Premiere Pro Lumetri Color Grading entire lesson: The Scopes, The Controls, and Grading a Project

hello everybody in this episode I am kind of concluding my series on editing it that's a video that we've been going over over editing a short film and we've done some clean-up on the sanguine sound mixing and now I'm going to be going over color grading and color grading is kind of the overall process of not just fixing the colors and matching them from shot to shot it's also kind of giving it a look give any a very specific filmic look or whatever you're going for to kind of finalize your project in fact this footage here was she was shot on a red here red camera and this footage kit tends to come across a little flat this raw footage this footage we have here this is not the actual red footage but it was actually compressed so I could kind of use these as exercise files for people to access and and do the editing on and be able to follow along if this was the raw data you could access the raw data and tell in fact that's what I did to provide this footage as I intentionally made it very flat I put it in red film log film log LUT to make it look very flat to give it kind of a higher dynamic range before I exported these exercise files how so this is very flat looking first step we're gonna do here we're gonna go through this in three steps we're gonna go through first of all what are called the scopes and those are like actual arbitrary measurements it's been created by several standards committees and it based on detail loss and darks and highlights saturation levels hue levels a whole bunch of different things dealing with color and brightness levels then after that or the next episode we're going to be going through the controls that you have with the color loom entry panel in fact the first thing I'm going to do here is I'm going to go up to color arrangement kind of and get this range so you see this is where that when you go to color you have the lumetri color panel here you have the Scopes up here and we're gonna go through the Scopes first then we'll go through the panel and then we're going to show actually how to create this created project and some of the tips and tricks to get through getting a full grade on a project done let's start going over these scopes when you're first putting this up if you have never messed with the Scopes it will probably and by the way I'm right-clicking in this area right here I'm going to check mark two other scopes they're gonna pop up and show here it will likely show all five of these scopes if you've never toggled these on and off I'm going to move my mouse over this and hit tilde and show these scopes really quick let's go through the names of these scopes and what and basically what they do first of all two of them I'm not going to cover because on my honest opinion they this here the histogram that's a vertical histogram is a complete waste of space this thing has a luminance channel that's superimposed over a blue channel a green Channel and red Channel and it's just all smashed together when they could get way more real estate from by going left to right so a resolve does it and the the Scopes the RGB histograms in resolve are actually pretty useful these ones in Adobe in my opinion fairly useless so what I'm going to do here is I mean I right-click on this and I'm going to get rid of my histogram because we're not going to be going over that another one that's kind of weird that came from the SpeedGrade days is this one right here which is their HSL vector scope normally in just regular color grading people are using this vector scope right here which is just commonly known as a vector scope they call it the y UV vector scope and then this bottom one down here is called the HLS vector scope I've looked up this a couple times online and I can't really find I can find some text information on but really no good visual information as to what it does I've kind of messed with it and it has it seems like it kind of deals a little bit with uh with vibrance from what I can tell but aside from that it's really tough to tell what this scope does if you know what it does let me know I've been grading for color grading for years I've been using resolve for your as years and the only time I've ever seen this scope is in Premiere Pro little speed great first and then they moved into Premiere Pro and I'm not knocking on the color grading system because for an editing software they've got a really nice color grading system going on here so I'm gonna uncheck my h HL s vector scope as well and now we've got the three scopes up that I that are very useful the waveform the vector scope and the RGB parade or just commonly referred to as the parade the way I usually like to arrange these things is exactly how they're arranged right now I like the waveform first the vectorscope next and then the the parade down below cuz this actually takes away form and spreads it across this whole bottom panel which gives you a little bit more real estate for having actual this is actually three different scopes here and it's spreading those three scopes across the bottom if you had a crammed up here oh it would be a lot more cramped and it would be kind of hard to read so if you do have these things arranged in a way that is not useful to you let's uncheck a couple things here so now watch one if I just have one scope here and I right-click and I and let's add our waveform here and our waveform look how it kind of makes this thing compact and squishes them down and you don't have as much real estate for each one of these scopes here this is the red Channel the green Channel blue Channel so what you can do is if you have that have it like this and and you want this one down here all you have to do is right-click and uncheck the one that you want on the bottom which is the parade here I now right click and check it again and since these ones that have now become first it put this one on the bottom doesn't from kind of top left to right to the bottom hierarchy there alright another thing I usually like to do sometimes this waveform is not on luma sometimes you'll see it on RGB which has your red channel to your green channel in your blue channel blend it all together I kind of like to use my waveform and you can use this down here for color and for color balance I like to use this is basically a composite of this this and this laid out the red green and blue channels master over the top of each other plus the luminance channel I kind of like to just see my luminance channel here and so I could really just work with brightness levels in contrast so I'm going to right click on this and I'm going to go down to waveform type and tell it to just show the lumo waveform which now just shows brightness levels all right so to go over the names of each one of these here first of all this is our waveform monitor and the waveform monitor is used mostly and primarily for luminance and by luminance I mean brightness levels I mean darks highlights whites mids which are your Gray's anything that goes from black on a gradient to gray to white as a way you can kind of envision that and this is a measurement of your image from left to right so this image that we have up here right now let's move over this one right here as we move across the screen here what the zero does here the this is zero I re this is measured on a scale of it's called iree iree is basically Instituto brain your engineers it is a standard and an arbitrary standard set up where they have defined where details disappear first of all at zero this is where details disappear in the darks so when things started to go black and it's so black that you no longer see detail or texture in it that is what happens at zero Ayari as you go up to 100 100 is where details disappear in the opposites and the and the highlights or the whites and things that are white on your screen if anything touches this up here the details are starting to disappear and be crushed now 50 is what is considered 50% great that's perfectly in the middle of black and white and you got this kind of mid gray that even fact they just call it as mids the mid Gray's your image is measuring mid Gray's if we look at this image here and we start moving across and all of a sudden there's this spike right here it's like it's like around 20 Ayari so it's kind of a dark gray and all of a sudden this boosts up to 50 Ayari and then there's a little dip there in black and then it boosts back up to a 50 Ayari and look at this your image here as you move about that far over all of a sudden you have this little brightness level right there then the black level and then the white level right there so this is measuring your image from left to right from right to left and as we move over see in fact this lamp is about 3/4 of the way over as we move over 3/4 of the way and we move up look at that bright highlight there going around a TI re so that's bright it's not quite losing detail yet but it's close and this lamp here is burning around looks like around like 62 60 to 70 i re in between 60 and 70 I areas where that lamp is burning at so the waveform really tells you first of all what your kind of basic exposures of your image and just looking at this overall this looks like kind of a darker image it's around topping out around like 40 around 40 i re coming up to the mid gray so so you have some properly exposed stuff in here but not much everything's pretty lowly exposed in here and also another thing that I could tell from this is what's called a contrast now let's kind of mess around with the image over here I'm going to move over to the side we're gonna get into the controls but right now I'm just gonna mess with this image right here and watch my waveform here in fact let's just bring up my waveform and I'm gonna grab the exposure and I'm gonna boost this up but look what's happening your image or image is becoming brighter but it is it's also getting kind of blown it's getting blown out the textures being blown out as well as well here this has been tended to be a dark image it was shot at and as the darker image so if we keep that kind of dark there watch what happens as I grab contrast and drag this over look at my way from there what that's doing is its pushing the darks down while lifting the highlights up and we're getting what's called contrast that's where contrast is defined as the distance between your highlights and your darks and when you spread those out you get more contrast as you pull them closer together you get what's called a flat image so this is looking very flat and look at this is how this is flattened out shouldn't a pancake that image there and you're getting a pancake as they get closer and closer to find each other they're gonna get closer that mid gray region and they're gonna be and there's not much definition in here because everything is so closely defined in the same area so to take that further part we get contrast in fact if we even go to a curse where you have a lot more power and if we move everything basically to mid grace here move our our darks to mid grays and move our highlights to mid grays look what happens our image our image becomes this mid gray image and everything is squashed together in this so there's no definition in our image no contrast to start pulling contrast out of it we start as we start spreading these apart here bringing the bottoms down and the highlights up we start getting more definition the image here