 highlights is your 60 to 80 and then your whites are the very tippy top the 80 to 100 range and we kind of see that happen here as we've got our exposure a little bit underexposed just a little bit I'm going to grab my exposure and slide it up a little bit kind of get a good exposure now we're getting kind of this big a lot of the pixels here are kind of in the 40 to 60 range and your image looks a little bit better exposed here so now as we grab highlights highlights are around the 60 to 80 range so as you grab those anticipate you can see it changing the brightness levels in that arena there as we grab the whites and do that notice it's a very tip-top this is kind of pulling down I'm going to show how to get more control over this with your curves here in a little bit but let's cover darks our blacks bring those down you see it's affecting the bottom of the scale there and our shadows a little bit above that so you have a lot of control and controlling your brightness levels based on these sliders over here now you contrast what it does is it finds kind of a midpoint of your exposure range and it stretches your darks down and your highlights up and creating contrast in our image and look at our look at the stretch that's occurring here and look at our image look at the difference when I take this down the other way your image gets flat here this is actually flattened it's flattening out your waveform and image looks flat you take it the other direction this adds contrast to the image here this image is obviously very very oversaturated so we've got a little saturation tool down here we can drag our saturation and drag it down until we get the amount of saturation that we liked and as we're messing with their saturation here let's bring up our different scope here a vector scope y UV vectorscope Y UV is a scope that measures saturation and general color hue as well it kind of tells us what color hues we have in our image and how much of it we have this middle point represents ad saturated point where there's no saturation and as and as it starts blooming out towards these regions here it shows us that we've got a heavy saturation in red we have a kind of heavy saturation between red and yellow a little bit of blue saturation and a little bit toward just the yellow right there and as we grab our saturation here and we drag it down look what happens to our vector sculpt it take sit down to where we are D saturated and itself sucked into this little point as we pull it out the opposite direction at blooms and pushes out and shows that we have now too much over this is oversaturated even like halfway across the sometimes getting too saturated this is kind of a warning point here these point in the we're ever saturated the yellows the Reds bit in the blues that's what our y UV vectorscope is used for the beige or the saturation limits and also give us a sense of the general color hue of this image I'm going to go command select controls here and I'm going to reset my loom entry panel here and I set it all back to normal so back where we started from so the next tab here creative I kind of call this the uncreated tab because it kind of takes some of the creativity where for me it just makes it look like you got creative but what this does is applies I looks to your image it has some pre-built looks that you can use I usually use this as a final touch and we'll get into that at the end but what you can do is you can pull this list down and find one that you like a film look or something you click on it and it adds that film look to it they usually come in pretty intense or you can just go through these and find one that you like to look to and then double click and it will apply that to your image and if it comes into intention grab your intensity slider and drag it down you these usually add if you'll notice here these will add a lot of contrast let's go to our way for them as we turn this on and off yes checkmark that you'll notice this has gone a lot flatter and look at this big heavy contrast this just stretches it way out and has a lot of contrast to this image like I said you can D in ten to Phi that by dragging the slider down you also have things like faded fill you can kind of mess with in different looks to sharpen your image increase the vibrance in another saturation slider and you can also change the tint colors in the shadows and your highlights down here so just some things to tweak your filters here at you having a creative tab you'll see your shadows you can get more cooled off or warm up your shadows and the same as in your highlights just some kind of just some fine-tune tuning our sliders to add to your creative look up here I'm going to reset my effect and we'll go to the next one your curves your curves is where you have a lot of power on your image okay so how do your curves works here is that first of all this little white selector here this is all of your colors combined you've got a red channel a green Channel and a blue channel image that you have in video is going to have basically what they call a composite now your final image that you're seeing is your composite of your red channel your green Channel and your blue and they combined different like tone values of every of the red channel the green channel on the blue channel to combine together to create your final image and those are all compositor together and what we call our composite so this is basically controlling the composite or the overall tone for the end for the or the overall tone for your image here and this is your black node down here this is your highlight node up here as you go from your block you move up to your Gray's up to your highlights there up to your white and this is your boosting area here and this is your bringing it down area I guess you could say down here our