Video & Audio Masterclass - Intro to Color Grading in Premiere Pro

[Music] [Music] all right well my friends it looks like we are live how is everyone today good morning good afternoon good evening wherever you are in the world my name is Jason Levine and it's truly wonderful to be here in 2020 doing a new show on behance and it is the video master class and today we're gonna focus on intro to color grading inside a Premiere Pro as always we've got our live interactive chat and this show unlike my regular daily live streams is actually going to be sort of live at in real time so I'm watching your chat in front of me here if you're asking questions as I'm going I will try to answer them we've also got some Adobe peeps and of course some of our regulars like Tim modding in the chat there and they can help you out as well so I've got a lot of stuff to cover this is the first episode I really want to make sure I get it all and into those 57 minutes for you so why don't we go ahead and get started so I'm just gonna switch over to my screen here and everything seems to be working well so that's good okay let's move over and there we go all right just a couple of quick shouts what's up Cecilia Michelle Tim how you doing man Eric Jesse Yan Eric always great to see you Mel Paco what is up man all's going well so far all right a really uh okay awesome wonderful audience okay so what I want to do today is really focus on just the basics of understanding how to begin the process of grading and using sort of color in Premiere Pro and we're really going to cover fundamentals here so if you've never done it before the first thing you'll want to do when you open up your footage when you've got your content in Premiere is switch over to the color workspace and you could access that by going up to the window menu up at the top here and choosing color now I of course I'm using a custom one here just to kind of fit all of my panels inside the stream but what that's going to do is it's going to open up the luma tree color panel for you and this is where we're gonna focus on sort of the grading aspects or the color aspects working in Premiere Pro now the cool thing about this is that this functions very much like the develop module in Lightroom and specifically there's several different modules inside of luma trees so up at the top here if we take a look we've got basic correction creative curves color wheels and match HSL secondary and vignette now for today's episode for the first episode we're really just gonna focus on these first three and I assure you there's enough to cover there you'll you'll be you'll be saturated and satiated with a lot of good info here now again talking about how this relates to lightroom well if you take a look at the elements that you have inside a basic correction like temperature tint and then the tone controls exposure contrast highlights shadows whites blacks and saturation but bounce over here I happen to open up my Lightroom cc similar we're gonna have the same kind of develop module controls along the right side here under light you'll see those same exact controls exposure contrast highlights shadows whites blacks and then under color we have temp 10th vibrance and saturation okay so if you already sort of understand the concept of doing this in Lightroom or in Camera Raw for that matter it's gonna be that much easier for you to leverage this inside of premiere alright now let's just take a quick look at the footage that we've got here so this is the combination of some of the stuff that I've shot some stuff that we've used in various demos before this shot that you're seeing here is from a film called the scene between and if you take a look at this footage I'll play a little bit of this back this is already graded so this looks really lovely beautiful vibrant color skin tone is popping sky is popping the greens of the sky or the Greens of the sky the Blues of the sky the green of the grass everything is really vibrant and lovely but it didn't start out that way right and one of one of the first things I'm going to recommend that you add to your buttons to your controls inside of your program monitor which is where we're seeing the output that when we make our adjustments and our changes is this global effects mute button now this is not enabled by default to add that to your buttons you're going to go to the button editor which is this little plus button here all right click on that plus button and this shows you all the available buttons that you have to you you're going to take the global effects mute and you just gonna drag it down into the panel down there it's simple drag and drop and it will add it so if I mute all of the effects this is where we started and this is not uncommon now for all of you photographers out there and for anyone who's shot like DSLR video this is very familiar to you right so it's it's not unlike the way that we do it in photography when you know you're shooting raw because you want to take advantage of all the dynamic range that you have and of course all of your color tone and lighting settings can be edited after the fact well it's the same thing in video here and in the case of this particular footage which I believe was shot on a flavor of Sony a7 we shoot everything what's known as super flat which enables us to add all that color back in and gives us more latitude when actually performing in the grade or the color correction all right was checking at our chats here alright very very cool so that's sort of the before this is the after how do we get there okay well there's a couple steps and this is where we're gonna start now diving into elements of luma tree alright so you'll notice up at the top at luma tree you have this master tab and then you have this second tab right next to it the master tab effectively allows you to apply color changes and nuts ie look-up tables which we'll get to in just a second to your main clip now the main reason for applying things like an input LUT which you see right there to a mat to the master tab on your clip is primarily if you're you know if this is a longer cutscene and this is something which you're going to be using multiple times in your timeline this allows you to apply some very basic changes alright in this case an input LUT to populate any instance that you use anywhere in a timeline anywhere in your edit alright now if this is a short clip you're just going to do it once one time it's getting used one time only the default is this instance tab right so what this allows you to do just to kind of make sense of it all the master allows you to apply some basic Corrections that will apply anytime that this is used but you may have multiple variations