Learn to Color Grade with the Lumetri Panel Essentials in: Premiere Pro | William Buckley | Skillshare

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Learn to Color Grade with the Lumetri Panel Essentials in: Premiere Pro

teacher avatar William Buckley

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (50m)
    • 1. Lumetri Essentials Intro

      1:17
    • 2. Workspaces

      1:17
    • 3. Using Scopes

      2:38
    • 4. Color Correct

      7:09
    • 5. RGB Curves

      12:51
    • 6. Color Matching

      3:30
    • 7. Using tracking masks

      4:42
    • 8. Color over multiple clips

      4:45
    • 9. 08 Working with LUTS

      6:14
    • 10. 09 Color Grade

      5:44
    • 11. Summary

      0:20
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About This Class

This complete course will take you through the steps of learning the "Lumetri panels” in Adobe Premiere. From color correction to color grading.

We have included all the materials so you can “follow along”.

This Essentials crash course has everything you need if you are stuck for time to get you up and coloring in a short time frame.

 

What do I get?

  • 9 Lessons to follow along.
  • All files and video clips used in this course.

 

What will I learn?

You will learn a complete essential training of color correction and grading in Premiere Pro.

  • How to color correct an image and the steps involved.
  • The functionality of the Lumetri tool panel.
  • Understand the measurement tools like the waveform, RGB parade and vector scope
  • How to color grade Flat or Slog footage
  • Create tracking masks to color correct a specific area.
  • Match the colors of different shots.

 

 

Who this course is for:

  • This course is for any Premiere Pro user that would like to get better at color correction and the lumetri tools.
  • This course is not for experienced colorists.
  • This course is for Color beginners that want to be color grading their video as quickly as possible.

 

Requirements

  • An installation of Adobe Premiere Pro CC 2019 or later
  • Mac or PC that can process full HD video clips to work with the attached materials.
  • You are required to have some basic experience with Premiere Pro.

 

 

What is the Lumetri panel ?

A series of tools that will allow you to change and correct video for things such as

White Balance

Exposure , contrast and skin tones

Secondary " masking " of specific areas of the image

Color grading for that Hollywood orange and Teel look

and much more...

 

 