darkening area is we grab our tone slider here let's bring up our waveform and look at what we get we grab our black node here and we drag it down look what it's doing is bringing down the darks first until you basically crush them all the way over here to the right so this kind of crushes everything this brings everything down and this brings everything up if you grab this node and drag it up it's going to brighten those darks until your image looks very very flat same with the white so you double your whites drag over the right it brings up the highlights until it basically crushes everything and if you bring them down it just brings down your highlights until basically crushes and flattens everything now what you can do with a curve here the reason why they call it as a curve because you can add nodes in the middle you can say well I want to bring up my mids right about in this area here I click there I'm guessing this about like 20 to 40 I re there maybe around 40 I'm going to drag this up and it's bringing up my mids in that specific region and then you say well my highlights to go up that height so I'm going to bring my highlights down and you have a lot of control over creating these curves here you can bring your darks and bring them down as well I got to be careful if you pull them too closely to the leg that you're going to get a lot of what a polarization your image is going to be crushed on but I'm a double clicking here reset and what are these things were really helpful is especially controlling things like well first of all highlights its highlights or to are peaking too much I can grab them and drag them down so they're no longer peaking now I can bring up my exposure range here is kind of in the middle and now if I want to create a little bit of contrast and grab my low lights and drag them over and we create contrast and we keep our exposure kind of up there and we've got a contrast the image but notice what we've done here is we haven't destroyed our details in the darks and haven't destroyed our highlights up here and this is kind of called an S curve here this is what you usually create degrees to generate contrast I'm going to double click and just show that again if we grab the low lights and drag them over and grab the highlights and drag them over here highlights and bring down our low lights we're basically creating contrast going to go back to our basic correction here and I'm going to increase my exposure here and bring down the saturation or started to get kind of a nice little contrast to the image they're created by our curves here so well so yeah you use the curves you control a lot of those features there we've got also a curve that you can control specifically your red channel one to continue control your green channel one to control your blue channel as we go to a red channel here we can constrain a great chart here I've got these uh these three great shorts one that's been improperly balanced and it looks blueish here's the one that's properly balanced that looks gray and here's the one that looks improperly balanced to the orange realm head or to be wearing spectrum here if we go to this blue one here and we go to limiter scopes and we right click and say what's your RGB parade and get rid of our waveform here this is three different waveforms one showing your red channel one showing our green channel one showing our blue Channel so if we say and we noticed that this image is too blue we see the blue is way way way crushed in the red is way suppressed here so we can actually click on our red curve here and we can bring our red up and grab those somewhere in the mids here and kind of drag it up I'm going to drag my note up a little bit till I kind of get this to match the green and actually I'm going to double click on that I'm going to grab this note and bring it up and see if we get there we go that stretch is working out well there we get that up to the top I can grab this little section bring that up here and try to get those a kind of match the green a little bit more by adding these nodes and kind of drying it around now let's go to the blue the blue is way way high and let's get that to kind of match the green I'm going to drag the the top highlight node down till it kind of comes to this point let's bring that up a little higher grab somewhere down image and get that stretch that out and kind of get it to match a little bit more there and there we go and what we end up with now is a great chart this is properly balanced this is what happens when you're trying to balance shots as you're going to look at your RGB scale and see how your image is not balanced and now we can do some fine-tuning here but yeah anyway once you get that kind of check there it's going to look way more close to what our great chart was here originally and that's kind of the idea behind matching their is getting your balances to match based on your RGB scale and other as well let's go to our orange scale here same thing this is way too red now this is kind of the opposite so we're going to click on our red bring our red down get that to match and I'm just going to do a quick match your go to the blue and drag that up and have to bring the mids up a little bit more but as you see as we do this we get the scale looking more like a gray scale as opposed to let's look at the before and after here uncheck that there's before there's after and that's much better now it's actually looking like a gray chart and that's what our curves do they need contrast to your color channels as well by doing your s-curve and other items but that's basically how you have control over your image there then we have below here under the curve section our saturation curve to be honest I haven't used this as much since they've added this HSL secondary which has been very handy because