of this clip or different scene from this clip in your timeline all right so you can apply different color Corrections to those different scenes with the second tab here all right now when you click on master you'll see that I have an input LUT applied now again this was shot on the Sony a7 a lot of people are very into shooting at log three and you can see that we've applied an input LUT sometimes referred to as a display LUT right here now when you click on the down arrow this was one that we actually got from the Sony site there are some default input Luntz that you can add and the idea behind this and by the way I'm just gonna go into our effects controls because everything that you apply in luma tree color you'll also be able to access in the effects controls tab here now again effects controls I believe it's already docked and ready in that color workspace if not you can always add the effects controls by going to the window menu alright so under master under the effects controls here you can see that we have this input LUT applied now again the idea here is that this input LUT is effectively bringing back all the color that it's allowing you to display that color properly on-screen so the men you can begin to break it down and do other things with it okay now if you shoot stuff like on an iPhone which I'm going to show you some I phone footage here in a moment if you're just shooting with the native camera stuff isn't flat it's already very contrast a very it's got you know contrast and saturation and highlights and sharpness and that's awesome right and the cameras are better than ever before the thing is if all of that color and everything is already baked in sometimes it's a little bit difficult to undo some of that right or modify it really if it's super saturated and super contrast II what happens is if you start to back some of that off when you grade is that you can you can tend to incur artifacts little blocky pixelated looking things so now with this particular footage it's actually captured raw again that input lot is basically allowing us to display all of that color and give us that wide dynamic range which we can now begin to manipulate it's very difficult if you're not a professional grading artist or really good at color correction to grade from this state here you can do it you can do it without an input LUT I don't highly recommend it but again it's worth trying and it's and again if you're like if you'd like sort of experimentation it's a great way to get you familiarized with kind of the techniques and the tips and how to do all of that now before we move on because there's another element that you can use to this which I'm going to get to in just a second I'm gonna switch over here to another timeline and I believe it's this shot here or maybe it's the curved shot hold on one second this shot here yes this curved shot okay so this is some footage that I shot with a nikon d800 and on this particular shot here again I had forgotten to drop the contrast drop the sharpness and drop the saturation when I was shooting this so without that input LUT it was very very the black was so black and there were like no there was just no no shadow detail so I added an input LUT after the fact this is another little technique people aren't doing this as often anymore but you can do that if everything has already been kind of super contrasted super saturated super sharp you can add an input LUT to basically reset it back to a zero ground now we use to ship with all of these natively in this input LUT section but you don't see them anymore well I'm gonna show you a little trick here how you can access those input Luntz those technical Luntz both in mac and windows so let's start here on the mac so on the mac if we go to our Applications folder all right we're gonna go up to Premiere Pro 2020 I'm gonna right whoops we're gonna right click on the application and we're gonna choose show package contents now be very careful when you're doing this little caveat here obviously don't be messing about with stuff in there but I'm gonna show you where you can access these Luntz they're living there for you they're waiting and then you've got a contents folder and in the contents folder you have a whole series of additional folders you see one here called lumic let's go ahead and double-click on luma tree and inside luma tree you have something called lutz and in lutz you have a folder called technical but shoot the folder that you're looking for is this one here called legacy and in legacy what you're going to find our input Lutz not only just stylized ones but different input Lutz for some of the most popular cameras out there including things like Blackmagic Cinema Camera cannon 1d 5d 70 C 300 C 500 alright FS 5 SAFS 700 right you've got some standard log2 linear linear to log log to display alright neutral start like I was talking about this is a good one to attempt to use if again you've got all this color baked in and you're trying to flatten things out to get you started so you've got a lot of Panasonic red now of course red has its own red settings we won't get into that today but you have all that capability directly inside a premiere and then you have a universal LUT here which again kind of equalizes that color so that you can begin to grade it just gives you a little bit more latitude a little bit more room when you're trying to add some of that color back in we've also got some defaults for s log 2 and s log 3 which a lot of you Sony users will be familiar with so what you can do once you access this folder a couple of things if you want all of them to appear in that in that technical folder you can of course copy them I don't recommend just moving them copy them into the technical folder or quite simply take that legacy folder and copy it off somewhere else and then you can import them individually now let me go ahead and switch over to the PC here and I'll show you the same thing basically the same location you'll see that I'm I'm under my local disk C Drive Program Files not to be confused with x86 Program Files the standard Program Files Adobe and then I've got Adobe Premiere Pro 2020 I'm just gonna whoops I'm going to right-click on this sorry I've got my touchpad here and choose open alright and then it's the exact same path as I was telling you we'll go to luma tree alright go under Luntz legacy and there they all are all right I can't tell you how much of a lifesaver this is particularly if you know like I've got a lot of old footage that I shot on my 7d literally 10 plus years ago and 5d 10 plus years ago and because I wasn't really good at grading and didn't really understand it at the time everything had all that color