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Transcripts

1. Lumetri Essentials Intro: Hey, thanks for checking out this course. We've taken all the fluff out of the Lumetri panel, but we haven't taken out the detail. I promise you you're going to have all the things you expected. What take you through all the Lumetri panels, secondary colors, tracking masks, as well as that orange and teal color grade that everybody goes after. You'll learn a lot of things that will demystify all the Lumetri, color and color grading. So we're going to teach you how to color correct first, which is the first thing to do, is go into learn how to use the basic panel to color corrected for exposure, fix your white balance, and then fixtures saturation. Well, once that's done, you can apply either Lutz or a color grade over the top of your footage for that specific local field that you're looking for. So let's not take any time now. Let's jump into it and see what we can create. 2. Workspaces: Let's set up by worth panels for color grading. If you're in editing, you need to be in color. If you don't see color, got a Windows Workspaces and choose color. The other thing we need to do is go to Window and open your mat tree color. This should come up on the right-hand side here. Also, in this area in the source panel, we should have effects, controls, and Lumetri Scopes. We want this to look like this. Again, if you don't see them here, go to Window and choose Demetri scopes. Next, let's drag our clip into the timeline, which is called guy and girl on a train. Set this to fit the scopes I will be using, or the waves scope, the vector scope, and the RGB Parade scope. But more on each of them. In the next sections. 3. Using Scopes : Let's take a look at the luma scope first. We can close the other ones down by right-clicking and just deselect them, them. So now we're here with the waveform luma scope. If it comes up looking like this waveform type, maybe the colored RGB one. Let's just change that to waveform type Luma. This is read from left to right and follows the video footage from left to right. And a trace is read from top to bottom. Looking at the numbers on the left, 0 is pure black, 100 is pure white. And everything else in between is different shades of tonality. Mean and shadows, midtones, highlights, I'm white and black. This is our first step in correcting exposure. You can see that ray is quite flat, looking almost green, and is very hazy looking very flat profile. The next scope is going to be the RGB Parade. This scope show is the balance of white. Balance in the image. If the red and greens as such here, uh, higher than the blue. This shows the temperature of the image that we're looking at are the video. This can be used for balance in white balance. Last scope is the vector scope y, u, v. And this is basically a color wheel. And the scope in the middle will show the amount of color that is dominant in the image, such as here towards this yellow and green because of this girl's hair, and also the saturation of the color. So if we increase saturation over here, this will move further away from the center and has the same colors, but they're much more saturated. 4. Color Correct: Let's close down these other scopes for right now and just take a look at the waveforms scope and the Lumetri Color panel. We're going to use the basic correction here to adjust tonality, which is contrast and exposure. Our first step is to adjust the black so we can move this little slider down to just above 0. Don't go, don't go beyond 0. Because that just means it's crushing all the blacks. We'll see you just get this muddy effect. So we want to take that line just above 0, like so just with the blacks. Now for the whites, we want to move this so that this comes up to about 90, something between 90 and a 100. These are the white areas under in this scene. She has a white t-shirt on. I'm not sure what color his his shirt is. Or maybe this is white as well. So let's take that up. And if you run out of room here and it's still only around 70, you can just drag on this and I'll drag it up further than thanks. So just about here. So the pizzeria between 90 to a 100, that's brighten it up. Next we'll take the shadows and we'll drag them down. And you can see that it's blocked here because we need to take the blacks a little bit further now that we moved everything else like this. So our shadows are in this area here, between 10 and 30. Next, we'll move the highlights. So the highlights of the chop area before the whites. So we can bring them up or take them down if we take them up just a little bit here. And we can also bring the exposure up just a little bit. Contrast is a difference between the blacks and the whites. The range between them, we want a nice range between 10 and 19 is sort of ideal. So that's looking a lot better than it did. You can see the difference by going into basic correction and turn in this checkbox off. And we can see how flat the image was and turn it back on. So that's looking good for exposure. We have a nice contrast that image here. Now we look to do white balance fix. There's a few ways to do this. There's a color picker tool here. If you click on it and you find something white in the, in the image, she has a white t-shirt on. So we click on that. You can see that premiere will try to adjust based on that. So I'm going to go to Control Z. To go back to where we were. Let's bring up the RGB Parade scopes. And let's take a look at them here on their own. We can see that green is a dominant color, blue is the lowest, and red is a little bit lower than green. And for a nice balanced image on white balance, these should all be equal. So looking at the purine scopes, when we do the white balance selector, Let's see what happens. Click on this, click on it, he shut again. And then it balances them out a lot better than what they were. They can still leave a little tweak here. So the Parade scope shows us that the red silver little bit high. So the opposite of that is a blue. So if we play around with these sliders, we can bring this up a little bit here. And what we're trying to do is get