this is kind of like trying to affect a very specific color channel here this is basically called your hue vs. saturation where your chant where you're selecting a hue and changing your saturation based on that specific hue like your red say we've got like too much red in the face up here and the skin tones just don't look very normal what you can do is you're going to go down and click on your little red button here and it adds three nodes for you in the red and we can grab this limit that is all your saturation for these colors out here but you can grab your red and it puts it on a curve and as you pull this back you're going to see kind of a decrease in the reds or you can boost that and add an increase actually we can see that look at our lips right here we can see that happening on a lipstick they're having to nail that cut color of red to drag it down look at that red just disappear out of her lips as we drag it up it increases it but notice it's not doing much to the rest of the entire image here unless they share Reds like I can see it on these candy machines back here doing the same thing and that's what that does I kind of like using the HSL secondary for that this is kind of handy for a quick little tool here but it's hard to really find those colors sometimes because there's not really like an eye picker for this not really like a color picker for this or anything you just have to kind of guess the next tab we have done here is the color wheels now the color wheels are going to let you change your color hue in very specific regions and your shadows your mid-tone your highlights and these are just kind of general areas your general shadows on your general mid-tones and your general highlights you can affect the color they'd say you want to cool off the shadows in a shot you can grab your color here and this color wheel basically is a replica of your Yub dr. scope here you get your red yellow green cyan blue magenta and you got the same things matching that wheel over here so if your shot overall is like too warm or cool this right here shows it's a little bit warm you can grab this and just drag it down toward the Kuragin knows how that shot is cooling off especially in the mid-tones now if we want to warm up our highlights or cool down our highlights we drag this over to the blue and we start getting more Blues in the highlight parts of our image we can warm up our mid-tones get some contrast there and between that and our highlights and now highlights look kind of bluish and our mid-tones look more warmish I know these here these sliders on the side are actually tone sliders for your shadows mid-tones and highlights you have control on those up in your basic correction and your curves that this is just another tool to do that you can bring down your shadows here and bring up your highlights and you're going to create contrast and your image and let's bring up the mid-tones a little bit kind of change the point of our contrast and we're adding contrast to our image down here and our car wheels as well so just another tool kind of helpful just generally warm up a shot or cool something down or add a little bit of color to it and that's basically your color wheel section now the HSL secondary is a really cool feature here this goes quite in-depth here this goes a little bit in-depth on let's let's get into that and cover it so going back to our PowerPoint if you remember secondary color correction is really where you choose a color vector and also a geographical region of the image which will show coming up in in this tutorial but right now we're going to concentrate on on changing a specific color vector of the image and that you base that on three different things look over here is based on what you choose to correct in this image can be based off of hue saturation and illuminance and if we look at this a little closely here as we look at our fuel notice that this bar has the full range of colors that we saw in our vector scope we've got kind of your orange yellow green cyan blue magenta on up to red there got all of our colors all of our general color hues right here and down below that we've got saturation notice the saturation right now our line is right over there kind of this a greenish teal sort of color there and notice that color shows up here and it shows it as a very strong color over here and kind of a light and color aldi saturated actually that color is gone on this side it's gray over here and over here it's fully boosted so this is fully saturated this is d saturated meant aluminum we have the same color that selected right here the notice that it gets dark and then gets really bright it goes all the way from black to white and then in the middle we got that range of lighter colors and darker colors of that kind of teal or what is that turquoise I'm not sure what that color is there friend you know green cyan of kind of dislike a cyan color right there actually that is cyan because look at that that's part of a color wheel I'm kind of hairy oh so we can use these eye droppers here to say say we want to kind of either reduce the saturation of this kind of blue color on this box here we can do that without affecting any other colors if we reduce the blue altogether in this watch what happens as we kind of take the blue out of this look just the whole shot warms up that gets less blue there but it's actually affecting the entire shot so if we go to secondary that's just going to affect the Blues in this color vector here we can hear a little eyedropper here move over and select arrange that blue there's like dark and light here so I'm going to click on just kind of the mid-range there right there and choose those pixels and for that area pixels there it has chosen kind of this shade of blue and this is the full range in blue that it's accepting