baked in so everything is just like super contrast II supersaturated and that's awesome and some if it looks great but trying to mmm bring it down it's a kind of nowadays standards of look is challenging without using something like that input LUT all right so that's just something to be aware of okay so we've got an input LUT applied on this which is going to allow us to again take it a step further and I'm gonna now just reset all of these controls just by double-clicking on contrast on little contrast dial here and shadows and saturation okay so here's what it looks like just with that input LUT applied all right and again you've also got a bypass for luma tree up at the top here that's a little effects button that you see so we can bypass it on or off okay very cool all right now one other thing that I want you to be aware of we'll come back to this a little bit later is that you also have the ability to stack different elements of luma tree as layers so you actually have a layer stack here where if you wanted to say let's say we're going to just apply everything at the clip level not using the master master tab but we want to do sort of multiple looks you can have different layers of luma tree that contain let's say a color look or a cinematic look and then you can add another layer in this case it says add luma tree color effect and that can be a monochrome or a black-and-white look or maybe you have one layer which is just that flat version and then another layer which is the colorized version and another layer which is the black-and-white version you get the idea you can use layers it's all non-destructive anyway it just depends on how you like to organize and leverage all of these different modules when I'm doing sort of different creative color styles I love to use layers generally if I'm just applying something and getting a look it's just kind of a quick application and I don't really mess about with it all that much all right so again we've got our LUT applied on the master now we're in the instance tab alright and this is where we can begin to do all those things that you already know from Lightroom and from Camera Raw again we can adjust temperature right so we can cool it off we can warm it up real simply and by the way these aren't just ported over from Camera Raw these were redesigned reimagined for video right they actually took algorithms from the various different camera manufacturers and integrated those so that exposure really functions like exposure not just gain up or down all right and then again we can get into things like contrast okay so we can drop the contrast here or increase the contrast alright I think I'm gonna drop it a little bit because we're gonna make up some of that by going into shadows here let's lift some of those shadows give us a little more shadow detail and then let's increase our saturation ever-so-slightly all right and with three simple clicks here are three simple manipulations before alright super dark looks good but just kind of dark right not a lot of detail looks like one leg there after well now we can see some definition or again the pink is popping the sky has a lot of sort of beautiful gradient hues it's just like Lightroom alright you can have so much fun with this and of course in another section we'll talk about how you can keyframe these manipulations because don't forget that we're also talking about you know leveraging this over time right as people move in the scene the light may change and you may have to make adjustments to contrast to highlights right maybe we want to pump the highlights up in this section here blow out a little bit of that sky or again we can drop them down to give it a little bit more subtle drama which brings a little bit more focus to the Sun on her face there so really simple easy change you know my new changes can make a real dramatic difference alright it's checking over to the chat here alright hey TR what's happening Massimiliano all right no questions so far Thank You Paco for handling those NEMA for my Ron hello Desiree hey hey all right awesome Anthony we'll see you next time of course you'll have the replay available to you now something to keep in mind here we're gonna move on from this in just a second one of the great things about this is again you might have a whole series of clips that were shot at the same time with the same camera in the same location so you don't want to have to reinvent the wheel every time so if you right-click control click on a clip you can copy the attributes that you've applied to that clip and when you go to a second clip like this one here of our main character the surfer I can right-click and I can choose paste so here let me go and just do it so you can see what it actually does I'm gonna copy the attributes come over here and choose paste attributes I've already done that actually and then you can tell it exactly what you want it to paste and in this case we're going to have the luma tree color changes and effects that I applied apply to that clip so when I go to this next clip you'll see that it has the same exact look as the previous one right but this is what I was talking about look at how the Sun here is that much more vibrant right so maybe in this case actually I think it's because I made a slight modification and saturation yeah so this one's about 184 let's pump it up a little bit more like that so as we transition between these two it just looks a little bit more you know seamless and again you look at the grass you look at the sky and you really try and get that seamless kind of tonality there maybe we even pull back a little bit of the saturation here I might even lower the contrast just a bit more these are the kinds of things that you might do with keyframes over time remember cameras moving different angles of the Sun hitting our lens here but copy paste attributes is a great way to share your color across multiple clips all right super important super useful now just to kind of showcase this is Sony footage not everybody's working with a Sony camera what about iPhone right iPhone 4k get asked this all the time can you really shoot and everybody kind of knows this now I mean the commercials will tell you shot i phone frankly if I have to here shot on iphone one more time I mean we get it all right and really that's the thing right where is it going how is it being consumed it just needs to be in focus but that's that's really mainly what you got to get right when you're shooting right get it in focus the color the style everything else can be done after the fact thank you and it can be done using techniques and tools that you already know so here's a little shot that I did in Alaska a couple months