this image similar in height. And then here the same is not bad at all. Down at the bottom, you can see that the red is here, matches the blue little bit, but the greens that a little bit high. So what we can do is take the green and a little bit the other way, like so. And that's not too bad there at all. So again, if you want to turn the effect off, you can go up to Lumetri Color the FX, click on it once. So this is where we started and this is where we are now. So it's not going a lot better. So can more even. And our next thing is, so if you remember the first thing is exposure correction and then white balance and then saturation. So the final thing and color correction is saturation. So if we right-click and do vector scope Here, let's take a look at that. We can close the other ones down. And here we can see that the dominant color is yellow. Yellow, and towards the green as well. This is her hair obviously can see here that we have how red box, magenta, blue, cyan, green, and yellow. So red, blue and green. And then secondary colors, a yellow, magenta, and cyan. So the opposite of yellow is blue, opposite a ride would be siren. The only thing to remember is these boxes like a safety zone. This was from old school television days. This is too saturated. If your, if your waveform is coming out here somewhere, it's just too much. So we want to try to keep it. If we move this down to black and white, There's no color, you'll see as a dot in the center. And if we move it back, just double-click on these to go back to Santa to where it was. And we just want to tone that down a little bit. So it's more natural looking. Again, the before and after. And you want to keep your colors within this box area. This is a safety zone so they don't get oversaturated. And there we have the first step of our color grading, which is color correction. At this point, make sure that you do file and save your project out. Because we're going to leave this one for now. What we're going to come right back to it. I want to bring up the curves panel next. And we're going to use a slightly different clip to do that. But we're going to come back to this one. So make sure you save it. 5. RGB Curves: In this lesson, we're gonna take a look at the RGB curves. So the RGB curve, just like anything else in the Lumetri panel. We've been looking at the basic area for exposure, blacks, whites, shadows, contrast. You can do all of this with the curves. A lot of colorists like it because they can give it a lot more control. And that's what we're gonna take a look at, is putting a lot of different nodes on the line of the curve and had been able to adjust certain areas of the wave forms, such as just the shadows without affecting the highlights, or the contrasts without expecting the exposure. So let's jump into this now and take a quick look at it. Import the file called woman in Park from your practice files. So we're going to use the curves control here in the Lumetri panel to adjust this picture. So straight away we can see that it's very flat. If we look at the wave scope here, it's only reaching around 70 to 15 or 20 here. So it's very flat image and washed out looking. We can go to the curves. Now, the curves panel, it has this white, white line, is red, green, and blue. If you overlay them on top of each other, it makes white. This is actually the same adjustments as you get for exposure in that basic control up here for exposure, this line here. So if I do this, exposure goes up or down, double-click and go back here to the curves line. If I just click in the center, go up or come down, it does the same thing goes darker. So let's double-click. Now. You are finding out now that is there's multiple ways of adjusting anything. Whatever way you want to do it. There's no fixed wave and use the curves, control the basic panel, the color wheels. They all adjust. The curves can draw a lot of people like the colorist, like because it gives you a lot more control. In this area down here is your blacks. And your dark shadow is a black and dark. Then this area up here is your whites and the highlights also, this is your white line up here. So this is black and it's the same gradient as before. We have black. Then the dark shadows, lighter shadows. And the center is the mid-tones. Then darker highlights, lighter highlights and pure white. So just like before when we were doing it in the Basic panel, when we did the blacks first and then the whites, we're now going to do that with the curves. So we're gonna take the blacks and we need this to go lower. So we're going to drag this towards the right, the lower part here. Just drag that down as near as we can to 0. And then we're going to do the same thing for the whites. We want them to go higher. So we're going to go more towards this corner. So RAB the node and just start moving it up to the highest white areas. Okay, Let's just reset that by double-clicking on that node, sets it back to here. The other thing we can do now, like we would in the Basic panel is you can adjust contrast. If I adjust contrast, we can see that we get more contrasts or less. Again, double-click. So what we can do that in the curves, we know on the gradient that if this is pure black, the black and pure white, the shadows would lane here. And the highlights are a little bit damp from the pure whites. So if I drag them up like so, and then I drag this down like so. We are adjusting the contrast of the image here. And this is what's known as an S curve. And people like this because you can put as many nodes as you want. Along this path. For example, in the middle is the 18 percent gray of the exposure. And we can keep I didn't know It's to this and we can fine tune different areas of that gradient. The shadows, the highlights, the mid-tones. By adjusting in-between these nodes are pulling one higher or lower. So let's double-click again. Let's come back to where we were as make contrast image here first. Let's just see what that does. Let's move this up and get our ass curve here. Move this guy down. And we have an S curve effects. Or you could come in a little bit, doesn't have to be quite as much as