How We Color Grade With Lumetri in Premiere Pro CC

today the video that you guys have all been asking for how do you colleague rate your videos grading tutorial can you give us a color grading tutorial the number one question we get asked all of the time is how do you grade your videos so today that is what we're talking about how we color grade our videos why do I talk so much with my hands [Music] what is up guys welcome back to our channel today we're talking about how we color grade our video in the lumetri color panel in Premiere Pro is that lumi tree or luma tree I don't know we're gonna call it lumetri and you can judge me in the comments if you feel like it please don't judge me in the comments so the first thing I'm gonna mention is that we do shoot all of our video in s log to today's video I'm gonna show you the basics on how we get that footage to a more normal look and then later on I'm gonna do a separate video on how to shoot and edit with log footage I'm gonna go through how we set up the greeting in our timeline and then I'm gonna show you how I actually do it there's kind of three steps I'm gonna go through the first step which is converting the log footage to rec.709 if you guys are not shooting log disregard this so I just chose arbitrarily 4 clips from our New York trip and I threw them down in the timeline some of these are 60p slow-mo some are 24 frames per second they're all conformed to 23.976 frames per second in a 24 p timeline F where K so I actually don't put any color adjustments on the clips themselves I use adjustment layers for everything it's much easier to organize it's a little bit neater and you can kind of bulk change things and I'll show you how to do that so first I'm going to come down here to this new item little icon I'm going to click that and I'm gonna go adjustment layer make sure this is the resolution in my video which is 3840 by 2160 and 23.976 frames per second I'm gonna hit ok now the adjustments you make on the adjustment layer are not going to affect the adjustment layer in the actual bin so every time you want to make a new adjustment layer you can actually just drag from that into the timeline I'm actually going to make 3 adjustment layers I'm going to drag this down on top of my footage I'm gonna click and drag so that covers the entirety of the footage of my timeline I'm going to hold option and I going to drag the adjustment layer up one track that's just gonna copy it and I'm gonna do the same thing again so I'm gonna have 3 adjustment layers over my Clips now like I said I'm gonna choose the middle adjustment for my log to rec 709 conversion I like to put my primary Corrections underneath that adjustment layer so I'm gonna come over here to creative and to go look and click I'm gonna hit browse and then I'm going to look for my left everyone always says what what do you use I don't use other people's Lots to grade my videos the only other left that I use is a sony utility a lot to convert the log footage to rec 709 Oh Chris and I are in the process of building our own log direct 709 lot which we were gonna have available for you eventually hopefully when we come out with a how to shoot and edit log footage tutorial we'll have that there already for you so for now I'm gonna use a test log two to seven or nine type a I'm gonna open that and so you can see that that's brought my clip to a more normal looking level you know a lot of these clips were shot at night so some of them are a little bit grainy because they were shot in 60 P so I've got my adjustment layer with the log to rec 709 adjustment on it there's two types of Corrections that I do it's the primary color correction and the secondary color correction so the primary Corrections is basically going through every clip on a timeline to make sure that all of the clips match that all of the colors are neutral they don't have a weird color cast or not overexposed or underexposed and this is especially important when you're mixing say you know a 7s footage with GoPro footage should go through and actually spend time to do your primer correction most of the work is happening here this is the most tedious phase and then we can move on to the fun stuff which is the secondary color correction where we get to add the color in the toning it's gonna bring out my lumetri scopes I like to use my scopes when I'm grading to make sure that a my shots are neutral that my whites aren't clipped and that my blacks aren't also too crushed down if you guys are interested in a full rundown of the lumetri scopes let us know and we'll do a separate video on it I am gonna rename my adjustment layer so you don't get confused so gonna right click on that and hit rename I'm gonna call this log to rec.709 we won't below it I'm gonna call this primary correction cor hey Siri how do you spell correction correction see oh this one I'm gonna call who do you want to call no one okay secondary correction feel or I can't spell okay alright so now I can clearly see what adjustment layers are what so I'm gonna come down here to my primary correction and I'll look at this first clip it's looking a little blue if I look at my loom entry scopes you can see my blue curve is kind of like pushed up a little bit so there's a little bit too much blue in the if I look at this RGB color wheel here you can see that a lot of the tones in the image are pushed towards the blue and cyan tones so I'm gonna want it this kind of like gray blob to be more central in this vector scope I don't want this adjustment to affect all of the clips so I'm actually going to hit C on my keyboard and I'm gonna cut the adjustment layer up so that this part of the adjustment layer is just affecting this clip because if I move over here this clip is a little bit green and then I keep going this one's a bit green and this one again is a bit purple this is where the majority of the time is spent going through and making sure all of the clips match I think there is an easy way where you can kind of select and match the clips but feel free to do a little more research into that function and try it out alright so I'm going to come up here to my temperatures and you can totally do this in curves as well but again kind of like leg room I like to use the basic Corrections here while watching my vector scope I'm going to just warm this up a little tiny bit and now it's looking a little magenta so I'm just gonna drop the tint down a little bit and that is looking a little bit better now this shot is done at dusk so it is gonna have a little bit of a blue hue and I kind of wanted to have that hue because I wanted to feel