ago my beautiful sunset happening there shot on an iPhone 10 all right on a mountain you notice not a lot of snow happening here yes yes indeed climate change is real but this is modified all right now one of the things that I'll tell you is here again I didn't use any kind of input light but this is the before so this is the raw capture now it looks pretty good there's actually some fairly decent shadow detail again you're getting some of those nice nice natural lens flares I mean this is an After Effects that's that's the actual Sun as I'm shooting into the Sun reflecting off the camera lens there it's okay but again the blue sky not quite as vibrant as I'd like the the hot Sun may be a little too hot and I really wanted to bring out a bit more of the red and the warmth in those in those Sun flares and that was all done with as you can see here a couple of very simple modifications drop the exposure by about half a stop lowered the contrast to bring back some of the shadow detail drop the highlights right it kind of takes some of the edge off of that bright Sun increased our black level here and then added just a bit of saturation all right and if you've looked at you may have noticed that we added a whole new series of interactive tutorials and Lightroom on Lightroom cc specifically what's really cool about this is that you know you'll you'll see again as you make these modifications you'll see how it's affecting the shot very very quickly and as I mentioned this is really why like exposure in particular is so good in Premiere because this is really simulating cam exposure not just gain so it's really giving you that natural feel of what that's supposed to look like again if I were to leave the contrast normal you can see we it just it looks almost like a mountain silhouette as we drop that contrast now you're starting to see more of the mountain detail similarly with the highlights right you can see that Sun when the highlights were normal it's kind of edgy a little too much too much right I didn't shoot it flat in the iPhone now by the way if you shoot with apps like filmic Pro or even in rush you have more control over your camera settings this was just done in the standard camera app all right drop our highlights there again I didn't want to crush the black I wanted to lift the black a little bit more all right so this this slider here in particular is so good for video added a little bit of saturation and then the last thing which I'm not going to get into today but it's pretty obvious I just added a little bit of a vignette here just to make it ever so slightly more cinematic so this is the same vignette exact same vignette with the same midpoint ravenous and feathering controls that you have in Lightroom in Camera Raw again just give it a little bit of drama a little bit more cinematic flavor here alright I'm gonna drop this to half res and it just looks wonderful the other thing about Premiere to know by the way is but with this global effects bypass I can turn it on or off as I'm playing back so it gives me some nice real-time feedback as I'm going forward again look at the original name now it looks so blown out right like oh not a particularly great shot post color like oh it looks very cinematic and dramatic and you know nice right and that's all you want you know you just want to give it that that warm feeling I want to remember what it felt like that's the color that I remember this is what the phone captured pretty good that's not how I remember seeing it this is how I remembered seeing it all right cool all right all right let's see okay so I'm looking at the questions here Norman is it possible that I would put adjustment layer and put as a color correction before grading it absolutely so you can you can you can you adjustment layers - now here's the thing you still have a reason to use adjustment layers particularly when you're doing an overall grade on everything so after I individually grade single clips and I will cover adjustment layers in another episode but it works the same it's the same concept as an After Effects or in or in in Photoshop and I'll even just do it for you real quickly right here so up at the file menu I can say oh here in one second I should I'll even do it I mean let me move this make it easier so you can see this so this is our project panel here alright this is where all of your footage is contained and at the bottom of the project panel you have the new item button alright so on your new item button you'll see that you have the ability here to add an adjustment layer as mentioned I see we just kind of covered my camera right there alright it'll give you your adjustment layer in the proper frame size and aspect ratio you drop it down into your timeline and then on that adjustment layer now if I select it so that it's in focus again and I'm in luma tree color now any change that I make to that affects everything underneath it so again if I wind over to our guy over here right this color control is affecting him as well so this is a really common technique after you individually grade enter correct each shot right then to kind of give everything your overall look you use an adjustment layer that is the most commonplace way to do it all right now again you can still have multiple layers on that adjustment layer so this is where when you're doing your final delivery maybe you'll have a classic look or an edgy look or you know I always remember things by movie style so like the Minority Report super cool you know end of days kind of bluish overall hue I might add something like that and then I'll come up to our layers here and I'll add another one so maybe we rename this and we call this warm or quorum alright now I'm gonna make a new a new one and let's rename this and we'll call this blue cool alright now I don't want to add both of these so I'm going to disable the warm right individually to say that layer come back over to blue cool and now I can cool everything off and I can push up the highlights and I can drop the shadows here and crush the black level a little bit and now we've got this kind of cooler toned delivery right go into our Sun here again just a little bit cooler now I can disable this and go what did the warm one look like let's disable cool go back to warm turn that on it's warmer right all on the adjustment layer doesn't change all the stuff we already did on the individual Clips right super great question alright thanks Norman all right Steven Tabor when will you be able to fix focus and post got to be coming someday save my family videos so Steven actually you do have a function in After Effects and if you go to the premiere After Effects Facebook page maybe even the Creative Cloud