that. Now the next thing we can go, which scopes here? Right-click. And we want to do the RGB Parade, see where our colors. So I'm just going to right-click again and turn off the pneuma form. And then we can take a look and see where we are as far as our colors. So the colors don't look too bad here, but we can adjust each one of these with the blue, green, and red. And this side, for example, if I click on this on the red and then I move it down, it's going to move the highlight of the red channel. Down, it doesn't really affect the mid tones and shadows. So it only affects this top part because we're moving just the top part. If I double-click a mat, Let's say we could bring that up a little bit. If we go to the green, the same thing and the blues. And again, for the lower part here, we meant the just the lower section here. If I want to go up on the rads here, it will adjust the red channel, only 10 on the shadows area, the darkest parts. Let's reset. This doesn't look actually that bad. And actually does look quite balanced as quite a lot of green and yellow is in this. And we can see this by going to our other scope is the vector scope. And you can see here that the vector scope, the scope is going more towards the yellow and green and then the blue cyan. So we take a look at that image. There's a lot of blue cyan in the lake and a lot of green to yellow in the grass area here. So again, if we look at grown back to basic, we can look at if we increase or decrease saturation. We can see when we go to big and we're outside the safety zone, you can see it's very, very bright. Look where we started. And then if we come back to where the scope looks good, Remember figure all the way back, it's going to go to gray. So if we come up here, share a nice sort of area and our safety zone, one looks realistic. Keep an eye on the picture itself when a nice safe zone here. So that's before and after. Here's another tip for balancing color for you. Grade there's a path in here, great path. So that if there's ever anything like gray, you can choose how you can mask it out. So if we click on the, on the clip, go to Effects. Closed down opacity, get the masking pen tool and draw a square here. Like so. And then turn the opacity back on. We're just looking at this narrative. We go back to Lumetri Scopes. You can see if we get, let's get rid of this one here. There's two things that'll go on here. Let's look at this 1 first. Let's get rid of the vector scope. And you can see that the red is the highest, the green and the blue is the lowest. So we can use our curves to go to red, will lead the red where it is. We go to the green. This is the shadow is, this is this little piece here is the highlight here. So go to green. And we want to just take that up a little bit. So we can grab the green node and just move it up a little bit. So try to match where the red is, like so. And then go to the blue channel. Do the same thing. So now they're all matched up. And that should be if we even go back to looking at the vector scope is pure grain, it's now a dot. So we matched up. This is a gray. We know it's gray in real life. This is now gray because we were just looking at this. And RGB channels are all matched as well. So that should mean that it should help the color in the main picture. So go to Effects Controls, turn Opacity, backoff, and you just click anywhere inside of here to get rid of the mask. So again, if we look behind, this is original and this is where we are now. And that's how we can utilize curves. So by looking at all of our vector scopes here. So we have a good look at them. The balance of the calories good and the saturation. We're good, We have good contrast. Train a 100 and 0. Now we can see after that adjustment of the gray, we're often a little bit in the red versus the green and the blue. So we can actually go down. And again, you can use lots of different ways to do this, but I don't want to confuse you too much. The cursor as they are. I mean, come down to Color Wheels and Match. And then we're in the highlights, mid tones and shadows. We'll get into this later, but we're going to just increase the red highlights a little bit. And if you watch up above, we can move that red just to bring it up a touch. So it gives it a bit more balance. Again. Before, after. And the thing that looks good, That's pretty much what it looked like. It was early morning. On a sunny morning day, the sun was just coming out from the over this area here. Just time to come up. All right. 6. Color Matching: So next we're going to do some matching if you have multiple clips. So go and import into the project folder file called guy and girl on train to just drag that over to your timeline. And it's the same two people. But you can see here the difference between our color correction and the next video clip. So the first step is what we can do is just take the original clip, right-click and say copy, and go to the new clip. And then right-click and say Paste Attributes. Make sure lumetri color is on. And say, Okay, so now turn this on and off and we'll apply what we did to this clip. Assuming this was shot at the same time, which I presume it was. So same people on the same train. And it will apply what we've done to this clip, to that one. So it's pretty quick. So let's see if we can match us a little bit better. Go to Color Wheels and Match. Go to the comparison view. And here what we see is in this side is our first clip. And I'll run through here the reference clip. And the play head down here is the new clip. So we can visually see, but also what it does because there has, it has a side-by-side view or a vertical view. But in the side-by-side view, we have side-by-side also of the scopes. So while clicked on the new clip, go to Basic Correction here. And we can look at this scope here first and see what happens if we bring down the exposure level to match. And then use the blacks to bring that up a little bit. So now each scope is matched here. And also it's pretty match between the left and the right of each of the RGB scopes. So this one's still looks a little bit dockets me, but if you zoom into the vector