so if you really wanted to get contrast to this we're gonna get into this later we're gonna show you how to do what's called an S curve this is an S curve where you get a really nice kind of contrast curve to this image there you go see that's before and after so you guys are working with that flat footage and then that's afterwards after we had a little bit of contrast alright so that's what that scope as far as measuring in darkness levels brightness levels and make sure you're not losing detail shows where your mid Gray's are and shows contrast as well let's go through our neck scope here our vectorscope Y UV or was just normally called your vector scope what the vector scope is is this is a measurement of a color wheel here are the colors that exist in any image I'm going to coach my color wheels down here and it this is basically a replica of these wheels down here you've got these yellow points green points cyan blue magenta red points and this is all in the same geographical location as this wheel right here what makes these colors be where they are on the wheel is basically what they call complementary colors it's how far these colors are away from each other and these are actually opposite or what they call complementary colors things that are on the opposite side of the wheel so if you go over here and you go from the greens and go across you got magenta if you have a lot of magenta it's absent of green and vice-versa if you have a lot of blue it's absent of orange and vice-versa so as you go from blue and Moo over the other side of the wheel you got yellow red to cyan green magenta these are opposite colors or complementary colors and the reason why they call them complementary colors is I believe they actually complement each other when they're on screen oftentimes you'll see a blueish background with a very warm subject so you have what's called the teal versus orange look where you have orange on one side for the subject that's kind of it's warmer look and then the background is blue kind of bluish and cold looking so that makes this contrast to complements it the the image it makes you kind of pay attention more to the subject so this is a basic what they call hue wheel this is a this vectorscope measures the hue of your image shows you where you have concentrations of specific colors right here we've got probably we've got to have your concentration of reds and yellows here kind of pushing out towards the reds and yellows and the further it gets out from this midpoint right here is representative of what we call saturation now hue is the basic color that you're dealing with on within an image if you have a very blue sky you've got a blue hue if you've got green leaves you've got a hue a green hue if you've got a red shirt you've got very red hue so just depending on what colors you have in the image that's yet that's your hue now your saturation deels will have the exact same hue it's not changing the hue but it's changing the intensity of the hue so saturation is the intensity whereas hue is just the general color shade so if we move under basic correction here and we grab our saturation this will show you how these scopes were at work here a grab saturation and drag it down look at our saturation over there on the vectorscope so drag it down to where there's zero saturation everything sucks into that little point and if everything's that's into that little point you basically are left with no color this is a black and white image as a grayscale image now let's zero color if you grab your saturation and drag it out this is intensifying that saturation and now look how overly saturated the images so it still has the same colors that are in the bricks and the lights and the hair and the blues and the blue light coming outside but now it's just more intensified when you think you've got to be familiar with one color grading is also legal limits what they call limits now with the victor with it with the waveform you have legal limits of 100 and zero I re most engineers in the industry for broadcast injuries this mostly comes from the broadcast industry when they're preparing shows on on tape to air over the television set they would check the calibration on on the the movie or the commercials that were showing and they would double check to make sure that they would not reach these limits of 0 and 100 it was actually a safety feature in that if they reached those limits the TV would oftentimes roll if it was brightness levels the TV would have rolling problems you'd see it like an actual roll on these old Catholic to YouTube televisions so the these areas were set to make sure that they didn't exceed those and saturation what you got when you reach saturation limits is you had bleeding you'd have color channel bleeding color separation a lot of people have still want to create that kind of that VHS look where they do that intentional effect of color separation make it look like an old VHS camera but with that for those older formats that's what these were created for but now these have been adopted by the movie industry just as I wouldn't know so much as legal standards as much as suggestions so over here in the vectorscope what when we're dealing with legal limits these here are image legal limits up here that's your limit for red yellow green cyan blue magenta so on but out here these are legal limits for graphics graphics have a higher tolerance of intense colors and they support intense colors but when you over saturate an image you start looking like this and this is kind of giving you a warning Herot typically when you're saturating an image about one third to half of the way out you're gonna start seeing too much saturation in your image and see that's a little bit beyond and some of them have higher tolerance levels like magenta is further away than blue is so yeah so some of them will have higher tolerances then by their very nature then than other colors up here on your vector scope so the vector scope is used to measure two major things your general hue of your image and your saturation your pray'd now you probably recognize this sort of shape here you saw the kind of a similar shape when we were looking at the waveform this is basically image from left to right that's your complete image right there but this is in what we call the red channel with any video camera that you're using these days pretty much every camera that we use these days has records your image in three different color channels now your image sensor in your camera will have certain photo sites that are sensitive to just red colors but they're not just sensitive to just red colors but they're different they're sensitive to different levels of hue saturation and luminance in your red channel and that's what this basically here this was measuring two major things here and this waveform here is measuring basically the luminance of the red colors in your your red channel here and this is measuring the luminance of your green Channel from left to right of your image and this is measuring the luminance levels of your blue Channel when you composite all three of those together you basically get a full color image oftentimes if you go to in fact we can even go to curves here and we can choose the green Channel and we can turn the green channel completely off now we're left with a red and blue we can program the red and we can pull down the red and we're left with the blue Channel and then look at this we've got our blue channel left and it's just showing our blue values in darkness brightness and you notice the blue Channel is darker than the red as we were as we restore the red and we bring down the blue maybe then with the image seems brighter so the red channel is more prominent in this image it's more prominent and dominant in this image and it's brighter as well so illuminance levels are brighter in the red Channel if we go up and grab if we grab the grab and drag that down and we've grabbed the blue and dragged it down or left with a green Channel and the green Chelsea Mike it like it might be just as bright or brighter than the red Channel as well so what happens when you have other channels that are brighter or more prominent over others you get a generalized what we would call balance this shot is balanced more toward the reds and greens than it is the blue let's go to our exposure here I'm gonna pump up the exposure and I'm going to add a little contrast here and I'm gonna actually darken the darks in this shot here as well give it a little bit more contrast so you can kind of see this image a little bit better now if we looked at our vector scope here and we kind of look at the general looks like with the window spikes right there we have more of a blue blue blue prominence in the window but then as we move over to the middle of the room look at this the red is higher and the green is just slightly lower than the red and then look at the blue this kind of similar shape Mountain this is lower than the red and then the spikes kind of go off into the blue again but look this this channel is more prominent and the green is a little more prominent than the blue therefore this shot is not necessarily balanced when a shot is balanced your read channel your green Channel and your blue channels are kind of in a similar area and then the color will end up looking proper them this shot looks like it's probably a little bit more warm to me so if we try to bring up that blue channel a little bit let's do this and grab our slider temperature slider here and we're going to pull down the Reds and push up the Blues a little bit look how that cools that off so you look at the before and after on this see that kind of takes that red a little bit of that red out of that shot there see if we pull it further over then of course you start getting more of a dominating blue Channel but as they get in the middle your color looks like it is properly balanced or properly cut the probability color balanced if we add bring down the green a little bit and get these kind of even there you go so this scope is really good to help you color balance your shot so your colors look accurate so your shot doesn't look too orange doesn't look too blue doesn't look too green and that's where these scopes really help but let's move over to this panel right here Vetri color panel if you're not seeing this you might be in the editing layout or the assembly layout right now you would need to be in the color layout you hit color if you don't see these bars up here for some reason you can go under window and hit them here under workspaces at the top and then you can choose the color layout these are oh these are customized ones that I've made myself you won't have as many here unless you've been making them for you Ryan default who the hell's Ryan I don't even know a Ryan that does editing so I don't know where that came from somebody broke into my house in middle of night named Ryan and did his own layout let's go to looks like that's really weird okay now that I'm creeped out a little bit I'm gonna move over to the loo metric color panel and talk about this first of all I'm gonna go up here I've done a little bit of color grading on this I'm gonna I'm gonna clear this by the way I'm gonna go up and hit this little reset key which will reset the entire grade so everything now notice everything's kind of in the middle here that you don't have any of these sliders that are slid around right like that anything like that these that's