Facebook page or my own YouTube channel which is Jason Levine video we have a function in After Effects called camera shake D blur and camera shake D blur does just that it attempts to sharpen or repair blurred frames now that's not to say out of focus necessarily it's more to do with motion blur but it's a step in that direction if you're trying to actually correct you know your focus wheel is just a couple millimeters off you know perhaps that that tech is coming but it's not in there quite yet but that's great we love that all right yeah yeah eric sharpness is a blues walk concept BM right all right and Steven so yes just everybody always loves machine specs so this is a 2017 fully loaded iMac 5k 64 gigs of ram it's got the Radeon eight gig card internally and with two terabyte SSD and a very massive twelve or sixteen terabyte raid which I can't remember and the PC system is one of the new 10th generation intel Dells which is really phenomenal as well okay all right Curtis if you have a longshot do you often grade a rock lip and its entirety before cutting it into the edit or cut the Edit and then grade the individual parts so Curtis this is exactly what I was mentioning before so if it's in to were to shoot it and you know again you shot it s log three if that's going to be cut up into multiple sections because yes you're going to use a bit of it at the beginning and some of it in the middle I would add the input lot to the master so that that's automatically applied in any instance that I use now depending upon where else it appears in the scene you may want to give that individual instance a completely different look so this is where again you have the input LUT on the master tab here but on the cut of it that particular instance you can add an entirely different look in entirely different grade to that instance of the clip somewhere else in your timeline absolutely yes to even give it a try I mean that that's it's one of those features camera shake D blur it will amaze you it's not going to do it all the time sometimes even with an actual hand shake it doesn't quite do it or you know just physical shaking of the camera but other times it will and it just it'll blow your mind so it's it's worth trying out and if there are frames that are in focus like if you were messing about you just were so close but not quite there it has some pretty cool intelligence in there that tries to find - I sharpened make the non sharp frame sharper so if nothing else it might just get you there a little bit faster okay alright so that is the basic correction panel now we're gonna move on to the creative tab all right now much like its name implies after you've done your basic Corrections this is where you can now add a little bit of style not that you can't be stylistic with the basic Corrections but this is specifically where you know you can use creative display type Luntz alright and you can find lots of these all over the Internet okay so sorry I'm just reading comments as we're going okay so again this particular module really really easy to understand right so right up at the top is where you have your looks these are nuts and they come in various flavors right dot cubed 3d 3d some of these you'll find pre-installed we've probably got about I don't know three or four dozen plus in here all the ones that say SL these were speed looks that we license these used to be in in our applications speed grade so you've got lots of different ones in there you've also got some of my favorite ones which some of our regulars in the chat here yon Eric and Tim know I'm a huge fan of these are filmstock emulations so if you're trying to give your video your digital video a more classic film like look you'll be able to apply these I'm going to show you these right now and just so you understand the naming the nomenclature here so when it says Fuji 250d Kodak two three nine five that means you know shot on Fuji printed on Kodak that's that's kind of what that's referencing Kodak 52-28 5218 shot on Kodak 5218 you know printed on Kodak 2383 alright and if you know film you'll be like oh yeah totally but that's what that means so how do we take a look at these well the best way to do it of course first and foremost you know your cursor and I believe it's by default your selection under the sequence menu there's an option here selection follows playhead if that's not enabled for some particular reason you can enable that under the sequence menu one thing that I will let you know is that especially when you have lots of clips and stack things in your timeline be sure that when you're applying your grade that you're doing it on the clip you want and you'll know that it's that clip because you'll get your white outline showing you that that's the clip that's in focus it's real easy to accidentally start doing stuff and go why is nothing happening oh because this clip isn't in focus alright so make sure that your clip is in focus all right what's that Yellin Eric you had one of those toy Casio keyboards I correct you my friend dear sir it was having the the the the marketing back then was having a whole band in your hand believe it or not this was actually released as a professional monophonic handheld synthesizer if you can believe that yes a toy for all intents and purposes but marketed as a professional music creation tool for adults no less which is kind of funny I still have it it still works this is my original one love that ok so how do we apply these well again you can go down and just start selecting them manually here or you'll see inside of the creative view here you have these arrows so as you start clicking through it's going to show you the preview of what it would look like and then you can simply click inside to apply so if we take a look so here's the Fuji 250 D 35 10 I don't like that one it's got kind of a magenta hue this one 252 codec now I love this 250 D to 395 this one really gives it a very film-like look very quickly and what I was doing here if you take a look at the footage I was doing a bit of a rack focus so you know right now you see that it starts focused on Casio VL tone over here and then I'm adjusting the focus wheel you know down all the way down to the end of the keyboard where now it's focusing on you know this section here so again you can start to click through these and get just different looks right and you'll see that this particular one I love this this was shot on a wood table if you disable this alright again here's the before here's the after but take a look you can actually see you know wood wood grain tables tend to have little little pores the holes you can really very clearly see those pores in the table it's just super super cool