Colour Correct & Colour Grade Video like a Pro in Adobe Premiere Pro - Filmmaking basics | Sian Morton | Skillshare

Colour Correct & Colour Grade Video like a Pro in Adobe Premiere Pro - Filmmaking basics

Sian Morton, Videographer

Colour Correct & Colour Grade Video like a Pro in Adobe Premiere Pro - Filmmaking basics

Sian Morton, Videographer

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7 Lessons (38m)
    • 1. Colour Correcting vs Colour Grading

    • 2. How to Colour Correct Your Footage

    • 3. How to Grade Log Colour Profiles

    • 4. How to Install Lumetri LUTs

    • 5. How to Apply Lumetri LUTs Correctly

    • 6. How to Colour GoPro Footage

    • 7. What are LOG Modes?

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About This Class

Take your colour grading to the next level in Premiere Pro!

If you've ever felt lost when it comes to colour grading and correcting, I feel your pain!

Colour grading has been the filmmaking world's biggest kept secret. But is also one of the hardest things to master within filmmaking.

I've designed this course to resolve all this and more. This is all the knowledge I wish I knew when I started out with video, (too) many years ago.

In this course, you'll get:

  • Step-by-step workflow giving you a structured approach to get pro results

  • A solid understanding of the tools and scopes featured in Premiere Pro

  • The knowledge to create your own looks in Premiere Pro 

By the end of this course, you will have all the knowledge and a complete roadmap needed to develop your colour grading sensibility and implement a look into your film. 

Meet Your Teacher

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Sian Morton



Hello, I'm Sian. I am a videographer, photographer and animator from Manchester, UK.

I work at a creative agency creating all things content for clients and social media accounts.

I spend my spare time making YouTube videos for my channel and shooting content for my Instagram account.