kind of like that blue hour but I do want to start with a neutral clip so when I throw my secondary correction over the entire timeline then I don't have to cut up that secondary correction that one adjustment is going to match for the whole video bring my highlights up a little tiny bit gonna bring my shadows up a small little tiny bit and I'm pretty happy with that I'll probably end up going back and adjusting it a little bit later the second and third clip are very similar so I'm going to just slice the adjustment layer after this third clip so that my primary adjustment layer is going to actually affect the second and the third clip together it just makes it a little bit easier when you do have larger groups of clips that need the same adjustments you don't have to go down and individually do every single clip you can just make kind of one big adjustment for four or five or six or ten it's gonna bring up my reference monitors so I can look at the first clip to make sure that it matches again this is not my normal workflow setup I've got a secondary vertical monitor that I usually my scopes in I am gonna move that off the screen for now so got my reference window up here that's the first clip I've adjusted now I want to match this clip to that clip so I'm gonna click on my adjustment layer this clip looks a little bit bright so I am gonna drop the exposure down a little bit drop the highlights down I'm gonna drop my shadows and my blacks a little tiny bit and then my temperature I'm gonna move that over to the warm to the yellows a little bit I'm still looking at my vectorscope which is not pulled up right here add a little magenta here and I'm gonna add a little bit of contrast okay that's not looking too bad let's check the second clip okay so this one does look a little green so I actually am going to cut up that adjustment layer so C on my keyboard and I'm gonna cut that click on that primary correction again and I'm going to just drop the exposure down a little bit bring my highlights back up and then drop my shadows a bit I want more a little more of a contrast II look now we're at the last clip this clip is very blue it's been shot later in the evening so this one is gonna be a little more harder to correct we've got a little bit of noise in the shadow we're gonna just drop the exposure and then the shadows down a little bit sometimes when you're shooting slow motion at night for me anyway it does get a little more grainy than when you shoot at 24 frames per second so I find sometimes using your shadows helps in reducing the way that noise looks so I'm gonna drop that down a little bit now this is way too blue especially if I look at my vector scope so I'm going to shift that to the warmer side it's becoming very purple and pink so I'm gonna drop the magenta down on my tint and I'm gonna go back up to my temperature warm that up a little bit drop down my tint a little tiny bit that's looking a lot better there's a little bit of magenta here in the shadow so I'm gonna come over to my hue vs. saturation curves and I'm just gonna kind of put a point here in the blue and then a point here in the kind of red because this is bluey pinky look that I kind of want to desaturate a little bit it's gonna toss a point right there in the center I'm just gonna drag that down a little tiny bit so if I turn that on and off you can see ever so slightly it's taking that old but a pink out I'm gonna go a little heavy on that and that looks a little more neutral so turn that on and off very subtle but it just takes that pink out of the shadows the beauty about video and making you know your clips look cinematic and greeting them is that you can really give a mood any moods you want to that clip so all of the clips look pretty neutral here now so now we're the fun part so going to click on my secondary correction adjustment layer if you've done your primary correction correctly and spent the time to match all your clips then you should be able to put one giant adjustment layer over the entire video file and have that correction affect the whole video without having to go back and adjust the color so there's a couple of things I'd like to do with my secondary correction I really like tinting the shadows blue I do like that teal and orange look so I'm just gonna talk through the process I use so I'm gonna come down here to color wheels and match and I'm gonna just pop right over here to the shadows and if I mouse over you kind of see this target so if you click and drag you can kind of drag that target around to any color so if I drag it up it's kind of kind of add this like warmth into the shadows looks kind of retro if I drag it to the left you kind of get this greeny sickly look to the right you're getting pink and if I go kind of diagonally down you're getting this kind of blue turquoise II look now you don't want to go too heavy on that I kind of just like ever so slightly small little tint of that shadow and I do like to take this slider and drag the shadow down a little tiny bit turn that on and off and then this color wheel here will adjust your mid-tones so there's kind of three here you've got your shadow tint your mid-tones and your highlights you can see the difference here I've kind of really tints the whole image a certain color so I'm just gonna play with this till I kind of like it I like this kind of like neutrally look right about here I'm not gonna touch the highlights okay I'm gonna show you what they do you can see it's just kind of like the sky the city his face I'm gonna come back over to the shadows and I'm gonna just drop this down a little more make this a little more green turn that on and off so it's very slight alright so I want this to look a little more contrasting so I'm gonna take my blacks and drop those down a little tiny bit and I am gonna take my temperature slider and come back towards the blue side a little tiny bit and I'm gonna tint this a little bit green because I'm going for that kind of turquoise you look so if I turn on and off my basic correction there you can see a little bit of the correction that that just made all right so now I'm gonna come down here to my curves and I'm just gonna add a little more contrast so just like a little basic kind of s-curve here according to my scopes here my blacks are a little crushed out so I'm actually gonna bring those back up a little tiny bit and I'm gonna drop my highlights and my whites down a little bit to flatten out the image turn on and off this adjustment you can see that it's kind of added this cinematic flat kind of look his skin tones aren't looking so great so I'm actually