everything's neutral right now but this is separated into all these different little drop-down menus here you've got basic correction you've got creative you've got curves you've got color wheels and match and you've got HSL secondary and vignette so if you click on any one of those little little drop down the entire menu for for that area and we're gonna talk about these one by one here keep in mind that as you play through your project and you're in the color what you're in the color arrangement your playhead suddenly does this whatever when you put your mouse over it selects that it will select the video that the playhead is over in that way it's going to this is basically a real time adding and effect to your to your clip when you decide to grab one of these and you drag it to one side of the other we just added an effect to this in fact you can see that if we zoom up here look at this little effects tab right there let's in fact make sure let's this right now let's just got this out I'm gonna show that in a minute but right now there's no effect added to this at all if I go up and I slide this to the right add to the right watch what happens this this little green FX tile right there watch what happens to that suddenly this has changed colors I was like a little magenta color or there or something now this clip has an effect added to it if you select any clip and go up to the effect controls it shows what effects have been added to a clip first of all the motion tab this is just a native tab it's always there it's always on every clip the opacity tab as well you cannot delete these you can reset you can't delete them but now you move down a little further I'm gonna I'm gonna collapses and the time remapping is well these three are native to the Clipper their motion opacity time remapping native to every clip but this is an effect that has now been added to this clip simply by moving the sliders over here so I'm gonna select this delete it now watch this as I move this see all of a sudden it just adds that effect to this clip because now these are the numerical versions of your visual sliders over here if we arrow down or basic correction and watch the see temperatures moving 29.93 and over here 29.93 but you also have this visual slider look at these numbers how they move in sync here to here so this effect that's now been added anything you do over here will affect that specific effect over here and change the color of your of your image you also want your playhead over your image so you can see the changes that have been made being made real-time if I have my mouse over this one well I happen to move over and select this one see that did automatically select this one but now I over didn't override and selected this clip over here and now look I'm changing my clip here but I don't see anything changing ok brighten this way up do heavy contrast highlights everything I'm smashing the heck out of the shot but you can't tell because right now I have this selected if you movie playhead over and look at that oops I've destroyed my shot see all these sliders change the shot that was selected you set that back let's just select this lumetri color panel delete it alright let's talk about this panel over here so I'm going to correct it I'm gonna work on this first it'll just have my my playhead over this first shot here let's see this shot from a previous episode has a warp stabilizer added to it so it already has an effect added to it so basic correction let's talk well this how this panel works as we move down here you have input light this is if you're shooting if you're shooting in a really a very very flat log format like C log s log V log whatever you're using that is a very flat profile we talked about flat profiles this is this is a fairly flat profile this is actually red film log which is fairly flat but not very as flat as some of those log footages get if you're shooting in log of the reason why people shoot in log is because so they can it preserves the highlights in the dark levels it doesn't destroy a lot of those the details and the highlights in the dark so you can decide where you want those later on so the input let deals with if you were dealing with a certain type of log you can install it right here before you start it only has a few in here you can install new ones if you get a custom log and what the LUT does let it's called a lookup table it basically just gives us a certain look to your image and this kind of give and it's selecting one of these will like the rec.709 this is for Alexis so there's gonna be a little bit different than red you click on that and look how it darkens there it can't contrast everything up gives a certain level of saturation that is the Alexa LUT right there and there's gonna be other ones here as well the let's try and you then each one of these is gonna give you a different look you have to kind of look these up online to see what these are doing but they've if you shut on a on a Sony or a Canon you can have to look up some of those lots and install them for yourself if you want an input light and input lot does it before you actually start grating it's just to make it kind of gives it more contrast and saturation before you actually start doing the grade but you can do all that down here as well you don't need the light it just saves you a little bit of time sometimes all right as we move down white balance and you actually have this white balance selected if you have something that's white in them in the image that still has detail to it you can select on this white balance and remember we talked to the mentor scopes we talked about color balance if the image that the white is reflecting more red or green or blue color is gonna compensate by changing these sliders right now I don't really have anything white and here if I click on this maybe I don't know maybe the page is here for Brooke let's try to click on the pages of the book there see and this is a reading that it's a little bluish probably from this light hitting from the outside window it gives the compensation with a little bit of red but I don't really have anything white in this image right now - aah - matically read that but what does temperature and tint do these are two basic sliders where they have complementary colors kind of and kind of the teal and orange and then the magenta green here sliders if you grab the temperature slider slide back and forth it's going to push more toward the blues especially the other ways can push more toward the Reds so we've mentioned how this shot was to red before so if we push over towards the blues then it corrects it a little bit now the green magenta the green Channel is too high you can take it more toward the magenta and get rid of and kill some of that green and greenness in the image as well so you have the magenta green slider and the blue and orange slider for basic correction primarily used for balancing balancing color balancing your shot at that car balance looks off we set that back to normal tone the definition of tone is basically luminance levels when people talk about skin tone technically the area well a lot of people think they're talking about color but oftentimes what the term skin tone is actually referring to is the darkness of the skin I'll light the skin is how dark it is is it's basically refers to brightness levels so if you look at tone it's the same thing tone here is exposure contrast highlights shadows whites blacks dealing with luminous levels more than color I'm gonna bring up just my wave form here and talk about Ayari scale here basically these sliders affects certain portions of your image here now blacks and white to the kind of the two extreme and blacks are going to be down there around from anywhere from zero to about twenty Ayari the whites are gonna be from about eighty to a hundred I re that's where it's gonna mainly affect those levels it's up in those levels with these sliders exposure is going to be the mids around forty to sixty shadows are going to be around twenty to forty and highlights are going to be around sixty to eighty but the whites and the blacks as far as Adobe defines that are the ones that are on the extreme at the hundred and zero levels I should say zero to 20 and 80 to 100 so if we mess with the exposure that's missing only messing with kind of the overall exposure of the image highlights and look at this how this just kind of stretches the upper portion it's kind of messing with that portion of your image whites are gonna do the very tippy top so you can get the very tippy top up there blacks is at the very very bottom so that's can drag the bottom stuff down and shadows is gonna get the lower portion right before the blacks so you have some basic sliders here helping you to be able to just tone and at the very bottom of the image is going to be saturation if we look at our vectorscope Y UV and we grab our saturation slider you can see the this the HughesNet boosting and blooming the saturation these colors out toward their regions pushing the Blues up toward the blue is a yellow swarthy yellows and we tend to have a very yellowish shot here as a result and if you drag this down the opposite way here you'll get basically going to pull all the color out until there is no saturation so that's the basic slider creative in my opinion they should have this at the bot creative habits something you can kind of it when we finished with this project I'll show you a practical explanation of this but this is basically to add a look to your film after you're done color grading and as your arrow through these you have different looks for your movie and these are lots these are ones that have pre-programmed look-up tables things that have been programmed already a template that you just basically click on look at this when I click on this one here it basically adds that LUT to your image and look at the cell attrition these things kind of come across very contrasting very saturated as well which is not necessarily a bad thing but sometimes it can destroy your image as well you can either arrow through these and choose one like this and hit through these arrows so you see one that you like and then just click on it and it will change it to that light or you can pull down this list if you know what you're looking for you can quickly scroll down to the one you want right away if I don't know what that is but that's oh an aura red wave you have different nomar's down here but yeah usually this is kind of the last step that you do to your color graders of working with a look and then you also have these intensity sliders up here let's give this more of a contrast you look there we go you have this intensity slider that controls that once you add a look say you like that look but it's too intense you can turn down the intensity and get it exactly where you want it this shuts it off this makes it more extreme so you can drag this down to you say I like it right about there we set that down here they have some other interesting kind of look adjustments here like faded film if you let's let's free if you have an image is very very contrast II this faded film look kind of pulls up it doesn't really like kill the overall a comparative contrast as much as it kills it just adds this kind of wash to it it's it's a little weird the way this works but it'll wash to make it look like kind of old film you have the sharpen tool here if your image is and this you have to kind of look at really