by the pixels that I clicked on there and then what this does is a feathers off and then turns it off right here so none of these colors are accepted none of these colors beyond here are accepted to kind of gradually feathers off on the edge here and what you can do is you can grab these and you can kind of move them around you can expand the range of colors you can change the feather fall off as well and you have that option down here so it's chosen this color of blue this range of saturation and this range of luminance let's take a look at what that shows there and the way you can tell what it is chosen is by check marking this little color gray here you have a color gray or a color black and white or inversing it two two white and black here you have a color gray which shows the color and then a gray background but the separatin color is the stuff that is going to affect that so that's the mask that we've chosen so far if you color black it shows like the color and then black in the background and then if you do white and black it shows a white matte and now you can really see look there's some blue that's sharing over here but that's not terribly important but we can actually do a geographical mask as well which I'll show here but what I'm going to do is try to get more of this mask I'm going to choose color gray it's kind of hard to see those blue pixels over there without turning this to white and black so these masks kind of serve different purposes you can do inverse invert your mask right here by clicking it goes invert set and shows you what's being selected in the gray now so a couple things here let's uncheck this unless I'm going to choose my plus and we're going to choose more color values here I'm going to click on my plus and we're going to add this darker blue value here as well click on that and now let's look at our mask and that has gotten more of this box now we could probably that one more time and then we just start messing with the sliders I'm going to hit the plus button and click over here I seem to be missing a few over here click on that and notice it's changing the range of the selecting on the luminance and saturation and hue there checkmark this and we're setting to get most of that box now so that's looking pretty good detective a zoom up on this here plot down the 75% take a good look at it here we can grab our hue and increase that and look how it grabs just a little bit more of that box there right there and if I grab my saturation and grabs a little bit more of the box even more we don't want to eat into those letters though and there it looks like the limits that kind of finishes that off there we got a good portion of that box now we can refine a mask if you have compression in your in your image and you see kind of pixels jumping around as you play through it you can grab your D noise and drag that over a little bit this is red footage so we won't have the issue as much and then the blur will actually blur slightly blur the edges of your image look what happens if we drag it way over it gets way blurry but if we just turn it a little bit it takes kind of that hard edge off that off of that mask there I'm going to fit this I'm going to look at my black and white as well and we see some extra pixels that are over here we're going to fix that as well show you how with a mask and now if we turn this off and we go to our correction wheel down here we have our correction we have our temperature sliders temperature and tint sliders contrast sharpen sharpen those pixels and saturation down here and you can also have this do a three-wheel so you have your access to your shadows mid-tones and highlights if you wish I'm just going to go to the global color correction here and watch what happens as we grab this and drag it over to the blue look how boosted that gets and look how look how that's that's very oversaturated but I'm showing you what this can do though and you can see it on the vectorscope that's grown out here watch that vector sculpt as I move this back and forth look what's happening to those blue areas it's not affecting anymore the image just the Blues in that image just the Blues that we've selected so now we can actually we can use a temperature slider make it more blue like this or we can grab our set duration and Bruce and saturation or say we want to tone it down a little bit we can grab our saturation and turn it down look what happens if we drag it all the way over its desaturate it takes all the blue out of it and now it's just doing it to this portion and nothing else I'm going to exaggerate it here just so you can kind of see what we're doing I'm going to take this way over to bear so you can kind of see what's happening but look what it's done over these pixels that were selected over here two ways of messing with a secondary one way is to mess with the vectors and also secondary color correction is considered Geographic as well any effect that you add in premiere like elementary effect you're going to be able to create a mask over I'm going to go to my effect controls and get this at the beginning of the clip here no very my effect controls here you've got these masks here oh here's my elementary color panel effect that has been added to this clip as since we started messing with it over here but I'm going to choose a four point polygon mask shape here basically a square click on that it creates a mask and whatever is masked is the only region that is correcting notice that got rid of the correction here because now it's just doing it within this mask that I generated here added the mask you can grab it look what happens when we drag it over ooh now it's only affecting that region the blue on the blue tie is gone but she moves us around so what we can do here is we can track this as well I'm going to move that