again some of these are gonna have a cooler element to them but all of these are really easy to use now we're getting into some monochromatic film stocks alright and you can just click through these until you see something that you really really like get if you going totally stylistic this one oh this one's called blue steel we used to laugh about this one all-time and deliver the Ben Stiller you know as we're applying it the key to using these and I think one of the best things that they implemented was that you have an intensity slider so it always applies by default at a hundred percent intensity you can back that off so basically this is like your mix balance right you can increase the intensity right that's way too much well maybe not depends on what you're doing right but you have this intensity slider so you know a lot of times particularly with it's interesting because the default the first LUT that you'll see in the list here the Sinha Space 1 it's very cinematic and if you shoot with super flat footage this one applies quite nicely at its default values shooter than anything that has high contrast and you can see it's like there's just there's just no shadow detail whatsoever highlights are okay they're not blown out they're controlled but it's very very intense so this is where I'll tend to you know back it off and you can just see how it starts to bring back some of the detail on the wood there alright and give you just some some sense of detail because otherwise it's just a bit too crushed so that that particular slider right there that's that's your friend alright let's go to one of my one of my film stock favorites right here ok and then after that you've just got a couple of basic adjustments here that makes sense right so the first one faded film if you want to give things a bit more of that film like look and you're gonna see this a bit more easily on the second clip here that's what that does sharpen vibrance and saturation so let's move over to that one actually alright so here's another another clip of mine shot on my mo grog analog synthesizer from way back in the day alright so this one again you can see it's fairly flat looking nondescript right when I'm we look at Sinha space that's what I'm talking about seeing even flat it's just it's so dark you know that's just not gonna work right maybe with lower intensity but then we're not really getting the flavor of that lot right that one looks pretty cool I love 250d 35:10 I definitely want to go for a cool blue sort of hue 5205 35:10 woo I think that's it right before after right now remember this is also where we can come in here now and add a little bit of that faded film to give us a little bit more of that lower contrast classic kind of detail and we can increase the intensity here and let's say I wanted more of that blue hue well that's where we can now go into the shadow tint and highlight tint wheels I'm gonna pull some of those shadows into some cooler tones I can simply grab this and just start dragging towards the blue right and now I'm making those shadows a little cooler a little bluer a little more dramatic similarly maybe we'll leave the highlights alone kind of like where those are at we can warm up the highlights if we want and then you've got a tint balance adjustment here as well by the way you can always click inside the hot text and just reset it like that last three settings under this one here sharpen right and this of course any you know any photographer videographer will tell you I almost never use this it's a pretty decent sharpen algorithm but use sparingly be careful right now remember as I said before when you are actively you know D sharpening D contrasting desaturating video footage yes you typically want to add a little bit of that sharpness back in but a very little goes a long way and you'll see you know if you just take a look here I mean this is in focus its sharp if I start to go up to like you know let's say 50% I mean it's it's okay but now it's it's starting to get that digital Chris penis even though we have you know a faded film effect applied so and of course you can de sharpen to just blur everything which can also be kind of a nice effect to and you can even keyframe that and it gives it a bit more of a mmm it's not it's not quite a film blur look though so you know just be mindful of sharpen again if you shoot photography you know this already vibrance again it's gonna look at the most present colors not all of the colors right just accentuate those primary colors in the image so it's gonna bring out some of that orange warmth in the wheel a little bit of that red that was some paint this was a classic mogh I bought it off of ebay 20-some years ago 25 years ago 20 21 years 22 years ago and again it's gonna bring out some of the some of the bluer hues the more present hues of that blue and then you have an additional saturation adjustment down here all right again use this one very very sparingly okay now remember you can always still go back to the basic Corrections and make additional adjustments there so even though this follows your order of operations basic correction first then creative let's say you know I kind of wanna yeah I wanna I wanna you know make those shadows a little more dramatic here you can do that after the fact and maybe you want to pump up some of those highlights to really make the white pop you can do that too right and you can also enable or disable individual modules right here so if you want to see what this looks like before we got creative there it is there's our original kind of flat although now of course we just made some basic Corrections right all right so they're technically is the original original with nothing on there's the basic correction and there's our creative version right really nice look super cool you can see again a little bit of a rack focus right there on the on the rogue logo okay now again could we have done this with layers absolutely no rule and how you have to do it it's entirely how you feel comfortable doing it all right super cool what's up Paul yes first master class so happy to be doing these here on be Hance and Adobe live up on our Adobe Creative Cloud YouTube channel again thank you all for joining all right alright let's see if we got any other other particular questions here that haven't already been answered all right okay Massimiliano okay no one's answered you yes so the question is do you apply the Fuji look before or after the basic color correction so as I said typically you would apply that after right so you kind of do the basic correction to even things out or get it about where you want it to be so that it looks good but true to its name the creative tab