See full profile

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1. Colour Correcting vs Colour Grading: Hello, my name Sean, I'm a videographer, photographer from Manchester in England. And in this course, I'm gonna be guiding you through how I color correct and colour grade. My video footage will be covering things such as log voltage, GoPro, even drone footage, and how to color correct there and achieve a certain style, as well as a bunch of examples we are going to be great in, in a bunch of different styles. So let's go through the main phase X of what color correction is and what colour grade in A's. Color correction is essentially correct in an image without using the actual quote, the mission, making the image look more natural to the viewer. We usually call a correct before we color gray and color grading is done to achieve a certain style of video. I think a lot of people underestimate the power of color correction and color gradient. As usually they just stick Adjustment layer and a locked onto their voltage. The program that I'm going to be using in this course is Adobe Premier Pro permit bro, no need to worry because many of the features, such transfer over with dementia resolved and didn't Final Cut Pro, you can achieve so much by using color grading. Whether it's to provoke a feeling or moon within the viewer though, simply watching your film or movie or video. And it isn't that hard either. So let's hop straight into it. 2. How to Colour Correct Your Footage: So in this video, I'm gonna be showing you how to color correct. Your footage will going to be working with voltage that has been shot in a standard profile. Mainly because we've got full set for a video for Locke voltage. So the footage that I've employed is actually from one of my YouTube videos of where I gave the CARTO. Okay, so this is just a side profile of the car. The main parts of focus is actually around the wheel, large hair, because it was quite a hazy golden hour shoot. It's actually quite warm, which I love. So I'm not gonna touch the color temperature. I am, however, just going to take the saturation all the way down to 0. We're not making it black and white, don't worry. We're going to head into curve's going to bring elementary scopes. And this gives you, is, it gives us a lot of data because this wasn't shot in a log profile. You can see that the difference between the darks and lights in terms of where they lie on the limit tree scope, the dynamic range of this clip is actually quite big and the lights are going to be blown out. And the dogs, I've actually captured quite well as none of them have peaked. However, we're going to bring the shadows down. Not so it peaks, but just bring him down. And the highlights, I am actually going to bring them down. And even though you can actually see a difference if Bob wants to next is that I'm just, I'm taking the saturation out of the shadows. Okay, so let's just watch this now. Will be. So you can see already we've got bit more definition in the mid tones here. And even in the background, with it being kinda hazy. A bit more of the highlights that say rarely, I often say that less is more when it comes to stuff like this, I am going to bring the saturation down a little bit, mainly because the read is quite overpowered. And that's it really, that clip is pretty much color corrected. It it looks the way that it would look. When you that, that makes sense. Join me in the next video where I'm gonna be showing you how to color correct. Lock footage. 3. How to Grade Log Colour Profiles: In this video, I'll be showing you how to calibrate lump footage for we dropping into priming pro, we're going to head onto Google and have a look at different styles that we can match with these. So let's do through guerrilla color grading. So I should save that image. Great in assets. Let's do romance actually. The elevator scene from Dr. Barry goodwill, and let's just import those images I've just downloaded to PNGs. Just gonna drag them into the timeline as well. I'm actually going to try and find another image. Twentyone jump straight. Moreover, natural look. Track the entire timeline. Okay, so we're gonna initially color correct all of these clips and then we're going to grade them stylized. So looking at the first clip, just someday just walking with the child in some sort of historic ruined. The second clip. Mountain mountain hillside sought of thing. And then the third clip, child and push chair. I think these were all shot in NSLog tube as well, which is a Sony color profile. So we're gonna head into the first clip. First. Thanks for saturation all the way down to 0. This just allows for better definition in the loo metric, Scopes had into curve's going to bring the darks can hold onto her just down a little more. And the light can also be drugged up. You don't, you want it to essentially be a big dynamic range without losing the quality of it, making sure that it's just peek a little bit here. So down, the darks, move that down. Okay, it seems good. So let's go back on space at correction, saturation back to where it was. And it already looks better. It's quite a warm image and its cell. So I want to keep that warmness actually. Pulling shadows down a little bit and maybe not. Going ahead into the second clip. Now, I'm color correct in all of these bust. And then I'm going to apply the different styles onto interests, mainly because it's easier to duplicate remark. Okay, saturation all the way down into the curves. Let's bring that down. Those peaked a bit there. So okay, let's go back and basic Triple-click. Oh yeah, that looks so much better already. Contrast in there. Now, don't think I'm going to add anymore contrast. Also any color correction itself. Also good practice to have the screen brightness some full. So basically you know exactly what the colors look like. And if you use an external monitor to say a MacBook Pro or any other computer, just make sure that, you know the color profile that you see on the screen. And it might not look the same on another person's screen. So at this moment in time, this clip to me, looking fit to blue. So I am going to run port. The color temperature. Just increase the whites a bit, the whites and blacks per image contrast. So let's shift fellow that looks so much better to me that, that looks color corrected. So let's go on to the next one. So lovely child. Here. Let's just take a saturation all the way down, go into curves, bring down. But also take up the top picture, it just clicked. So the saturation Out of the Shadows. Double-click homes saturation, tied it back. Going to just add a bit more contrast in generals this clip. So you can actually, the reason another Lu, metric scope that I do use and that's why you vague. And basically this line across