scopes, you can see that this is actually a little bit higher on the whites. But another little trick you can do is go to Color Wheels and Match. Make sure face detection is on. And just to apply match. And it will apply a match from this one to this one. And you can see it pumped up the exposure level and it's light brighter. So we'll go with that. You can close comparison view. And then if we go between the two clips into the next one is silica do is a little bit of tweaking. But compared to the beginning, if we take the color off on that one, this was the original. So are a lot closer, at least they have the same type of tonal range. Her face is a lot brighter. Maybe she's right underneath the light right here. So we can we're going to play with that. And then a little bit with the mask. 7. Using tracking masks : So the next thing I wanna do is her face is much brighter in this part of the clip. Then in the next section, whether the lighting changed. So we would need to sort of try to match that away a little bit. So the way to do that is to use a mask, we need to add another Lumetri effect. So go up here, click on this and say Add Lumetri color effect. So it adds a second one. Then here. We can then say Rename. And I'm just going to call this one face. So looking over here and i o, we can see that there's the original Lumetri for this one and then one call face. So my next thing to do is to make a mask. So under the face Lumetri color, I'm going to click on his pen tool and draw a mask around her skin tone area. Just like this. And like that, and then give it some blending. Now I know that as this moves, you can see that the mask doesn't follow her face all over the place. So what we have to do is do a track in mask. So first step is go to the Mettrie mask, face. Click on the mask so you can see it as blue again. Make sure the wrench tool says preview is on. Make sure you on the first frame of the clip. And then press. Make sure you're going to press play. But before you do, make sure mask is on again. And then press play. We'll let this speedup. If at anytime the mask is moving too far away, then you need to stop it and adjust it. You can see it's making keyframes here automatically. So Premiere is trying to mask her face SQL as the image is moving throughout the video clip. Once that's done, make sure you're on the clip. Make sure you're on lumetri, color face. Go to Color Wheels and Match. And then we can go to mid tones and just drive up the color a little bit like so. And highlight just to give her a bit more color in her face. And we'd go between the two. And take a quick luck. And you can see the effect on and off. And if it looks too orange, just bring it back a little bit. Again on and off. Just kept her face. She's not so pale looking compared to the next one here. Gives you the same thing for a hand as well. So a handle, all you've gotta do is do exactly the same thing. And it would just draw it a second mask by hitting on the, Make sure you earn Dmitry color face. This clip. Click on the pen tool again and draw around. You can even come off the area here, like so. And it will automatically do the same effect that it did for the first one. And you can see it's called Mass 2. So if we click anywhere off there now and go back to fit. And if we take a look at the before and after, you see your hand and a face. Both have darker skin tone now, it's not so pale. 8. Color over multiple clips : Next for an effect or a grading, we go into add an adjustment layer over the top. So just go down to here to New Item, click on it and say adjustment layer. Just CLK. And then drag the adjustment layer over on top of the video clips. You can drag this along all of them. This adjustment layer is like a clear film. So any adjustments that we make here in color will affect all the clips at once and doesn't apply the effect onto the actual trip itself. You'll notice that if we click on the Adjustment Layer, there is no Lumetri panel here. So just click anywhere over here. And it will bring up the metric color. So he, I click on HSL secondary and then go to q0. Now we're going to set the color here just by clicking on this and click on this guy's face. Make sure this is not on blue at the moment. Go to gray. And then we can move these sliders. This is hue saturation and luminance. This is choosing the color that we just picked. We can also use the plus key and click on pots of his face. And then we're going to move these guys around, try to isolate just his face and his skin color. This is moving the whole thing. I toning in the actual color picker checked. And this is like a feather and the fact of n is this saturation. So we want to try to get this as much on him as possible. And this is luminance here. So play around with these and said, you get as much as you can. You will pick up some other things as well. That's just because, you know, different colors in the scene. So now when that's done, we're going to click off the gray. What we're going to click on this guy, and what that's gonna do is everything that's gray here won't be affected. So his scan won't be affected by everything that isn't will be. Next. We're going to go to correction and we're going to drag this down into that heel look, but first let's turn this off, make sure the system blue. And then just drag this teal to end here and there, especially in the dark areas. If we turn this effect on and off. You can see it gave us the orange and teal look without affecting his skin tone. So one other little trick here, we don't want everything that's in the shadows. This is mid tones, by the way, do you want shadows over here? And we can drag down the shadows into the teal also. And then if we turn that off, we don't want everything turning blue in the shadows. So one last little thing here is we can add another Lumetri color effect. Let's rename that one to shadow. What do we want to do is just make sure that we're on shadow up here and then go to curves. And here's saturation curves. And to try to get the blacks black, we're going to use the LUMO versus SAT. Just click over here, this is the same, this is very dark, very white on the curves. We're going to click around here, like over here, just drag that down. And then anything below that now in the shadows will be crushed down. So they won't be bright blue in the shadows. It'll help. You probably see that more in a curb black sweater here. And just that little bit of it just helps in the effect. So looking at the overall thing, if we turn the adjustment off and own, this is our final effect. And they go and play around with it and see what you can come up with. 9. 