The Complete COLOR GRADING Tutorial for Premiere Pro: CINEMATIC FILM LOOK | Cinecom.net

in this tutorial you will learn how to transform a very boring and dull shot and do something more cinematic like this! We're going to take a look at three stages, first of all we're going to start with some basic color Corrections and take a look at what contrast actually is then have a look at color theory and how we can do grading and finally we'll have a look at some more advanced techniques like masking and blending to really make the difference so let's get started Oh what's up guys it's Jordy here for cinecom dot net and let's just dive right into it because as you can see it's a little long tutorial and that's because it exists at a three parts like you've heard me saying in the beginning so we've got your original shots right here in the timeline the very first thing that we want to do is add contrast to it this here was shot very flat as you can see for those who wonder it was shot and a gh4 in the V lock profile now what you want to do to create that cinematic look is always make sure that you are shooting as flat as possible because you want to avoid having over or underexposed spots in your shot at any time and with that I mean that for example your camera scarf you want to make sure that that is exposed well that this is not over exposed but also here her coat that these darker parts over here are not under exposed and that's what really makes that film look so in other words if your shot wasn't exposed correctly then it's very hard to get that cinematic look so this shot here is perfect so let's start with the contrast of this shot I'm going to open up the lumetri color panel here on the right side you can't see that you can always head over to window here on top and just select lumetri and it should be somewhere right here click on that and that will open up this panel that gives you several options to do the color Corrections and we're going to start with basic color correction as you can see right here you've got to be contrast slider but there are a lot more tools like the highlights shadows whites and blacks and all these controls right here are going to help you with setting that contrast there is a very big difference between contrast and cinematic contrast now to explain that I'm going to go to this image right here first and this will allow me to explain these controls here a bit further as you can see we've gotten highlights slider we've got a white slider now we've got a shadows and a black slider now all of these are different you might think all the highlights and a whites aren't that the same well not exactly and I could visually show you exactly what they do by opening up lumetri scopes again this window can be found from your window menu you're on top lumetri scopes for right here now you want to make sure that you are and you wave form view you can change to that from this little icon here this little tool by clicking on that and then just select waveform RGB be now I'm not going to go too deep into this that's a different story we're just going to color great without these scopes for now but basically what this represents is how much exposed each part is in your shot and you can clearly see all of these steps right here that come back in this image over here so that means the white area is your on top which is at one-hundred percent in any black area is all the way you're on the right site which is at zero percent and everything else sits in between so that means if I'm going to increase for example the exposure of this shot you will see that all of these steps also increase an exposure and if I will lower that the other thing will happen of course and by the way always double click on any of these controls to reset that value let me show you the difference between the shadows and the blacks the shadows work a bit more underneath the blacks and it will usually also take a lot more of the middle tones which lay here around these fifty percent if I'm going to increase that shadow slider or just move it up and down you will see that these three spots are going up and down as well as this spot over here which represents already the second rectangle here so the shadows are going to work more here on this area as I'm moving this up and down now let's see what happens when I'm going to move the blacks up and down you will see that the more darker spots are affected now and the one here on top the more brighter spots a lot less so the blacks are going to work more here in the right side the real blacks as the shadows like the name says are going to work more on those shadows instead of the real blacks now your wife and your highlights work exactly the same the right side here more unless site while the highlights here set more on the middle left side so now that we know how this works we know how to do it as well on the actual clip and just go to close to elementary scopes because like I said before that's a whole different chapter so which are clip selected the very first thing that I want to do is actually add a bit more contrast with this contrast slider and that's because it was just shot a very flat so we're going to have to add a lot of contrast to make it look natural the next thing that I want to do is crush those blacks but make sure that we are not going to underexpose anything to make sure to look at the code here of Kim and the same thing is going to have 40 white also increase that that will give us a really nice contrast but as for doing this be careful though that you're not going to make those brighter spots flat and the same thing goes for the dark spots as well so what I usually do to preserve those details is increase the shadows but decrease the blacks and that will really make sure to have a nice contrast and that's difference between a more video ish contrast and a film look or cinematic contrast always preserve those details the same thing goes for the highlights here as well bring that down as you can look here or scarf it's starting to look a bit more natural as we're doing this but we're still keeping that bunch as we're increasing the whites and the blacks which are laying more on the outer sides of the exposure spectrum now finally if it's necessary you might want to increase the exposure as well but as you're doing this know that you are making it flatter to so then again you have to add some more contrast and you can do that by either working on those blacks or just moving that overall contrast slider but be careful though with this overall contrast slider again only do that if your shots are very flat alright so that was the very first part on how to add more cinematic contrast to your shot the next step is going to be the grading we're going to work with actual colors now and the first thing might be the saturation now this is always the second step because if you are going to change the contrast also the saturation will be affected so that's why we're going to do the saturation after the contrast so let me just increase that a tiny bit not too much not really