close to see let me drag this sharpen away over let's look at this and look how its sharpen the edges of your image I'm gonna do undo and watch very closely to the edges here and see now it almost looks blurry because it feels so soft and you can actually soften and up more by dragging it down negative like that and it actually does and end up softening up the image so if an image is too sharp and you can be sharp in a little bit if it's not enough you can just sharpen it just a little bit and make it seem a little more crisp now vibrance is an interesting little feature and I've heard that this comes from shuttle I'm not sure I'm not a big Photoshop person but I believe people would they tell me anyway that the vibrance is basically boosting saturation and the lower saturated images this is one thing they kind of concluded the vibrance for us so you can increase saturation in and things that are kind of that will not in the lower saturated portions of the image without over saturating skin tones essentially so drag this up in fact if we kind of go over to one where we can see skin tone here and let's go a basic correction just quickly a little bit more exposure a little bit more contrast a little bit more just general saturation on this image here and that's looking a little greenish let's go a little more magenta we'd have to really look at the Scopes to look at the skin tone there though but now let's go to our vibrance under creative here they grab the vibrance and we drag that up you see it starting to you see it starting to kind of get these other saturation is lower saturated areas where it is not affecting the skin tone and taste are really pushing up then I can see it starting to affect it vibrance will also kind of maintain a level of skin tone and a little bit of color I know if you drag it all the way down let's look at black and white but still has just kind of hints of tones and color tones in it so kind of an interesting little feature there but let yeah basically this increases saturation on the items that are already less saturated in the image and leaves the things that are already saturated kind of alone is this the idea saturation is the overall saturation of your entire image we've our there's this is an additional slider here I'll just make some adjustments if you do a look at make some adjustments based on your on your look that you've added as you go down you can have you can change colors in your sometimes you'll have like blue colors in your highlights or blue colors in your darks or the rare or obsolete you might have red colors in your dark fur or in your highlights and this helps with your shadows and your highlights to change kind of the tint if you got kind of a bluish tint in the highlights you can drag these off more you can warm those up the darks up and then you can cool off the highlights make it look more like and this will kind of emphasize these kind of highlights the blue and the highlights will red in the end the darker tones of your image there and tint belen just kind of changes the shifts the general image of the the general tint of the image in the ways we meant before tint is basically the green magenta slider so that's kind of changing more the green and and magenta colors in those areas are I don't tend to use these a whole lot when I'm really try find that the curves are a lot more powerful especially you're trying to affect the shadows we'll get into that and kind of show you later on I'm gonna for now I'm gonna hit this reset and reset my entire lumetri panel here and we're going to go down to curves a lot of the power exists within color grading is within your curves the basic correction like is just what it says it does the basics of color grading this is where you're really getting to some some really powerful features here the way it curve works here is you basically have you'd almost have to imagine and I like that result does this result puts a histogram across this of your image and the histogram really helps you to see what your what your grading that isn't something about it until recently before it was just kind of this the same curve here but what this does just a quick layman's explanation this note down here is your darks node and then if you drag it over to this side of your image here if you look at the bottom here this the whole bottom here is basically your kind of dark region down here and this whole upper region is your highlights region now this is your dark node this is your highlight node and in between if you think of a gradient like your re you go from 0 all the way up to mid gray which is 50 and then all the way up to 100 so this basically this is your gray level right here's your moving along this line and this is good telling it what to affect if you want to affect your darks your mids your highlights you can click and add a note on to it and effect those now this is the let's call it the turn it up region and this is the turn it down region so basically anything you drag you down here it's going to turn it down anything you drag up here it's going to turn it up make a brighter so brighter up here darker down here and I'm gonna double click on this node here you set it in here take that one all the way don't watch what happens when we grab our dark slider and we drag it to the right this will then look let's also do this let's bring up our waveform here so our waveform watch look at the waveform look at the image as we drag this across it starts bringing down the dark first until it hits the bottom and then it just slowly starts crushing everything else drag it all the way to the right everything is crushed if you rig up your highlights it'll bring the highlights down first look how grabbing the top of the image first and then pushing it down till eventually search to flatten it and then it brings everything down to zero and flattens it so it's doing it by the highlights first this is doing it by the darks first if you grab this and drag it up it increases the darks or bring this down here this decreases the white so then we showed you where we could bring this to the middle and you create this like perfect gray right here in the middle it's perfect mid gray in the middle because the darks have been defined and redefined as middle gray the whites have been defined as middle gray and there you go so where this is really helpful is to really fine-tune and mess with contrast and and luminous levels here so what we can do is we can move up a little ways and we can go to about 25% to Gray's here we can put a note and we can grab this and we can redefine those darks as darker now we can move up the scale hearing maybe remove around like 75% gray and we can grab these and increase them to highlights there and this is creating what they call an s-curve this s-curve it now creates the shape of an S and you're gonna create you're gonna create contrast based off of this let's first of all this will be easily demonstrated right now this is a very flat image so I'm gonna go to my basic my Corrections spread that out a little ways spread out our contrast bring up our exposure a little bit and make this a little more contrast II so there we go let's bring up the exposure a little bit more now I've got a little bit more levels to deal with let's go to our curves now watch what happens to grab the darks down here we drag them down we grab the highlights and drag them up we create more contrast now look at that spread we have between the darks and the highlights as opposed to let's turn this off right here this turns the whole effect off and look how flat and then look how contrast see and see what the difference is and we've created a little S curve but you can really if you're having trouble if you want to darken the darks would like leave the face alone look what you can do you can grab your darks and drag them over and we can kind of find where that face exists and then we can bring up the elevation on the face there and then it's darken it has this kind of curve as it slides off and leaves the face values alone well darkening the darks right here we've crushed it so we've basically crushed our details but that's what our curve does now you also have access this is your luminance channel right here if you select an individual one now you have access to there just a red channel the green Channel and the blue Channel we've kind of shown you this already how you can bring down the blue and then you're left with the green and the red and vice versa so we can bring down the red but if you've got like issues where you're getting too many Blues in the highlights you can just grab the blue channel here bring down the Blues and bring down the Blues in the highlights up at the tippy-top here and maybe boost up the meds here keep the mids or where they are while boosting down the highlights and bring a killing kind of the blue highlights there so you got a lot of control there on the curves especially when it comes to accessing individual color channels the luminous levels in each individual color Channel right these curves are something they've added in the last past like year so I can't remember when they added these but these are really really cool I've been impressed with these these curves I've been complaining about premiere / resolved saying resolves got a bit of this and that well this is where I think premiere has something better than resolve and they do have these curves inside of resolve but this one I really like because it's got this little slide bar right here cuz you're gonna add a curve on these things here I mean I'm gonna demonstrate what these do but if you add several points you can create a curve on adjusting certain colors but unresolved if it's on the end if it's if it's on the very end your curve kind of moves over and comes over to the other side of the screen here and if you don't like that as that's annoying you can just slide it over and say well be right there and that and I like that a lot more so so if a premiere has one thing on resolve so there you go alright so I double click on those dots two to refresh them back to normal here but what these do these are verses here these are huge separation curves you've got hue versus saturation hue versus hue hue versus little minutes luma versus saturation saturation or saturation and all these curves here so what these do individually here first of all Huber says saturation so when you're using the vs. basically this is what's going to be changed right here is the saturation within a specific hue so if we let's let's grab her like some color in her face right there my grab this eyedropper and click right on the face there and what this does is it adds three dots the center dot is the color range that this chose right here kind of this reddish color range and then this is a kind of a soft point as it comes from this point softens off through these Reds and softens off through these red so they gradually doesn't turn red turns yellow turns blue over here but it kind of puts to dust before it changes out goes too far outside the red realm you grab this middle one here and you drag down and if you start dragging and behold shift once you grab this here if you hold shift and start dragging it lock it to that - middle point there it won't let you waver back and forth like this the hold shift as you start dragging down it'll lock at that point look what happens as we drag this down it's basically d saturated all the Reds out of her face so that's just