in a little bit just put a little bit of a feathered edge on it maybe like we're going to feather the edge of that mask there a little bit we're going to throw the edge of that mask a little bit just soften it off so it kind of gradually falls off outside and now we're going to hit track mask I'm in the middle of the clip here I'm going to track forward and then I'm gonna track backwards after it's done so I'm going to hit track forward premiere is going to track that box now and keep that mask over this so it is not correcting the colors over here it's just adding that blue push on this clip over here I'm gonna let that finish right now it's creating these keyframes and then I'll be back as soon as that's done okay this is finished all the way to the end now I've got to do the keyframes before this I did it in the middle because the Box kind of moves at the beginning of the clip so I'm going to track backwards I'm going to zoom by hitting Plus here is them up and here I'm on the beginning keyframe and now I'm just going to hit track backwards and let it do the same thing it will progress backwards and do the tracking and when it finishes we'll show you what the full mask track looks like alright now that that is done tracking here I notice it kind of went off track at the end of the shot here so we can fix that by going to visiting those key frames over here I'm going to move over to this side here zoom up on that a little bit I can see the last final key frames here then arrow right a few times tell us back on track right there it's on track right there it's on track right there starts losing track so once a month at keyframe I can just suggest where that keyframe belongs go back one more time and there we go actually that's fixed and that has fixed it up and then go to the first keyframe here and add that right there there we go so now as I move through this clip here you can see the mask tracking to the product keeping that in keeping that secondary color correction active on that mask right there so those there are two types of secondary color correction one is using this geographical region which excludes everything outside of that and the other one is using the HSL and now I can adjust this and get exactly where I want to right about there boosted the Blues looks pretty good and there you go so that is the HSL secondary the last little thing here is our vignette our vignette is just kind of a little extra feature to add and this is something common using color correction is adding a little bit of a vignette around the edge just to kind of add emphasis to what you should be looking at like if we should be looking at her here you can grab here and this is just a basic vignette it's not terribly complex let's give it on a different image here where we can kind of show how this vignette really works let's do a basic correction really quick just add some contrast to this and kind of fix the color temperature in it a little bit I'm not looking at my scopes just kind of eyeball on it right now after without some contrast let's get our exposure up a little bit and there we go that's looking pretty good but once we get our image has been kind of corrected we can go down to vignette kind of one of the final touches on your image and you can grab this amount hearing drag it one way it does a white vignette if you drag it the other way it does a dark vignette dark vineya is probably the more common one because darks out darkens out the edges and makes you bring kind of a focus to something in the middle of the screen here if we take the feather off here you'll see what I was doing and take this off you can see this kind of hard edged vignette that is creating around the edge here you can change the roundness of this you can change the midpoint to kind of focus so if we want to kind of more on the face we can make it a little bit more oblong like that and switch the midpoint a little bit and then feather this off a little bit and look at the emphasis it just kind of brings to the middle here let me turn that on and off and show you the before and after adds a little bit more depth to the shot as well this works better on more static shots occasionally if you have it on a moving shot you tend to notice that they need a little bit more kind of the idea behind a vignette is to just kind of have it in there as a subtlety instead of like screaming hey look this is a vignette here it's just kind of adds a little bit of emphasis to the center of the image there so a little bit of a recap here we've gone over the Illume entry color panel we've covered the scopes and probably the more common scopes of a using color correction the vector scope the y UV vector scope RGB parade scope and B waveform and these items once again for use this is used for hue and saturation this one is used for color balancing and this one is used for luminance and tone correction with that being said let's get started and let's get started on some primary color correction so with primary color correction as we mentioned you first assess the tonal range of the picture and then you try to meet the legal requirements of the image and you're going to be balancing your shot and matching your tonal range and color balance from shot to shot this is not necessarily in the order you have to do these things in this is what I recommend but your first step with primary color correction is to adjust the tone I will start with the black level and you'll be careful not to crush your black levels you don't want to lose detail and you're going to be using your waveform monitor with that you'll want to adjust your highlights so if once again we're still working on tone and avoid the clipping with your highlights if it's too high you bring it down if it's too low you can bring it up a little bit if you want them to pop but