big fan of adding too much saturation it's not really that filmic so perhaps you might want to decrease that depending on your shot once you're satisfied and there are some colors in your shot we're going to head over to the color wheels inside limitary and here is where that magic is going to happen we're going to create even more contrast with these controls there's going to be a different kind of contrast we're talking about color contrast now if you have to mention here when we talk about color grading adding a certain look and feel to your shot for any project or for any personal preference that is going to be different of course I just want to show you one of the very basics and that is contrast but there are of course many other techniques but i believe so this is considered one of the more basics one in colored rating to get that cinematic look so we see these three levels here the shadows mid-tones and highlights we've seen before what exactly that they are for the shadows so what I'm going to do is add some blue into this and the reason for it is that the color blue fits more towards darkness 2 nite seems to anything that is kind of bad something that we want to stay away from and I'm really seeing it a bit more exaggerated but that's what fits with shadows so let me just bring that midpoint to the blue side like that all right away you will see that the image looks way too blue so we're going to lift that up with the mid-tones and we're going to work on the other side and that's what I mean with color contrast we're going to make two opposite colors as you can see day late on the opposite side of each shutter so let me just add that orange into it and you want to take a look at the skin tone in this shot here make sure that they look natural that assup magenta nor green you want to add nice skin tones something like this and finally this is the last step which highlights we've been shifting these colors here blue and yellow but something very important is that you have to look at your whites at any time and in this case that's game third scarf so first cart now is starting to look yellowish or the sky you're on top because we exchange that any mid tones make sure to bring that back to white we can do that by bringing this to the opposite side so in this case it's all pretty okay but you might want to bring the highlights a bit more to the blue sides here if necessary to make those white area real white now let's have a look at sea before and the after and you can see that we've already done a pretty damn good job here we've got a rich contrast and that's basically just done by adding two different colors in the shadows and and emissions now these were any more basic tips they're definitely stay tuned here after the break we're going to take a look at some more advanced tricks and that is really going to make a difference and make those shots pop like in those cinematic film compile your perfect soundtrack with pinion beats library of exceptional royalty free music all tracks are copyrighted clear and they're simple comprehensive licenses lets you use each track as many times in as many projects and you want check the link in description for more or head straight to premium beef calm to find tracks you need hey folks welcome back so the next thing that we want to do is make sure that Kim is going to pop out in this scene you want to draw attention to the subject so what we are going to do is lift up those highlights even more to make it real Bob know do work specifically on your subject to we have to actually cut her out and create a mask to do that simply select your Clips hold down the Alt key on your keyboard and drag that clip to channel number two and that will make a duplication of it but also it will duplicate the gratings that we have done fryer now let me head over to be effects controls here on top and from the audacity over here we're going to locate the pen tool this year's going to allow us to create a mask around Kim now very important is that you are going to start in the beginning of this clip let me take the pen tool here that allows me to create multiple points around skim and connect these lines now it's not that important if your mask isn't done so correctly you can go pretty rough over this you will see in just minutes why that is something like this and I'm going to set this for a moment to twenty-five percent because very important here is that you are going to go outside of the canvas because else you might see a little line here on the bottom there we go now this mask has to move also together with Kim so we are going to track that and that's why you have to be in the beginning of this clip just press the play button here under mask pass the mask that you've just created and that will start creating keyframes as you see and to attract that together with Kim and if everything goes well that mask should stay on her if something goes wrong just hit that stop button and i just renewed it all right so tracking has been done and as you can see the masked follow sure pretty good if i'm going to disable here the layer below Kim you will see how the mask actually work so we've got our isolated right now and that is perfect because what we want to do now on Kim here is maker pop even more go to go into the basic color Corrections and there are different things that we can do for example we can increase the exposure if you like so that will brighten it up a little bit more making her stand out a bit more but we can also work on the contrast for example here on the whites i'm just going to increase that even more to make your scarf pop outs but again make sure that you are not going to overexpose this that's a bit more contrast as well bring down those blacks so as you can see there's a lot of contrast now on Kim and if you are going to take a look at the before and the after you can see what that does to her and how that makes your pup out from the background and by selecting and treating these different parts you can really guide the viewer to those spots now very important as well if your mask is getting visible make sure to fetter that as well so in your effects controls here underneath your mask you will see a better option make sure to increase that a little bit so that you won't see that there's any mask here basically at any cost you want a voice that people notice your Guler gratings so if your mask is visible then perhaps change something in here just never do anything drastic in here that's something that you should have done in your original clip here down below alright we're going to create another mask skin tones is something very important when you get your skin tones right you got awesome footage so again I'm going to grab the layer on top here on which we've just added that more contrast with that mask here as well and I'm going to duplicate that again by holding down the Alt key on my keyboard drag that to channel number three now it has copied everything so I'm going to delete the mask around Kim first because now I want to work specifically on her face so