here is where you went, you skin tones to lie about the moment is a bit off. A lot of yellow and a lot of bloat in the actual cola and you won't you skin tones to lie across that line. So just gonna have a gander and pair. So in the blue curves, you can put down to have more of a blue effects either on the highlights or shadows or push it up to have more of a yellow effect. So we're just going to have a play around now and say the highlights, just bringing in bet. Okay, and let's just turn that on and not wow, what a difference that's made. I would say that that is pretty much color corrected now. So let's go to this first clip. Try and replicate this log onto click now. So I'm going to open comparison view, just going to drag it along to the image. I actually think the next image might be a better look for the salt colors that have been captured here within the color palette. If we look at both image is, one image is quite a lot of contrast that some just gonna go into basic correction. Bringing the shadows, highlights, spring everything down a little bit. Just to create more contrast. Go into cogwheels and match. So I'm gonna start with a mid tones because the midtown is basically is the middle part of the image. And our eyes naturally go to the mid tones of an image. I can see with this image, there's a lot of light, orangey yellow. So I'm going to bring. All the way, all at essentially the slide is next to them, controls the exposure of it rarely. So I'm just going to bring it down a little bit. I will go to the shadows next actually. And you can see this so of a blue tinge to the shadows, blue, green, some gonna bring shadows down a lot. Then the highlights. If you look at the lamp pair, this is, Bryce is part of the image in Sky. Two completely different Polo's book or just free silencing How we go there to bring the shadows download. Okay, let's just watch this. Stood before and after. Calibrated Muslim fun. Last me wants the next image. Okay, let's go for a more thorough gorilla lock with this one. So as you can say, if we look at the lie are rise and mainly we're going towards the blow. I'm just going to go in space at corrections and bring down those highlights as well. Is quite a dark image. It's quite a blue image compared to green trees are going to be a bit harder. Let's jump pings, cogwheels, bring lows, highlights all the way down at, say, Let's create some saw contrast hair. Freely made tons all the way down. Highlights, all the way down. Shadows are looking at similar. Now, it's always great to have a reference image. So let's just say a comparison leads to the first one is quiet comparison. Let's move on to the next image. Next sterile is unlovely child. There it is. So 21 Jump Street, MH It's quite bright. It's quite point j. There's nothing that I can see here is sort of out of the standard picture profile. So just going to apply more than red to the mid tones highlights here. There is a bit of an orange, yellow midterms. Let's just put the readiness. Does need a bit saturation. And it's this image. There is actually a fibrin. Yeah, let's get back into curves. Cogwheels, still missing a bit of contrast that say, okay, let's jump back into cogwheels. And it might be a bit too intense. Skin needs a bit more of a reflection at the bread and mid tones. Too much. Wow, what a difference. That is quite good. Preset that. But as I said before, I think it's really buy all that. You do have a comparison reference. You can call us your heart's content and it being nothing like the idea that you've got in your head, all that you've seen. So yeah guys, how you grade log voltage and it's that simple. It's amazing the difference it can make to a piece of footage. Collaborating. 4. How to Install Lumetri LUTs: If you've done some sort of crash course in Premier Pro, chances are that you've heard of the military lords essentially what limits are a precepts. But for video, and you can apply a lot to achieve a certain style quite quickly and video. So go into your color tab and let's just drag and drop and credit quick timeline. Click into creative. And then you can load up a certain look. So let's click custom. I think I've got it saved in here, cube file. So this is just an example, is whited tense. As you can see, if we just add a just stupid click on that. There is actually another way how to add lots that permanently in your drop-down bar like all of these are. And that is quite easy to do. So this only applies for Mac you can't do in Windows, Nazi showed the flows of how to get into the folders are iso applications. Find the Adobe Premiere Pro. And then right-click on, on the program, click show package contents. Contents. All the way down to the mat tree. Looks creative. And then these are all the loops that I've got. You can just see that I've actually purchased some cold bundle and I've just drag and drop it in there. So I'm going to do now, I do actually have a look safe that I'm going to drag and drop into it. So click into assets, lot. And files are actually saved as Doc cube. So I'm just going to drag things that usually the main admin on a computer, it might come up as an error or you have to input your password. But because this is my computer, I can easily just drag and drop. And then we just need to refresh. Refresh Premiere Pro, go into Adjustment Layer creative dropped down what was called again. And that was our logo. But this looks terrible at the moment because it's meant to be used from, it's meant to be used on plot that voltage es log two. So it looks terrible. Join me in the next video, what I'm going to be showing you how to apply luminary lots TO footage. 5. How to Apply Lumetri LUTs Correctly: So in this video, I'm gonna be walking you through how to apply luminary lots TO footage. And so I've got this clip here that I am just going to quickly, to be honest, it's already pretty much color corrected perfectly. To drone shot of Gilly ad in Indonesia, which is a little island off of following. So I'm just going to quickly cola corrects it now. So it's already pretty much dynamically Dong. Saturation. Just gonna cite the saturation down a little bit as I know, the loops that I'm gonna be applying a gonna also with the saturation anyway, I'm going to make sure that I've clicked on the project panel, gonna click File, New Adjustment Layer. My keyboard shortcuts will be different fields as I'm using something called raven claw. And essentially it's just something that I use to make sure that my work load work for me and work as fast as I can in order to produce content. So just going to click into effect controls and make this window a little bit bigger and bigger. So we're gonna go into creative, make sure that the Adjustment Layer is clicks and highlighted. And because then you can transfer the