there is going to be adjusting gamma or exposure as it's known just making sure that your exposure is proper fourth step is we're going to define contrast so let's go through this F this for these first three steps here let's go to our image go to beginning here and let's take a look let's assess this image I'm just going to get rid of my vector scope and my RGB parade and we're going to work on tone for this shot here so as we look at it our darks are already down near around five I re that's kind of a good place to have them but we have a little bit of peaking highlights I'm going to go under my curves I'm going to grab my highlights I'm going to drag those down until they pull away from the 100 mark there and now they are no longer crushing so now I'm going to go back to my basic correction instead of creating a curve here yet I'm going to go to my basic correction and just bring up my exposure a little bit so I kind of get this generally exposed in the mid-range right there and I could actually bring down let's I'm going to bring down the blacks just a little bit get them a little bit lower so we're getting a bit more contrast so we're defining our blacks as black but not crushing the details and the same as the whites and we have adjusted our exposure or they call it gamma sometimes and that is the first step to that really basic let's go to our next step which is defining contrast once again contrast is defined as the range of an image from the brightest to the darker portions of the region the wider the range the more contrast you have so we can just be used as basic contrast slider here and let's see what we get as I drag this across here it's using kind of this area as a pivot point stretching out from this kind of area and that's kind of bringing down my exposure so what I could do here sometimes this contrast slider works but if you really want to have control over I'm going to go into my curves and I'm going to bring down my darks a little bit and grab my meds and range and kind of create a little contrast here let's find a good range here that looks like we're adding contrast without destroying our image and that's actually starting to look about where I want it and that stretch there let's turn this on and off and look at look at the way form before and after how stretches they're out farther and gets more contrast and I'm kind of liking that there so now let's go to our next step a fifth step in primary color correction here is balancing the image and we're going to use the RGB parade and the vectorscope to work on our color balance and also our saturation I should mention saturation in here as well because the vectorscope is very important for saturation so let's take a look at our image here and we get rid of our waveform bring up our RGB parade and let's look at our image so we can tell by this image here that we have a higher push in the red the image does look way too red and we have a lesser push in the blues these are so we're going to go to our back to our curves here we're going to click on the red and we're going to bring down the red highlights there and kind of bring them down a little bit we're going to grab our blue and kind of push those up a little bit let's bring those up there and push that over and grab the the highlight node over here and drag that over and so we get and I'm going to it looks like we need to really kind of get this section up of the Blues down here and raise that up then at the bottom go to the green and bring our greens up to kind of make that red as well and we're starting to get that into the proper range there and this shot is starting to look a little bit more color balance is looking very saturated you kind of have to eyeball and look at the Scopes so I'm trying to get these kind of imparity here there we go and we're starting to get more balanced let's take a look at the before and after there's without and with what we've done with the correction there but now it's trying to look a little bit saturated to me so I'm going to go to our vector scope y UV look at let's look at all that saturation this is just blooming all over the place so I'm going to grab our saturation under a basic correction and drag that down a little bit to bring kill a little bit of that saturation and there we go now we're starting to look a little balancing our image is starting to look pretty good maybe you're looking a little magenta so we can actually go to our basic correction and kind of work on our magenta here and there we go that wall does it look so magenta if I drag this over to the left a little bit and now our shot is starting to look fairly balanced let's show you the before and after go to effect controls turn off or lumetri there's a before shot there's after much better and that's pretty much the step on primary color correction there let's go back to our original goals of primary color correction and the goal of primary color correction one of the major goals here is once you get that meet the legal requirements and fix the general color balance and the contrast and tone are you going to match tonal range and I should say hue tonal range and hue from shot to shot so as we go from this shot to the next this one now we got to kind of start all over and this these are the same cameras here which they are we might be able to first first of all get a starting point by selecting this previous clip that we've done selecting the lumetri color panel doing a control scene copy click on this next one here and control V and paste we paste that on you can see that this needs a little bit more work these do not match sometimes when there they are close but this will take a little bit of adjustment so once again we go under our scopes let's bring up our waveform and on this it looks like we can bring the highlights down a little bit