taking it down notice this is saturation this saturation line the top is fully saturated the bottom is d saturated notice how it's gray at the bottom and very red at the top so if we boost this up at boosted saturation and color if we drag it down it desaturates it takes it down takes it away so if something is kind of bleeding saturation in your image if you have a very specific color let's say this color I'm gonna intentionally saturate this image but let's say the camera may shot and it looks very saturated like this what we can do now is we can go and choose this width and look at how the face is kind of bleeding that color their impact let's go to our limiter scopes here let's go to our scopes over here and show our y UV vector scope and show you see how this is kind of bleeding saturation towards the yellows and Red's if we choose that saturation on her face there let me go to this middle dot and drag it down hold down shift look how that's bringing in just that especially right or wrong about that relying right there she's bringing down the mostly the Reds somewhat towards the yellows image there and if we increase this so if we drag this over look how it starts affecting more regions of reds more regions of yellows and it's d saturated and it does this on a curve basically because if we want to add another point and bring it down on the yellows bring it down you can really bring down a lot of saturation and leave a very specific image that's saturated in fact well some of these you would probably be able to achieve that look where somebody has a super red lips and everything else is d saturated alright let's turn this back to normal here I'm gonna double click on one of these dots and this will turn that scale back to normal move down to the hue versus hue hue versus hue will select a very I'm gonna keep the saturated for intentionally to kind of demonstrate this I choose a very specific hue like let's choose the pants here very blue hue notice how it chose the blue over here and we grabbed that blue when we start dragging it up look what it starts doing to the blue jeans so it's changing them this is a Huell I now this hue line goes from green to blue to magenta to red to green that's got the whole range here as you slide it up and down to yellow and it'll change the color of that saturation and you can widen the amount of area that you're saturating by increasing this area here and you can add even a couple nodes if you want to and bring these up and increase a big area that you want to change the saturation in so you have a lot of power up here but usually this is just used to just kind of maybe make the skin tone look a little bit more skin tone --is-- which we will get into clear that Q versus luminous this is going to change the luminance on a specific hue if we go over and select it once again kind of the face get our eyedropper here and put it on in her face and get that let's scroll this over a little bit so he'd see what we're messing with here but now that luminance on her face says that that hue on her face we drag it down it's gonna darken it or it will increase the brightness of it and if we're getting pretty destructive here if we bring that if we just want brighten the face a little bit we just drag it up and now her face is brightened and keep in mind all these dots and everything is because I did the crap out of this thing and it's really it's really starting to destroy the image I kind of over overdid it there luma versus saturation is going to take the saturation in a certain luminance level you can decrease the saturation in certain luminous level let's in fact let me get this do this image here we have kind of dark a little more that we can see more dark dark regions let's bring the exposure down a little bit now we can go to the curves go to luma versus saturation and we're gonna choose that the darks here and say you want to kill the saturation in the dark so you wanted to be kind of gray so it just looks dark we can bring down these nodes here and that will bring down the saturation in those dark levels right there let's see kind of before and after so I can see a little color hue in these darker areas and now when you do this look how it just graze those areas up it's very subtle but it is doing that you can increase the range but eventually it'll get into the mid levels if you move it over then I know it's doing the mids and now it will do it to the highlights as well saturation versus saturation of choose an area that is a certain level of saturation and you want to increase the saturation in that in that luminance level there you can do that as well so and this will I have I have not found a bit specific purpose for this is actually is bringing out the color of the couch really nicely there making it very blue which I like it's kind of increasing the saturation and you can see that happening over here one color wheels and match color wheels are match a really nice especially if you're matching to people's faces I only have one person's face in this image right here but you can use it against other images as well let's do what we're gonna do here so I'm going to do a basic correction here on this image you've got your luminous sliders this is your shadow luminous sliders here this your mid-tones them and bring up the mid-tones and bring up the that's just luminance levels that were missing with nothing color and then let's let's let's make that let's define the highlights a little bit more there and bring those up so that's the luminous highlights the mid-tones and we've created some contrast by these sliders here and now let's work on color hue let's kind of shift the hue a little bit off into this direction here warm up the face a little bit warm that image up a little bit and let's say that's our that's the image I like that image right there and now there's another shot here as we move along this is the exact same shot so we just only have to copy and paste it to this one but I'm gonna move this to a close-up which is a different framing here they frame her on the couch under the same lighting levels right here so this is kind of cool here what you've got well first of all when you're just grading you've got your comparison view you hit your comparison view and it's got on the right to the image that you are grading so here I can start grading this image here I can darken the darks mess with the mid-tones excetera I'm just gonna undo that right now but over here you've got a reference monitor this is your mini timeline this is a duplicate timeline here that basically shows your timeline I'm gonna say I want to match it to this shot this is really cool because now when you're grading this shot you can you have something to compare it against thing and start saying okay I need to get I need to get more color interface because look how whiter face is there so I can grab this and boost more color into the shot there and I can keep trying this but but there's an easier way to do this right now I'm gonna leave face detection on I'm gonna undo what I've done here get these back to normal but you can double click on these and get them back to normal by the way when you start moving something here it will have it will fill in the circle and say there has been an adjustment done on the mid-tones hue wheel here if you double click clears it and now it's got this open gap in the middle and see look at this now that's been changed you know because it's filled in that's just how it shows you that it's that something's been changed in those areas and the open circle means it hasn't been done yet this when you slide it it turns blue when it's white it's neutral alright so I'm gonna hit I'm gonna go to apply match what it's gonna do is going to read this one and to get this one to look just like that and it will detect the face and get the face the same tones here and look at that did a pretty good job it's not as contrasting but that's a good starting point so now all I have to do is maybe decrease the shadow here shadows make it a little more contrasty and maybe increase them oops and maybe increase the mid-tones but look what it did it adjusted all these colors here on these wheels the highlights the mid-tones the shadows to get these two shots to try to get them to meet a little bit and then you might have to just do a little bit of fine-tuning to get them to meet but yeah look at the before and after here before and after and that's much better sometimes when I'm having trouble matching faces that that really helps here secondary HSL secondary is where you get the most powerful option to grab a specific color vector and just affect that color vector so we can go to our secondaries here if you're trying to just kind of highlight the sky or maybe the Blues out of this couch or the Reds in the wall that's where secondaries help them this has a hue saturation illuminance slider it can choose a range of colors based on hue saturation and luminance hue is gonna be that generalized color you can hit your set color here and it will create what's called a key it's basically gonna just keep out the portion of the image that it's gonna be using and I'm gonna select the range of the blue on the couch here let's say we're trying to emphasize the blue on the couch so I chose this range right here from here to here on this blue scale by clicking on that and also what it did that this is a feather here basically gradually feathers off of that so so it's not such a it hits this point and that is done that way this avoids getting like noise and bouncing in the in the triad the transitions and the transition from one color to the next you have your little plus button here you can go there's general color areas right here I kind of not like using those I usually use that the eyedropper and what I'm gonna go over here and choose a darker blue as well and that jewel shows you a wider range of blue wider range of saturation and a wider range of luminance I'm gonna choose this down here this color gray will show me what it is choosing this is keep in mind this is a compressed image so we are getting some noise in here this is not the original red footage but now you can grab your sliders here and increase the range of hue saturation and luminance if we're trying to just get the couch here finally I can kind of get all the couch that's sharing the colors with their jeans right there but now to clean this up you can move down to D noise the noise is gonna clear up some of those white spotty noises now blur is going to soften this mask so you're not seeing it bounce and dance as much but what the compression it's really going to be hard to kind of choose all the couch here you can slide this around here until you get as much as that couch as possible see I'd say don't get the shady parts right there and just get the more prominent blue parts right there and you won't notice as much noise saturation see that's not changing much you can slide these back and forth and see what it gets you the most amount of couch same as the hue and once you get as much as the couch as possible that's all it's kind of grayed in that image and nothing else so I'm going to turn that off and now you can move down here and base this mask that I've chosen those items right there it's only going to affect those colors if I grab my correction here and grab it toward the blues look house making the couch look more blue and not the girl and not the walls or if we make it look more green red whatever color