lock onto different flips as well. That's pretty cool color. Although it's quite intense, you can, there's one or two things you can do here. You can either bring down the intensity with the actual slider here, or you can go into the Adjustment Layer and bring down the apostasy. I usually like to stick it on our own 50%. It's looking very green for me though. So I'm just going to have a look through some more. No, these are pretty cool. In Los Angeles. These robots that I bought quite a while ago and they were exclusive to that time. But I'm pretty sure that he goes through each of these creators. I'm pretty sure that they'll have them for sale or even you can message them and they might even getting it for free if you're nice eye care. But long story short, that is how you apply lots to your footage. I've got a lot of cool lots here. Unless claimed on the soma small minority, teal look, that might even bring that down to about foie Sen. Just because it's really bringing that down to the blacks in the image. So that's it. That's how you apply looks to your flux. H. Joined me in the next video. 6. How to Colour GoPro Footage: We're gonna be working with probably the hardest for it you could ever work with. Ana is go broke with age. Many people struggle to actually get this equation looking nice, nevermind natural. Gopro is a great cameras though. The very versatile, you can use them anywhere, but using a standard GoPro picture mode, which all these clips hair, they do, they have just use the standard pitcher mode. So if you look at the poll hates quite nice and blue palm trees and I'm just going to unlink those just because I don't want it in my ears. The thing is we go pro forces. It can look kind of hazy, which is how it looks here. Let's just go into basic correction. And it's not D Hayes option. D noise. So we're going to try my best with this. Let us just openly Mettrie scopes. Saturation on the way down to zeros. Quite hazy. Wondering how can I bring this up. But yeah, looking at the La Mettrie scope, you can see that it's not all the way down to 0. I could probably bring the curve down a little bit. Not Loads though. That one is cake. Go back to basic correction, double-click saturation, almost bring it back. Just gonna bring down the saturation a little bit. Gopro does like to throw its pro tune in you face a lot. Still a bit hazy or wonder. Adequate contrast actually. Okay, let's head over and put adjustment layer on track and drop. Oh, I'm gonna put a lot on this, I think, because it's already got a lot of contrast and saturation. And anyway, these lots might not look great book. Let's just say, oh, Austria, that looks pretty cool. I'm quite happy with that. This is before. And this is after. Now, let's move on to the next clip. So next clip is just, I think that with me jumping in the pool, this is a lot clearer than the other video actually. So looking at the scopes, you can see that it's already pretty much peak. In either way, the dynamic range on a GoPro is completely different to a normal camera. Mainly because they only deal with the shutter speed rather than extra help. So I'm just going to bring the saturation down a little bit. Maybe had a bet contrast in that. There's no law. Let's add another adjustment layer. Let's see what looked with no, well, I'm going to scroll to the end of the list this time. New desert tritones wam, wow, quite intense. Let's bring the past to down next layer. Hopefully one. That's quite cool, I guess. Good enough contrast in hair. It looks nice. Next, the hot spring. Open up bleu metric. So you can see this complete Latin of Dhaka tones. So let's head and head. Bringing the curves down. Just gonna say it, the saturation Out of the dark tones as well. Let's backup. Saturation. Not keen and how in your face, the yellows. Bringing it down on the abet. That footage already a hymn. Tunes better, might actually go into color whales. And next one, I'm gonna go for ready midtown. And the shadows we can go towards mover greens. You don't even have to make massive changes in head. Let's just go for there being yellow. Okay. That's pretty cool. Yeah. Next boat. Claire's Go Pro Bowl. Saturation now. Alright, so at the moment, pretty much non-art PK. So let's have a look at curves. Bring those color curves or political that bring the shadows down. Contrast there. Eight. Already, it looks better. I really want the blues to stand out. So I'm going to go into hate yourself second DRE and Jesus little pinpoint hair. I know yesterday's drag it along the screen and basically taken those colors that you've just dragged along. And that's just pull the nice, nice color on the islands out a bit more contracts. Temperature, take it down. A lot of that was really cool. Now, Summit for the hardest sausage is copyrightable. If you shoot in a flat GoPro profile though, it'd be so much easier to collaborate. And the college is so much easier to tweak the color wheels. So he had been using a new ago Pro, you'd be able to shoot enough a flat profile in that b, so much bad colored, right? 7. What are LOG Modes?: Now you're probably thinking AS long lost long cottage and log stands for logarithmic. Gamma curve into technical is basically a color profile bill into many different cameras. And it can present itself as x log c log, zed log, f log. Or else, you're probably wondering, I'm using all of my features in my camera book. Why should I have to flatten the picture in order to get a better teacher in Polk and log profiles are basically used to obtain a high dynamic range. So for example, the footage that you see now, it's one of my prophecy videos that I've done and the windows are quite blown out. Whereas if you compare it to when I've used a slogged three, I believe windows blown out and it has been edited in post in order to look more realistic to what the eye would see. So whilst you're shooting in a log mode, you'll just have an uninspiring flat image. There won't be a lot of contrast. And that's mainly because the contrast is sucked out in order to capture the darks and the likes realistically. So for example, if you grabbed your phone now and you go into Camera mode and you may have had a way you have been shooting and your phones just focused on one part of the image and the rest is completely blown out. This is why we shoot in love mode so we can obtain both bits of data in order to get a good picture. So the logarithmic gamma curve basically reacts to the Hachette, basically reacts to the shadows and the highlights of an image. You should try and use a log mode as much as possible as set from low-light situations. Because in low light situations, camera is already a lack in, in, in imageData that exceeds before it. And by flooding the image, it's not going to capture as much detail as you would like.