highlights are kind of peaking around the hair let's bring our highlights down a little bit and that's looking a little bit better mess with the exposure and get that exactly where we want to contrast and just fine-tune this shot so it matches so they both match our saturation looks about the same let's look at our RGB parade as well and so we've gotten it looks like we could have a little higher push in there and the in the red highlights there let's go to our curves go to a red highlights and boost those up a little bit and maybe bring the greens green highlights down get rid of that kind of greenish color to this and there we go as we go from one shot to the next we'll see these look the same [Music] you and those two shots look really good so move to the next camera here once again we can pace or filter on if we want a starting point if this shot is so different then it's not going to work but if the shots are the same let's see if there's other shots that look the same like right here and this shot is looking this is basically the same framing and everything as the shot before so now all we have to do is control V and paste paste that filter on and that one is actually just done because the exact same framing in shot we've cut back to us so that one works now we go into this shot and fix it once again if you go to any other shots that are the same you'll be able to borrow from previous filters and copy and paste it so now we just have to fix this one as well and that's a quick fix there we can just do this with a basic temperature slider here and kind of get it where it needs to be right about that we didn't even really need to use a curves on this image and we increase the exposure let's go to our waveform and fix our just lower our blocks a little bit on this bring up the highlights a little bit make them kind of pop on the hair and we're going to expose your teeny bit give a little bit of contrast to this and it looks like we need to bring down the greens so I probably need to do work out a little bit of work on the curves here bring down the greens and then the Blues will kill a little the magenta there and there we go and that's starting to look pretty good and we also have to end with a little bit of D saturation there and we played you on make sure that they all match and if they go if they all match we carry on so those are the steps with a primary color correction so let's talk a little bit about kind of compiling filters on top of this let's move into second a little bit of secondary color correction in this practical scenario here let's say we want to kind of bring out the blues on this shirt or something better let's or we can mess with skintone or something like that so let's work on some of the shirts here with secondary color correction here let's go to our HSL secondary and we're going to set our color here for our red shirt I'm going to show a little trick here too because if you want to do more than one filter I'm going to kind of combine them it's a little bit of a pain in Premiere because Premiere is just not like a hardcore color corrector as much as it is an editor that does color question so I'm going to go over to my loo metric color panel here I'm going to go down under video effects here and I'm going to type in the word color and now these down to just the color correction filters and I mean grab there's my loo metric color panel I'm going to grab a blank one and drag it and drop it up here I'm going to right click on this top one here and I'm going to rename this primary so I know that is my primary color correction right there I'm going to make this one you could compound this on the same color quicker but I'm going to do a color but I'm going to do a couple different color effects here so I'm going to compound these and make more make more effects we're going to I'm going to right click on this one name that blue secondary because I'm going to work on the blue shirt here and then we're going to make one called red secondary let me put one more lumetri color panel right click on this one rename and we're going to make these shirts kind of kind of pop there alright so with their blue secondary selected here I'm going to arrow it down over here because this panel is only unfortunately showing the first primary one right here that I did so another secondary I can arrow this down and go down I have the same sort of features just over on this side now but we're going to do the same thing here we're going to set our color as a blue click right there let's look at our mask and we're going to increase our mask here on our luminance and grab more of that blue and set your got a little bit more saturation or grabbing more of that shirt and there we go so we've got most that shirt there now we're going to blur our mask a little bit just slightly around the edges and maybe denoise it a little bit as well and there we go so we've got that mask selected let's uncheck that and as we move down to our scroll bar here we can grab our correction move it more toward the blue and look what's happening that sure is getting more blue and making that thing pop there so now I can go back up at the top collapse this thing and let's look at our before and after on the blue as before there's after looking good let's go to our red here and do the same thing go to HSN dairy the layouts a little bit different over here but like I said this panel only operates the first lumetri filter that's on there I'm going to hit set color we're going to choose our red here and kind of do the same thing increase the luminance that's usually what grabs the most of it right there is increasing the luminance in the saturation and once we get a good portion of that shirt there and go down and lower the edges about 10 up for actually and denoise it a little bit and now we can go down