is where you just add a bit of style and again if we wanted to we could leave the basics on their own layer create a new layer right here right add Lumet recolor effect and then we can start messing about with a different creative looks it's really entirely up to you you don't you don't have to do it that way it just makes sense all right Stephen looks cool but I miss the rich brown of the table I'm inspired to go polish some tables right now exactly right I mean you know you could use it any way that you like however you want to be you know get your style on and give it your own particular kind of look all right love rack focus all right Eric Thank You Christian hello all right very sweet okay super cool so that's the creative tab right simple easy intuitive nothing to it if you're doing it already in Lightroom and Photoshop Camera Raw this feels so familiar this is one more extension I see someone here it's like it's like premier visco right yeah kinda you know I will say that in Adobe's Canon we're not super well known for our presets there's lots of them in here and you can get very very creative with these creative looks and then take them a step further because they're all they can all be modified after the fact right you know using the various controls that we have in here not the lots themselves by the way it's worth pointing out since I'm in here let's say you create a particular look using all these various modules or using just the basic corrections and it's something that you want to share you can save presets not only of everything in luma tree but also of specific looks by clicking on the flyout menu at the top of the luma tree color panel up here alright you can export a dot look a dot cube which is a standard LUT file format that you can open in everything from premiere to resolve basically any any pro app that reads Luntz will open up cube files and saves preset is specific to Premiere Pro it'll take anything that you've done in any or all of these modules in Premiere and create a preset which will appear in your effects menu pull this up over here under presets so if you take a look here you can see I've got these are these are some standard ones under luma tree presets there's various ones in here that we give you right that you have access to so it'll show up in this preset menu alright cool okay any more questions at the moment no all right moving on last part part three curves okay so this in particular is is really cool because this is something which until we released this feature and it's called selective color grading this is something that I never thought that I could possibly have done and it's the ability to use specific hue/saturation curves to target very specific colors in your image now if you heard hue/saturation you might think oh well that's similar to hue saturation luminance often used in secondary color correction again we'll tackle this in the next episode we have that as a separate module down here HSL secondaries I'm not going to get into that today but effectively when you go into the curves section first first of all right at the top you're gonna see that we have RGB curves right looks familiar right same RGB curves that you have now I think we've unified this UI and basically every Adobe app from Photoshop to illustrator to to Premiere etc so again you have your master and then your RGB channels right so if we wanted to do like some basic kind of contrast you know the standard s curve is something that you see a lot oh by the way look what I was just talking about it's not doing anything because even though I'm on this clip I have this one selected here right exactly what I was just saying minutes ago make sure the clip you're working on is selected so again if I wanted to do some you know basic s-curve that you often see on a master control like this really again kind of crushed that contrasts a bit you can do all of that here I'm not gonna go into curves because this is the standard one we have this in every Adobe app and it functions exactly the same way it's the Selective color grading curves under hue/saturation also part of curves that we're going to focus on and the first one is something called hue versus Sat alright quite simply what hue versus Sat does is allows you to adjust the saturation of a particular hue that you select with the standard Adobe eyedropper okay so let's say in this particular shot and again we've already got I believe this has got an input LUT applied as well come up here let me see it does okay so this was shot on Alexa so you can see on the master we've got an Alexa input LUT applied here let's go back to our instance back to curves all right let's go ahead and choose our eyedropper I want to warm up the skin tones but just the skin tones I don't want to touch you know his lips I don't want to touch his sweater I don't I'm just huh the the ground just the skin tones I'm gonna click on my eyedropper I'm gonna come over to his face right here and find kind of a you know a sort of neutral because obviously your skin tone changes right over over over over the court of the over the course of your face over the curves of your face so find something that's kind of generally representative click it and when you do that inside your hue saturation curve you'll now see you get three control points now this is the standard view that you get in most color grading apps and this is what has always made it really scary to me because yes the Reds and those orange skin tones they're on the edge so if you start making adjustments like that always confused me why do I have to work on the edge I don't get it I'm not a colorist so I know there's a reason for that but it just thought it just scared me and I didn't do it and I never tried to investigate how to do it and I just said forget it I'm never gonna be good at that well first and foremost we added this lovely little slider right in here so this allows you to put whatever color you select front and center and then you'll see by default it gives you three control points alright I'm just gonna move up a little so we can focus in on his skin like this all right if you hold down the shift key this will constrain that center point meaning that you won't be able to move left or right so we're only affecting that selected hue and when I click on that center point now it's giving you a visual indicator of exactly what's going to happen as I go above the line you can see visually right it's saturating the skin tone you see he's getting a bit more a bit more orange ease how he's been he's been to the tanning bed right and visually you can see as we go below the line we're now desaturating right all right needs to needs a little a little bit of