you want that couch to look you can change that now let's say we want the couch to look very blue and we want to and we want to make everything else gray we could actually do this we could this is a mask inverse I'm going to click that and it will now inverse the mask and whatever and what I've affected the couch now which is kind of cool so if I go down to my saturation here's that kind of sensitive look that we're talking about make the rule just the lips red we're gonna desaturate everything else about the couch and I'll say you want to emphasize the Blues on that couch you can actually me will show you how to make another color panel later but I'm at a dilute metric color effect now I've got two up here one to known the second one and I will go under basic correction and increase the blues here and now it will make the couch look very blue and everything else look like it's black and white anyway that's just kind of the basics that they're of that but but that's what your HSL secondary does it usually is used to help kind of make maybe the sky pop or make the greens in the trees pop or make skintone pop that's what you have a lot of power or we're choosing what portion of your image you want to affect by using your HSN secondaries and that is called actually secondary color creating alright last thing I hear the color panel is a vignette this is a kind of this is kind of cheesy I don't know how much I like the vignette because y'all have a lot of control over it but yet it's used quite often in color grading but it is used but it is used mostly to emphasize a certain portion of the screen the Adobe just has that kind of a basic vignette that you can do let's contrast this just make it look a little better but the vignette watch what it does if you drag it one way it feathers to the darkness if you drag it the other way it does if a white vignette this almost looks like a dreamy flashback or something you have a midpoint you can adjust you have the roundness which will change the shape of it and then you have the feather house soft the edges or how hard edged it is based on the feather but usually if you do see a vignette it's more like this will be very feathered and let's change it there where it just kind of emphasizes everything in the middle it makes it kind of redo a little bit of the lighting here where emphasizes something in the middle and and that's that's kind of weakness of this vignette is it just mostly does it kind of in the middle and if you do it in a subtle manner watch this what happens see how it's kind of flat up here it's gonna be even coloring but not even it kind of transitions to blue there but if we grab this amount and we drag it down like this and then we feather it more bring it in a little bit more it should be just kind of settled that now it looks like there's kind of a light hitting her hair and it's just kind of darker off the edges see look at this what this is without and with and actually there I think it works pretty well sometimes when you see if the camera has a pan or a tilt is a dead giveaway that there's a vignette burned onto the image rather than the lighting that's making it look like that well that that is the control panel with the lumetri color panel there some footage that we've used for the exercise files here is a very very flat foot I just very intentionally done so we did that intentionally so it would be it would have a higher dynamic range and you could have control over the entire grade and it helps to kind of show what what you can do with it with a color grade here what I first recommend doing is because when you color grade you're going to be color grading every single shot but you don't have to repeat yourself on the shots that you've already done in the past like here we've got for example kind of a white we've got a white shot kind of a long shot then we cut to a medium shot I guess a little bit more of a close-up getting with close-up range there and then over the shoulder back to that medium shot close up there that medium close and back to a full shot here a nearfall shadows that moves across the room but this shot here is the same as this shot here so the grade for this is likely going to work if we just grade this one and then move move that grade over to this one here so what I'm gonna do first is I'm going to move through this up project here I'm gonna I'm gonna do markers here it'll be careful because right now we are under the color arrangement if you hit m4 marker it'll put a marker on what the selected clips if you don't have it selected it'll put it on the timeline I'm gonna put it on the timeline rather I'm gonna put it kind of like right in the middle of this clip deselect the shot in fact I'm just gonna actually before I do that I'm gonna move to editing so I stop selecting those shots for me so it will just let me do the marker on the timeline rather than the clips alright so man just say alright here's a wide shot that I'm gonna color rate it hit Emma the letter M for marker I'm gonna move over this one here's a medium shot I'm gonna m4 marker you know move over this one over the shoulder and then we go back to this medium shot so this one I'm degree D and so so far we've got three shots we're gonna work on now she stands up this is pretty much the same as that preview as this one over here so I probably don't have to so I might not have to work on this one we have a shot out the window that's a whole new set up there or coming back in sitting down these we've already kind of done we've done that shot we've done this one we this one's a new one this is more of a close-up a full close-up here so I'm going to hit emmalin for there so so far I've got five shots total that I got a grayed out the window this one is similar to this one but a little different so maybe I'll do that wasn't an individual grade but what we'll see we'll get there and we've done that shot we've got one for that shot over the shoulder we've got and then this is a new shot here so marker marker marker and then the rest of these is the same shot now that we've seen in the same shot here so my point being is you don't have to grade every single individual shot you can grade the hand flow shots and then copy and paste those effects to other clips that are basically the same setup but you're cutting to different you're cutting different timing on those things on those shots there so so I've got those mark they're the ones that I'm gonna be working on first of all let's work on this wide shot now I'm gonna go to color arrange for color I'm going to bring up my RGB parade so I've got the three my three favorite scopes my waveform my vector scope and my a parade here and we're gonna start working on on luminance first the way I like to work I like to work on luminance then I'd like to work on saturation then I like to work on the color balance and with this one actually just so we can see it better I'm gonna turn off the parade and the vectorscope just so you can see our luminance levels so right now this is a very flat shot so I'm gonna go into basic correction sometimes I will even go under the shot that I'm working on and do this and kill the saturation completely so all I'm looking at is that the luminance of the channel and I'm not even worried about the color right now our exposure is dim it's looking kind of I don't know for a darker scene it might might be fine I'm in just bring up the exposure just a little bit which will also give us some contrast range here but when we grab our conference will have a higher range for our contrast because if it's toward the bottom see if this is like really close to the bottom you start doing contrast that's gonna hit the bottom it's gonna bottom out or sooner so I'm gonna increase the exposure just a little bit and grab my contrast slider and slide the contrast and give this image a little bit of contrast alright to give this even a little more contrast I'm gonna go to the darks here I'm gonna define the darks on the bottom level I'm gonna get them close to zero so it really really kind of defines them as dark especially in a scary movie you want to probably do this a little bit more get close to zero but not quite to zero let's see how we do on the highlights we could bring the highlights maybe down a little bit and boost up the exposure a little bit so we can't kind of keep things nice and dark and increase the exposure a little bit so you can kind of keep things nice and dark let's bring down the whites let's bring down the whites which is the tippy-top of the scale and then increase the exposure here all right let's bring our saturation back here you know if you double-click on it it brings it back to the neutral area there and let's look at our before and after here there's a before there is it there's our after it's looking good I see I'd say I kind of like this a little bit darker though I'd say I like this a little bit darker though just maybe right about there so you're gonna kind of use a balance between so you're gonna cut and if we're looking through an image Magoo over through here she is kind of showing up her skin tones and everything's kind of showing up around like 30 to 40 Ayari and mid-tones is the mid-tone gray so actually for skin tones and whatnot that's pretty good we might even want to darken the shadows just a little bit just to give them more of the creepy vibe there we go let's say I like that level right there alright so next I'm gonna work on my vector scope here and look at our image and look at our vector scope holy crap this thing is really oversaturated to the yellows right there and it's probably just mostly this is probably that's light there that's really bleeding off into the yellows there so what we can do here is I can probably decrease the saturation just a little bit until the colors everywhere else start looking kind of normal so cuz even the Blues look a little oversaturated and they're in the red so I'm gonna bring that in Isis kind of like generally speaking about one third of the way out but we still have that light to work with so now I'm gonna go to my curves alright so under my curves here I've got hue versus saturation I'm trying to bring down this a big push and saturation I'm guessing it's kind of that light that's causing that so I'm gonna grab my eyedropper and go up here and click right in the middle of the light and that did tend to choose a little bit of kind of orange yellowish range let's pull this down and see under that actually that nail that look at that is bringing down the saturation I don't want to kill that warmth altogether but I want to find out it's a little bit more to the right in the yellows room and push that down right there open this up so it feathers off a little bit more and right there and now we can keep that warm that light is warm but it's not glowing yellow so just before I uncheck this just got that glowing yellow it's oversaturated and now that just kind of backed it off a little bit so our saturation is looking pretty good let's look at our balance here and right now this says my overall image is giving a heavier way heavier push in the Reds and a little bit more pushing the greens and it is the blue source shut and right now our shot maybe it looks too warm especially for being a nighttime scene so I'm gonna go under basic correction here so you can kind of fix this in basic correction I'm gonna push this more toward the blues which will bring down the Reds just in a subtle manner and then the Greenes