again grab that pen tool here and I'm going to zoom in a tiny bit more on Kim something like this and just draw a path around her face make sure to only select the skin tones usually that's also the neck of the person right here again it doesn't have to be that perfect but you do want to do your best as quickly as possible there we go we've got it selected we are in the beginning of the clip hit that play button and that will track it again if you're tracking goes wrong dress that stop button to adjust but don't mind it too much as you can see here we are a bit honda line of camera face but that doesn't really matter that there we go we've got her face isolate it right now the tracking went pretty well and here comes the magic now we're going to add a bit more warmth into Kim her face we can do that with you temperature slider now this is something that you shouldn't do on the overall image because that is really going to push that yellowish color in every tone and your highlights in the blacks or the shadows everywhere so that's why I'm always very careful with this temperature slider but it does work great on skin tones as you can see that really makes your pup out you can also work with the saturation year and so it also works very well is just adding more contrast as you see we are adding different layers of contrast where the background has the littles contrast her body a bit more interface gets the most contrast that really makes your pop out and pull the viewer towards her another great setting is when you go into the creative tab here is to increase the sharpness to make her face more sharpen and I'm doing that specifically on our face because real sharp footage isn't considered that cinematic so you want to be careful with this slider here as well if you are going to use that make sure to use that on specific points because you don't want you sharp moon stuff that it's out of focus like the background here so once that is done again make sure to perhaps increase the feder a bit more of that mask if that is necessary so have a look at this year she looks great let me just show you the before and the after of those skin tones isn't that awesome all rights we are almost through which we are done with color grading Kim but there is a bit more that we can do about the environment again to pull the attention towards her the scene is still pretty dull that's because we don't really have much colors here in the background so on so what I'm going to do here is create a custom lens flare we've got those highlights here on top and that is great we're going to use that to create some sort of a son that is casting light on Kim and to do that I'm going to create a new salt you can do that here from the bottom below from your projects panel click on that and select the color matte from here press ok and if we're going to select a very orangie color mass something like this press ok and just give that any name for example the Sun press ok and drag that layer on top of everything and we're going to create a mask on this son I'm going to set the scale here for a moment to twenty-five percent and I'm going to disable that layer to so they can see where i am drawing this make sure that you have that layer selected even if it's disabled two can still work on that I'm going to grab the pen tool under the opacity and going to draw a quick triangle something like this I'm going to enable that layer again so they can see what I'm doing and what you want to do now is increase that better a lot but really a lot something like this now it doesn't look right yet and that's because we have to blend this layer 2 under the audacity here we can find to the blend mode click on that that allows you to select from different blend modes we can choose something like an ads which is very strong or like a screen which is more softer but I've seen that it works best with the color dodge over here that will blow out these highlights just a tiny bit which makes it look more like the Sun is there of course the effect is a bit too much at the moment so what I'm going to do is just bring down your fafsa tea and you just want to add like this tiny bit of warmth coming through you three something around twenty four percent looks already pretty good as you can see and since this mask is fettered so much we don't have to track that or animated perhaps if you are fanning a lot you might want to play with the position as well keyframe that too but if you have like this very slow handheld shot and you don't have to do that this looks pretty awesome and then there's one last thing that we have to do we're almost there guys so stay with me here you are seeing a lot today I'm going to grab the clip here down below where we had the original draining or color correction on and hold down the Alt key to make a duplication again and we go to drag that's to channel number 5 now also in year we're going to create a mask again so select that layer head over to the audacity grab your pencil and again we're going to cut out a corner from this clip something like this since we've got this part you're isolated what we can do now is go into the basic color correction and bring down that exposure a tiny bit not too much just a very tiny bit and what you also want to do perhaps add a bit more bluish into that see what we are doing here again we're adding yellow or orange to less site and blue to more darkness to the right site again here we have that color contrast we're making this site a bit darker to pull the attention towards Kim who's a lot brighter in this shot so as we're doing this make sure to increase that mask fatter like a lot something like this and voila here we have it to the epic cinematic color grading as you can see it's a lot of work I must be honest I don't always do these mass kings myself only with bigger projects so something yet you have to consider yourself are you only going to add some basic contrast or do some basic color grading by adding blue into the shadows and more warrants into the mid tones or are you going to take it to the next level and also creates multiple layers multiple masks to work specifically on certain points if you like you can also download this project file so that you can practice these techniques on the same clip that was used in this tutorial thank you so much for watching make sure to subscribe to spreading out two videos a week make sure if it sums up this video if you liked it as well and as always they created you

Channel: Cinecom.net

Views: 1,373,170

Keywords: color grading, premiere pro lumetri, color correction, cinematic look, cinematic film look, premiere pro color grading, premiere pro film look, premiere pro tutorial, premiere pro, adobe premiere color correction film look, cinematic color grading premiere pro, film look premiere, adobe premiere film look, color grading tutorial, cinematic color grading, how to color grade in premiere pro, how to color grade, hollywood look, colour grading, cinematic color, film look

Id: _m-9R1oqvh0

Length: 19min 29sec (1169 seconds)

Published: Fri Feb 17 2017