and grab our Reds and kind of boost those Reds like how bright and billion those Reds are getting turn the mask off and take a look at that and there we go very bright red and these are kind of oversaturated but look at the colors that we're just kind of bringing out the image here by doing that with the secondaries another purpose for kind of doing these secondaries here let's I'm going to grab one more panel I'm going to add one more limited color panel to this here and we're going to do a vignette and the vignette instead of using this one down here I'm going to do more of a custom custom vignette let's say we kind of want to highlight this person for some reason what I'm going to do is we're just going to draw a mask over the region that we want to do and this is the and this is the Bezier curve mask by the way this is you draw your own mask you can click and hold your mouse and drag it to kind of create a curve I'm going to kind of just create this curve over this person here and we're going to end up kind of highlighting this person here instead of anybody else and there we go and I'm going to feather that I mean you can actually feather it right here or down here and grab this little option here and drag it out it will feather it and let's grab this little square and expand the mask a little bit and now under this is the metric color panel will go to exposure and we'll scroll down the exposure and darken the notice it's darkening inside the mask so all we have to do is go up to the mask and check invert it and there we go made our own custom vignette there you can take take that off a little bit just kind of dim it on outside and there we go is kind of bringing the attention right here very subtle vignette off the side that our attention is brought here we can even arrange rearrange that if we wish by going in and selecting the mask and kind of dragging it down right about there and there we go so now as we select that let's turn this bottom lumetri off and like the difference for and after and there we go okay our final step in color correction is oftentimes after you've done your primary and your secondary color correction is to add a look to your film if you if you want to add a look if you just didn't do it all in correction a cool way of doing this is in premiere and we're going to go to our project panel here and we're going to hit our new item icon and say new adjustment layer and hit OK and it adds an adjustment layer down here then click inside my timeline here and hit the slash above the enter key which shows the entire timeline and grab this adjustment layer and put it over the entire project you put over the entire project or you can put adjustment layers over each scene but this is going to add a look to the entire movie here so what I'm going to do we did some significant color correction on this clip here what I can do is grab these other ones here copy those I didn't name the last lumetri as my vignette which I should have and moved to a previous clip right here and let's paste those filters under this one as well so we've got the same sort of color correction going that we have on so they match and let's also apply it to this clip right here those other filters there there we go but I'm going to get rid of the vignette on this one there we go so now if we want to add a look I'm going to use this adjustment layer to create an entire look I select the adjustment layer here I'm going to go up to the creative tab and this is where I like to use the creative tab you can create your own look here through all this color correction items if you want to but you can now arrow through and what the adjustment layer is going to do is it's going to adjust everything below it I'm just going to add the filter to this adjustment layer so as we arrow through these we're going to find one that I like let's see let's say I like that I turn it there kind of like that I'm going to double click on it it comes in really heavy there so we just grab the intensity and kind of chill it out a little bit sharpen the pixels of this image a little bit as well get a nice and sharp make a little more vibrant perhaps and there we go and I'm kind of liking that let's cool off the shadows make the shadows a little cool add some color contrast between skin tones and there we go now we've got that adjustment layer it's over all these clips so as I go from clipped that look has been added to each one of these clips now and there's a little bit extreme but that's kind of a cool little final step to really adding a good look to your film and we turn that off and back on you can kind of see the difference with that fill that filter adds there anyway and that is essentially and that is in a nutshell the color collection process of gun over the Scopes gun over the lumetri color panel and talked about some things that kind of give you a nice look and you have a lot of power inside of a Premiere Pro to do these color color grays it's just kind of known the system so if you have any questions please post them and thank you for watching are you all on the pill you need to get on the pill [Music] okay have you heard about the toe space perfect toothpaste on the go for fresh breath and clean teeth just to push and fresh are you on the pill you

Channel: chinfat

Views: 44,237

Keywords: How to color grade, how to color correct, Adobe Premiere Pro, Software (Industry), Adobe Systems (Award Winner), Project, Effects, After, Industry (Organization Sector), Episode, 2015, creative cloud, cc, Episode Part, tutorial, project, setup, Setup (Film), Film (Media Genre), 2017, sequence, editing, video, video production, masks, animation, ingest, ingesting, Media Encoder, offline files, Color Correction, Grading, davinci resolve

Id: eFZCP5M_lyo

Length: 46min 56sec (2816 seconds)

Published: Wed Apr 05 2017