let's bring those up and meet the Reds a little bit and see it we get and that's looking better there that's not looking so wrong before it was looking kind of like right right about there but now I'm just pushing it off just to cool it off just a little bit and I like that a little more I'm gonna bring down the darks just a little bit suits are kind of defined that dark areas over here it is crushing it a little bit but this is a like a darker movie so it's okay to kill some of the details usually you don't want to be touching zero if you want to preserve details but that's working there and we could even cool it off just a little bit more it was about right there now it looks like more nighttime light coming in like night to him moonlight coming in there cool I'm liking that shot there now let's look at the before and after here let's look at the before and after here let's turn off that lumetri color panel and let's look at their before and after that's before that's after a huge difference and let's say that's going to be my base shot that I'm going for right there so when we're comparing things I'm going to keep comparing things to this first shot because that's the shot that I want to finish that I want to use as my modelling shot there so I'm gonna go to so everything matches from here on out I'm gonna go to my color wheels I'm gonna go to my creative tab I'm gonna grab my sharpen and I'm gonna just sharpen this image up a little bit cuz it's a little bit soft not from focus just kind of pixels are a little bit soft let me do undo and I can see a slight and I can see a slight sharpening of the image right there and I like that so just sharpen it up a little bit and now we're gonna move on to the next shot okay so we've got it where I like to it kind of balanced I got my darks highlights contrast fix saturation and then the color balance I'm gonna do the same here I'm gonna go away for them if you're working on a bigger screen working on two monitors you don't have to keep turning the Scopes on and off I keep doing it just so you can kind of see what we're doing here so a basic correction increase the exposure a little bit so we have a higher contrast range fixer trigger contrast over if we're not getting enough contrast on this image we can go to our we can go to our curves our basic curves and do a luminance s curve here there we go I like that contrast let's increase our exposure a little bit right about there okay we can go to color wheels and match and I'm gonna just use this for the comparison view click on the comparison view and I'm going to turn this one to the first shot here and we're gonna get our playhead and scroll it in there cuz the beginning of the shot is fading in so we can move put these side-by-side and compare them this is where it has way more warmth than this does to it so I'm gonna first of all use my scopes here let's turn the art and by the way I've got my comparison view right here so you can turn this on and off quickly rather than having to go the car wheels and match if this is not showing here you can go to your plus button your button editor and you can grab your comparison view which is right here and drag and drop it down here and hit OK and now it's there and now you get to give a quick little switch there to turn it on and off which is helpful let's look at our saturation saturation seems to be intact it's not terribly oversaturated so it might tone it down just a little bit and then our balance seem to remember the other shot had a balance that was looked more blueish we ended up with more of a blueish shot we ended up with more of a bluish shot than we did the red shot and this one is pushing more in the reds and greens so once again I'm going to cool that off a little bit push up the Blues bring down the greens there the Greens seem to be a little high there we go let's do a comparison shot see how they look this one's looking more contrasting so I'm going to drive the blocks drag them down to kind of match the blacks there you know the shadows the CMS of the shadows a little bit expose your up a little bit more there we go okay so I'm liking that matching but the skin tones don't seem to match here for here so what I can do here is I'm just gonna go under my curves here I'm gonna go to hue versus you or I mean it's like a certain hue and change it to another to hue so what I'm gonna do is I'm going to grab this eyedropper here let's turn off the comparison view for now and I'm gonna select the skin tone right on our forehead is a big obvious skin tone area right there and I added that skin tone region which is kind of in the reds here so I should say skin tone as much as skin hue skin tones the darkness level of the skin but right now the car you little reddish so I'm gonna grab this and I'm going to drag it a little bit more let's go up more toward the reds and down a little bit more and that's more towards the greens and then we can just push this up maybe a little bit just get a little bit more red and let's see what we got there is a difference and see by pushing that up we just got a little bit of that gun at glowy right out of it now it looks a little bit more natural there just by slightly changing the hue their interface there's before actually that's got a little more greenish and I should say now that adds a little more red and kind of offsets the green in her face and we're getting more of a regular skin tone there if you want to get really nitpicky with skin tones I'll show you when we get to the close-up here what we're gonna do but now I'm going to move from shot to shot and I'm gonna keep doing this sort of grading here I'm gonna fix the darkness levels the contrast the defined the darks if you got highlights that are hitting 100 you want to bring them down below 100 you want to work on saturation the general color balance and then you'll do the fine nitpicks with curves and or secondary colors I'm going to show you one here close up that I'm gonna do a little trick with here so here's my other closer there's my close up my more full close-up regular than that kind of medium close-up that we were dealing with there I'm gonna bring this up on the comparison viewer here actually let's listen let's do our basic grade before we start comparing I'm gonna go to basic color correction this looks a lot brighter than the other images I'm gonna bring it down actually let's see if contrast will bring that down a little bit see and that's darkening everything else out up a little bit but it still seems a little too dark so I'm gonna bring that down maybe the shadows bring down a little bit an exposure up a little bit to keep that exposure on her face let's see how that looks on our luma waveform gonna go to vectorscope down and look at the saturation saturation is looking pretty pretty normal maybe a little push toward the yellow which might be coming from this blanket right here so we could kill the saturation just a little bit or if we want to kill them specifically in those yellows we can go to our curves get our eyedropper see if it's the blanket that's doing it and it looks like it is in the yellows there that was kind of doing an ill Awards the Reds and let's look at our vector scope as we do this as we try to pull back that specific yellow color right here it's kind of sparking off toward yellow so let's drag that down and that doesn't seem to be getting that we need to move it over to the right just a little bit make this range move over to the right there we go now we're getting that spiky yellow and we're bringing it down so it's no such a yellow glow okay let's bring up a comparison view and I'm going to compare this actually to our go from edit to edit up here right and scroll a little bit to where she's looking right there now look at the blue blue look at the blue blue here that we have to this we got to go to basic correction blue this up a little bit go down to the blacks and darken our darks in this image here get the contrast but look at the skin tone not matching there what we could do with there's two things we could try here let's go to color wheels and match and I'm going to do face detection I'm going to apply match and see what that gives us that got it closer that's great it actually would decrease the highlights it shifted the mid-tones towards the Reds and and the highlights but now so the overall tone of the image looks good however what we don't want to do is kind of match skin tone now or if skin hue now so let's go to our HSL secondary I'm gonna show you a way of kind of really honing in on the skin tone there what I'm gonna do up here is under lumetri I've got this one limb entry panel that's been added to this clip we're gonna add another one actually I'm gonna rename the one I've used first I'm just gonna call this one base grade so that's everything I've done on this base grade there everything are done on the basic correction and so on I'm gonna go down and say add lumetri color effect and we're gonna call this one now it's got two on there I'm gonna call this one rename it skin tone you know work specifically on skin tone so this has nothing to undo it yet on the second one that's the first base grade right there but I'm gonna do this on skin tone on its own layer here and we're gonna go under HSL secondary first of all it's I'm gonna turn off my comparison view so we're just looking at this one I'm gonna choose my eyedropper here and click it right in the middle of her forehead where it's really hitting the kind of the skin tones there I can hit plus here I can choose some of the darks as well choose a wider range and now let's go to color gray and show a mask of everything that we've selected and everything that we have everything that's in this white we everything it's in this white right there cut his stuff that we have not selected but everything in color is everything that it's in color right now is everything that we're gonna be changing there's no color black it shows everything in black that's not being affected in everything in color that we are affecting and then black and white shows everything of white that is what we're going to be changing so we want to kind of decrease decrease that I want to decrease my saturation a little bit so it's not grabbing the walls as much the saturation we just want to kind of get as much as the face as possible and not the walls change the feather on these here and I'll show you another thing we can do to really just kind of hone in on the face facial features on the face can tell because look at the blanket that's kind of sharing skin toned colors with this alright once you get that to where you've adjusted this we've got as much as the face selective as you can I'm and Dino is this a little bit and then I'm going to also blur the Matt just soften it up a little bit and we're gonna turn this back to color gray here then our getting a little bit more face okay so this here this line here is also commonly known as your skin tone line is actually not technically your skin tone line but the skin tone happens to line up with it cameras like it's called the I - line I can't remember what that what the mathematical reference is behind that but right now actually the skin tone is looking pretty good it's going maybe a little towards off towards the red so we could shift this a little bit and watch as we shift this skin here a little off to the yellow so it's more centered right there we just slightly pushed it to the left a little bit and let's see what