How To Fix Skin Tones and Yellow Footage In PREMIERE PRO Fast!

had an issue where you've been given bad looking yellow footage or maybe you're filming in a terrible lighting situation hi my name is Dan how's it going and in this video I'm going to show you how to correct the skin tones in your footage using the fetoscope in Premiere Pro what is a vector scope you ask well a vector scope essentially measures the primary and secondary colors red magenta blue cyan green and yellow basically the further you are away from the center of the vectorscope the more saturated that color will be is the key tool for color grading and color correction work so no matter what skin tone you're working with that vector scope is going to be the best graph for determining accurate skin tones the footage I'm going to be correcting is from a sony a7s to in a standard picture profile and the other piece of footage is from a sony fs7 camera in s log3 but this method can be applied to any footage and any skin type let's jump straight in so here is some footage I shot for a performance video on this sony fs7 is showing a flat profile in s log3 don't worry I'll be showing you how to correct more severely yellowy footage in a sec I just want to show you the basics first when you have Premiere Pro up and running you want to jump straight over to the color tab and select the luma Trika scopes from here if you can't see the vector scope click on the spanner icon here and hit the vectorscope Y UV and here we are it may look a bit daunting at first but trust me it's going to help loads to know your skin tones now this scope only measures color and as you can see it's showing us the information of this particular clip round the circle of the vectorscope it shows us the various primary and secondary colors the dot in the center represents no color and as you move further away from the middle there is more saturation you always want to stay within this range of saturation otherwise you will clip and distort the color we're going to spend the most this time relying on this particular line here this represents the skin tones first step is to get exposure and white balance right so I'm going to add in some contrast adjust the exposure and tweak some of the selections here on the tab like so then I'm going to select the mask in the area that I consider to be white which is very easy in the shot then I'm going to check to make sure that the white is smack bang in the middle of the vectorscope so now I'm happy with my exposure and white balance I'm now going to zoom into the head area and mask the forehead as you can see the skin tones are roughly along the skintone line on the vectorscope what I'm going to do now is bump up the saturation a bit to give me a better look of how the skin is lining up it looks like it's staring towards the Reds a little go over to the curves and select the eyedropper tool on the humour C's hue curve and click roughly on the mid-tones of the skin as you can see it's selected the Reds we want to adjust and by holding down shift we can move the color up and down the hue versus hue curve bringing down the red slightly puts the skin tones back on the track line for us now put the saturation back down and delete the mask there we have it we now have a more accurate skin tone balance that we can work from if we want to we can now make some small tweaks to the vibrance and saturation to give the colors a bit more punch other than that you're pretty much done so now let's take a look at some sony a7s - footage shot and a standard picture profile as you can see it has a nasty yellowy look we've got some fairy lights overhead fluorescent and tungsten lights mixed in there for good measure - I don't feel I need to change the exposure much for this shot so I'm just going to select an area for adjusting the white balance Wow as you can see the white has a ton of yellow in the mix here so to counteract this we're going to have to add some blue this time around we're going to tweak the blue RGB curves here the bottom part of the curve will change the shadows the middle will adjust the mid-tones and top wall tweak the highlights we're dealing with the whites here so let's play around with the top area here as you can see by adding the blue it has brought the white back to the middle of the scope where it's meant to be if you now delete the mask you can see that is sorted out the white balance straight away much much better let's put a mask on the forehead to see how the skin tones are looking it's still looking a little yellow so let's select at the mid-tone area on the forehead on the Hubertus hue curve remember to hold shift and bring the Reds up a bit to get our skin in unison with the skin tone line perfect now if we compare what it looked like originally and now with the grade you can see the skin is looking way better all thanks to a little help from the vectorscope every monitor is different iPhones Android tablets that's why using scopes will always give you the most accurate colors when color correcting knowing how to roughly use a vector scope can really help with correcting footage that you think can't be saved in post stick to that skintone line on that vector scope and you won't go wrong with nailing that's perfect skin tone in your videos so if you found this video helpful please give it a like subscribe and hit that Bell button and I'll see you in the next one

Channel: Daniel Henry

Views: 54,934

Keywords: Dan Henry, skin tones in premiere pro, natural skin tones in premiere pro, color correction, how to edit, premiere pro cc, how to use lumetri scopes, How To Improve The Face Of Your Subject In Adobe Premiere, skin tones, how to edit skin tones, how to edit skin tones in premiere pro cc, how to colour grade skin tones, correct yellow footage in premiere pro, how to remove yellow lighting from video, how to remove yellow light, get rid of yellow light

Id: rSd37JpbQvg

Length: 4min 44sec (284 seconds)

Published: Wed Feb 26 2020