gonna come back down to primary correction and I'm gonna turn off my secondary correction and I'm going to just adjust his skin tones to be a little warmer so I come down here to each SL secondary and I'm gonna select the red color and they're going to come here to Koehler slash gray and that's just gonna mask out that color so basically what we're doing here is making a mask and adjustment mask for a certain color so we've chosen the reds in the photo and we're gonna just adjust those colors you can see the mask here it's a little messy so I'm just gonna drag this luminance one up a little bit so it's not tinting the blacks at all we don't want this color adjustment to infect any of the darker colors but you can see it's kind of eating into his skin here so we want to be careful there and we're gonna want to soften the mess so we're gonna come down here to D noise on blur and just kind of kind of boost this up just to make the transition of that mask a little more feathered so I'm gonna turn that mask off and then I'm going to come down here to temperature and ever-so-slightly just going to increase so if I go all the way up you can see that I'm just adjusting the warm like red tones to the video but you can also see that some of the areas like around his head here are not affected by the mask so I'm just gonna only use this adjustment slightly if I turn it on and off you can see that it warms up his skin just enough so if I turn my secondary correction on and turn on and off that adjustment it warms up his skin a little bit now looking at this I feel like the video clip is a little bit dark saying I'm gonna bring up my highlights a little bit here and I'm gonna drop my vibrance down and then I'm going to come down here to shadow tint and I'm just gonna play with this a little bit so if I drag that down you can start to see we're getting kind of a bluey turquoisey teal look and the shadows but it's kind of affecting his skin a little bit so I'm going to just play with a tint balance okay so I've tuned to those shadows a little tiny bit and drop the shadows down a little bit just my tone curve small bit so if we turn on and off for secondary adjustment layer you can kind of see that the primary has done a pretty good job of neutralizing the clip it is a little bit pink still but for sake of time and demonstration purposes yeah so you just want to spend a little extra time making sure that that's pretty neutral if I turn this back on you can see it kind of has that dark blue kind of look so if we play that through pleased with how this is looking you can go even further with this by changing the tones of some of the colors you know taking the greens and making them look more yellow or taking the no blues and making them look more green but I kind of wanted this kind of blue hour cinematic look to these clips so here's the first clip straight out of the camera shot log then we're gonna add the log to rec.709 adjustment then the primary adjustment then the secondary adjustment so you see how this secondary adjustment really brought it to a more cinematic level I show you guys a couple of examples of the exact same secondary correction on a couple of other Clips so that you can see the way that it affects different clips so when you download you know somebody's preset or a lot those Lots aren't going to look good on all of the clips and you do have to adjust them so here is some clips of my coffee station shot with window light with the exact same adjustments from the previous clips added to them so you can see they look completely different and here are some shots from the hangar these shots were lit with LED backlights so you can see how the color affects those Clips differently again I've done the primary correction to make sure that those clips match and look neutral before applying the secondary correction see that's basically how we do our grading the kind of thought process we go through the adjustment layers we use we're gonna do a separate video on how to shoot and edit log footage because it's like it's like it's kind of confusing and when you first start doing it you're just like what what is this so we're gonna do a full video on that and like I mentioned before Chris and I are actually working on building our own vlog direct 709 light which will have available for you guys to download in the next video so I hope you guys found this helpful I know you've been asking for this for a long time but I do find that doing things by hand and lumetri is the most beneficial but once you are happy with you know a couple of the adjustments you made you can actually save your own presets for later use and that's actually what I've done so I can basically take my custom preset that I made and I can just drop that on to my secondary color correction adjustment layer so if you want to do that if you're happy with the way this looks you can come up here to the limit recolor kind of far here there's three dots use right click on it you a save preset you can name it so I'm going to call this New York blue power we're go okay and then those show up over here in your presets so desk office color is a preset that I made to use in this scenario and then I've got office couch light which I use in the office on the couch with the light they're very specific for those things but I actually use that preset for all my videos there you go I hope you guys found this video helpful if you like the video give it a thumbs up subscribe and hit the bell so you can or if I will you post your videos we will see you on the next one I should've said bye like that my clear glasses which I love they're my favorite our blue light filtering glasses which are great if you're working in front of the screen a lot however you have blue light glass whatever if you have a glasses that filter the blue light you actually might want to take them off when your color grinning just so you know okay that's it what is that somebody's smoke alarm going off fantastic I've done the primary correction well

Channel: Becki and Chris

Views: 497,633

Keywords: lumetri color, color grading in premiere pro, color grading tutorial, color grading with lumetri, color grading log footage in premiere, How We Color Grade With Lumetri in Premiere Pro CC, lumetri scopes premiere pro cc 2019, secondary color correction premiere pro, color grading, color correction, how to color grade, adobe premiere pro, lumerti color grading in premiere pro, How to use Adjustment Layers in premiere, becki and chris color grading, becki and chris color

Id: dReyIhmM5tc

Length: 16min 48sec (1008 seconds)

Published: Fri Feb 22 2019