iron deficiency going on there right now okay so visually it shows you exactly what is happening what can it be that easy yes if you want to increase the range of color you can drag the points left or right up or down however you feel you need to do now by the way if I don't grab that center point with shifts selected you see now it's it's not constrained so I can move you know left or right of those selections and maybe find the exact hue sometimes you wind up affecting other adjacent colors so this is kind of a cool technique as well it won't let you go beyond that those anchor points at the left and right okay so really cool really useful and again before a little bit washed out after just a nice boost and the skin tone right now similarly what if we want to do it for the sky well I don't need to add another version of this I can take the eyedropper I can make a selection in the blue sky note that it creates our control points right there and since I'm just here I'm gonna leave it there I could drag it into the center right hold down my shift and increase and look at that the sky is getting bluer how about it was a cloudy day we don't want any blue we can take just the blue out without affecting the overall shot or we can bring it in right super cool super easy to use all right absolutely love this feature again before now subtle right it's not I mean it's like massively dramatic change here after oh it comes to life right there's the after before still lovely but just a bit flat after nice alright lovely shot they're super cool believe this was done in Iceland all right so that's hue vs. set you're adjusting the saturation of a particular hue all right see if you got any questions on that all right okay okay thank you I never cut me I believe it is Iceland yeah you're you're right on the money there Gianfranco yeah and the thing is if you want to do the round-trip to resolve look I'm the first to say do it however you're comfortable the key is you can the key is you can create looks and lots here and use them and resolve but all these apps you know we play nicely with each other do your cut here do you agree there whatever you feel comfortable doing I'm the first to say that you people have to feel comfortable and inspired when they're doing it maybe this will inspire you to try more of this in premiere okay all right okay yes Steven now some of the things you're talking about their sampling highlights mid-tones and shadows and skin tone this is when you're doing those kind of this is what you use HSL for and again when we get into that in another future episode of this masterclass that's actually where you do all of that and if you just I'll just show real briefly here I don't want to divert too much but you'll see when you do your color setting this is where you can take multiple samples you can you can erase sampled collections that you took and you just have a lot more control over those elements but yeah you're probably gonna see over time even more sensei based implementation of these kinds of things so yeah that's really you're definitely thinking along the lines okay all right so let's move on here I've got two more quick examples and then I'm gonna send you all on your way so that's again hue versus set let's move on to the next one here real briefly which is hue versus hue now this one again this was one of those that just it eluded me for a very long time and we're gonna get we're just going to get a little a little creative and silly with this one but this one is it allows you to adjust the hue of an existing hue okay so in this example let's say our actress here we wanted her to be it's a lovely shot but we wanted her to look like adding a bit more edgy bit more Punk wanted to give her green lips green lipstick instead of kind of this this lush red magenta that she has so I want to adjust the hue of that red to something like green that's what hue versus hue is for you're going to adjust the existing hue to something else so again I'll take the eyedropper and you know I want to find something that's fairly representative make my selection and again because it's in those Reds I'm gonna slide this control into view just like that okay now I'm gonna get this into the into place here so you can see now I'm gonna hold down my shift key to constrain the values because when I click on it now this is what's so cool about this user I mean again this is like ui/ux magic they really nailed it with this one and I'll tell you is someone who wasn't intimately aware about the importance of ui/ux like many of us until recently this is so well done because now it's showing you okay if I go up I'm going red magenta purple blue etc but if I go below the line now I'm getting into the oranges yellows greens blah blah blah all right and there perhaps is the green we want but we have a problem because some of the red in her cheeks naturally is picking up that same hue so this is where as I was saying earlier you can simply adjust the position of say that left anchor let's bring it in a little more to minimize I would say an audio the bandwidth of our color selection here so watch her cheeks as I start to bring this in towards the right you can see that that green starts to go away again we can bring out more of it here a little bit less as we swing the bell around that way just like that now we got it out of her cheek okay and if we zoom out again let's go actually full hundred percent here so before after and we could probably refine that even better not the best example for this but it just color eise's it so nicely and it's a good way to illustrate what's possible alright I did another quick example here we're back to our Casio let's do this at like 75 percent so let's say we wanted to again recolor eyes that button now if I just wanted to make it more vibrant more red that's where I would use hue versus Sat I want to turn this into a color that it wasn't make my selection dragged sorry not Huber's is luma Q versus hue come over here drag this in like this up or down and now we can go into something like blue alright fit it and we're good to go all right so that's hue versus hue hue versus Sat RGB curves creative and base at Corrections thank you so much for joining we've got Howard coming up next so stick around for that and I'll see you back here on be Hance next time take care everybody bye-bye

Channel: Adobe Creative Cloud

Views: 18,462

Keywords: how to color grade video, how to color correct video, how to colour grade, color grading, premiere pro, after effects, how to, how to work with LUTs, how to create looks, instagram, filters, how to create a cinematic look

Id: zx382kPH33Q

Length: 57min 18sec (3438 seconds)

Published: Fri Jan 10 2020