we get when you turn that off and let's look at our before and after let's turn this off it just tends to bring a little kind of a blotchy nature out of it that seems maybe a little too magenta so but especially if your skin tones if you're having trouble your skin tones they're pushed more off to the red like this or they're pushed more off to the yellow you can grab the your hue here you will adjust that and push it off more so it's kind of centered there on that skin tone line there now when it comes to skin tone when I'm when once again I keep saying skin tone but skin tone is referencing the the darkness level of the skin it there if it's bright or dark because everybody happens to have kind of a similar skin hue it happens to fall right along this line right here in fact let's let's demonstrate that all right I've imported a few images here from the interwebs one of them is our former President Barack Obama and if anyone's watching this our former or our president President Donald J Trump and then I've brought so many with some darker skin tone here so we kind of demonstrate that the hue of each person's skin here that we're talking about tone darkness levels not color so much which is kind of interesting so I'm gonna go to first of all let's go to Obama here and I'm going to create a mask opacity mask and we're just gonna put it on a portion of the skin here and show you the color range the skin tone line or that should kind of be out let's just grab a portion of the skin right there okay I'm going to go to trumpet I'm gonna do the same right there and then go to this image here and do the same and sure kind of these differences in skin tone versus skin hue alright so we've got kind of three different portions of skin here that we're looking at let's go to our vector scope and take a look at these go to alright so I bought my first of all look at where this hits here and like ice men shinned the skin I know I keep calling it skin tone and I shouldn't be calling that but the skin hue is leading off toward the red and yellow here right on the line happens to be right on the line usually that this one is probably a little bit improperly balanced color box usually you're gonna get just a little to the right of the red is where you usually get that so let's take a look at the next one and this one actually is a little to the right the red even maybe a little too much to the red if it's pointing straight for the red that's too much it should just barely be offset just barely on the right hand side of this line that's a little too far over but now let's go over the next one and look at the same even though yeah even though we got darker skin this is still a very reddish skin here people have a reddish skin hue because you have a little something called blood under your flowing under your skin and it emanates a red color half of everybody skin you just have different levels of darkness and lightness skin and that is actually skin tone to be to correctly that a skin tone is actually the darkness levels in this and the skin while hue everybody kind of shares the same hue so yeah you can use that line to kind of correct your skin tones I get it exactly where you need it and that one looks like it needs to be gonna be pushed that off a little bit more towards the Reds and don't get a little bit more color in there turn that off and there you go okay so I'm gonna use kind of this first frame here and use that to match everything else or I can even use this one here and I'm gonna do the same over the shoulder I'm going to go through and correct all these kind of using the same steps that I've used and then I'm going to show you after I get each one of these ones color graded and matching pretty good then I'm going to come back and show you the rest of the steps here okay so I've gone through each one of these where I put the marker on these different kind of setups and I've graded each one of those and I've tried to match them to kind of meet this the the the the look of this first image sure been using that as a comparison and sometimes the close-ups of guys come closer to medium shows as comparisons but now what we can do is this this is where it gets kind of easy so I've done one two three four five six seven shots is all I've had to really great so I'm gonna go to this first shot here I'm gonna go to effect controls and I've only got one lumetri color under there I'm going to select that I'm gonna do ctrl C to copy and then I'm gonna move down my timeline and find everywhere where I have one of those shots right there's a white shot now all I have to do is control V or command V by the way ad when I was on this clip here I selected the lumetri color I do ctrl or command C to copy then move down to the next one right here's the white shot command or control v as in Victor to paste and I paste that color and I'm done I might have to do some basic controls here or some basic adjustments just because she moves through it this is a it moves in two different lighting and maybe we need to darken this up a little bit or something but that looks pretty good there so now I'm gonna go to the next wide shot here let's find it this is the next one right here because she moves round turns around this is the same shot let's paste this paste it there and once again this might need to be a little darker cuz she's closer to the window just fine then I'm gonna move to the next shot that's the white shot right there command V to paste it keep moving down there's another wide shot command V to paste and one more right there so now I've got I've pasted that on like 4 or 5 different times that cut back to that shot there so that first one's done let's go to the next one this is the one this is the wider close-up shot so with this selected I'm gonna select there lumetri color panel that is on this clip command C or ctrl C to copy move down there's another shot right there the medium close paste it looks good there's another shot of it paste it and I'm gonna keep doing that pasting all those shots that belong to that one and so on now I'm going to do the same to this and basically I just have to keep doing that let's show you the one actually where I had I had to lumetri color effects applied to it was on this one this is the actual close up here the the fold close up here so I'm going to actually look at this I've got two lumetri we've got the base grade and the skin tone I'm gonna select both of these right here I did two layers on that so I'm gonna select both of those and the way you can do that is by selecting the first one holding down command or control and selecting the next one ctrl C to copy shift 3 to go to my timeline arrow down arrow down you know down there's the other course up there command V to paste as in Victor paste that's done and let's see if there's any other close ups that's it so the I've only got a couple of shots I need to do that - now the over-the-shoulder there so let's copy that one command C C there's any other over-the-shoulder shots I think there was one other there it is that looks good then we have the outside shots so I'll copy that outside shots paste those and this is the only other time she sticks her head out so paste that on and then we just have the end two shots this one copy the lumetri arrow down paste it here copy this one paste it here and I am done so then it goes really quickly after you get just those base grades done on those main shots then it starts getting easier you just start pacing but then what you really need to do is you need to play through your project and just see if make sure everything matches as it goes from shot to shot to shot and see if there's any fine-tune adjustments you need to do to get everything to look good and I would say just watch all the way through it and if you see some spots where you need a set just stop adjust it and then move on to the next shot okay finally one more thing that we can do here I don't know if it needs it on this project necessarily but it will on some projects but what you can do a little trick here if you want to give an overall look to your shot you can do this you can go down to your project window here I'm gonna go down to the bottom of my project window here this little new item icon I'm gonna say new adjustment layer and hit okay it'll base it on the resolution and your frame rate I'd okay I'm gonna grab that adjustment layer I'm gonna drop it over basically everything my entire project here aside from the titles I wouldn't need it on the titles in fact this title zoom up here fades completely out so lets out let's not put it over the title because the titles are black and white that works just fine but you could put this over your entire project if you want to I'm just putting it over the storytelling portion and if you select that adjustment layer you can go up to the lumetri color panel go to creative and you can start going through some looks here and see if there's something you want to do to kind of make give your image those very specific look I kind of like that one right there keep in mind this is gonna be kind of extreme when I click on it when I click on it it's very intense it comes across very intense so all you have to do now is grab your intensity slider and just adjust it down till you get somewhere kind of in between so now look at this and that gives that whole grade to my entire project now it gives that to the entire project here and I might want to I could even go into basic correction just turn up the exposure just a teeny bit and that's just all adjusting on my adjustment layer here maybe kill the intensity a little bit more and there we go so now when I turned my intensity now when I turn my adjustment layer off it just gives that kind of little look to it that little contrast you kind of Kulish look to it and it does it to the entire movie that's only if you want to get give your entire movie kind of that overall looking and put it on the entire movie and it maintains the grades below it but then it puts this over the top of it it's kind of like putting a color or color layer over the over the whole thing that you've already graded not necessarily but sometimes it's kind of nice just to give you a entire project a nice look and if you mess with the intensity slider you can kind of turn it on and off and get it exactly where you want - cool well that concludes the tutorial series on this specific short film here editing that a short film doing sound mix doing the titles doing the effect work on it doing the the color grading if you have any questions please post them in the future and I'm going to be getting into more basic tutorials on just like how to do effect controls how to do animation how to do I'll go into more details on credits and things like that but for now that's it so I appreciate you watching if you have any questions or comments please post them

Channel: chinfat

Views: 12,549

Keywords: Adobe Premiere Pro, Software (Industry), Project, Episode, creative cloud, cc, Episode Part, tutorial, project, Setup (Film), Film (Media Genre), editing, video, video production, footage, 4k, Markers, Redundant edits, Trimming, Ripple, roll, Continuity, fight scene, Ripple Delete, Overwrite, Ripple Paste, Matching, ripple edit, roll edit, l-cut, j-cut, lcut, jcut, l cut, j cut, slip slide, sync sound, video effects, color correction, davinci resolve, scopes, waveform, vectorscope, RGB parade

Id: 4P8yOnqSx0c

Length: 76min 15sec (4575 seconds)

Published: Wed Apr 15 2020