08 Working with LUTS : So go to where you're storing your practice falls and you need to pull in the video clip called Fountain. And also be aware that is another folder in here called Lutz. And we're going to be using this a lot. So here we've pulled the fainting and to the timeline, we have our scopes open. We don't need the vector scope. The RGB trace shows us that it's pretty well balanced already. So the white balance was good. And this is a flat profile. It's shot on a Sony A7 3. And that has a thing called NSLog. It's a flat profile. It looks like this in the camera, but actually it gives you more control over color. Now our first step, just like anything else, is to address the tonal and the exposure, white balance, and saturation first, before we put a lot a lookup table, which is a look. Firstly, always do the color correction. So that's close. Then this guy here, because I want to see the waveform, they can see it's very flat, which is what it's showing us. So just like before we're in the basic tab, we're going to bring down the blacks. Like so just above 0. We're going to take the whites up to just below a 195. We're going to take the shadows, then. We're going to take the highlights up. This is our before and after. You can have a look at our contrast a little bit, which is good around them. We want to be anywhere between 90 something to about 10. So that's where we are here. And that's looking good as far as the actual day. Swapping over to our RGB Parade, the bottom of the scopes not grainy well adjusted. The green and the red are a little bit higher than the blue. So we can bring the blues up a little bit just like this. And we can drop this down maybe a little bit just to match them up. If we undo that though, and just double-click on this to get it back to 0. We also set up as anything widen the image. You can click on it with the white balance selector, but also graze. Sure you click on a gray like this. It will try to adjust the white balance also, looks like the blue one, a little bit too high. So bring that back a little bit. But looking pretty good now as far as White Balance Adjustment, next, let's choose our vector scope y, u, v, and also get rid of the parade. So here is our saturation. So we can bring this up a little bit. Like so. And this is our before and after as far as color correction goes. Now then LUTS, that's lookup tables. You'll see in the basic correction that you can apply a lot. So these are different ones that are built-in here. And you can see straight away that it will try to correct it for you on there I would suggest is that you don't put lots in here. You don't put them in here, you put them down in the creative area. And the look, you can see there's a lot of different ones here. And it's quite easy here. If you look, shows you what they look like. If you just scroll through, you can actually just pick a look that you like from the list. Double-click on it, and it'll apply that. And they start in places where you can then play, Go back up to Basic Correction. And because we didn't put the blood in here, we can still do all this basic correction first. Because this is lower. It's a level below a bit like if you use in Photoshop or something, it's a layer. So I don't particularly like a lot of these. One thing I wanted to do and I've added it into the practice data is a lot for this was shot again on a Sony A7 3. And every camera, whether it's cannon, Panasonic, nikon, Sony. They know if you shoot in there and they're flat profile in Sonya's called NSLog. I think canon is called c log. They have a bill that will start to make this correction. It's got the adjustments in it for if you shot on a, on a Sony. And it's an S log profile like this. You can see we just did it manually. But what we can do is don't put it in Basic Correction, leave that alone. Go back to square one, Kodak to creative. And then under here, go to Browse. You can get these off the Sony Canon nikon websites by the way. And then this is the slog to LC 709 LUT for Sony. And then this will automatically give you a starting point. And then we can go back to Basic Correction and make a small correction. Zia. 10. 09 Color Grade: For this, look for video clip called boxer and your practice files, drag it into the timeline. Let's open Lumetri Scopes. It's pretty flat. Let's open up the basic panel looking at the waveform scope. We can play around with the blacks. And then our whites need to go way up to the top here. Shadows or highlights need to come up. And then our contrast, we'll just drop the whites a little bit. Next, open your RGB Parade. And the blues are a little bit higher in this one. So let's drop them a little bit just to try to even these guys out and then bring the reds down a touch lower section for the shadows. The red and green dark, okay, with the blues are global high, so we're going to use curves to correct that. So in order to save time, I've corrected it. All I did was go to the RGB curves, go to the blue channel. I lifted this up to move this up more in line with this at the very top. And then down at the bottom, I just came off a little bit trying to keep these lines similar. And this was a little bit higher than the very, very bottom. So I took this point here, drag that down a little bit just to move the bottom of this in line with the others. So we're good here. So looking at the vector scope, you can always check your skin tones. So we're doing color correction right here. This is known as a flash line. And the skin should land on this line. It's not only used for saturation. To do that, go to the Effects Controls and go to opacity and click the Fx off for a second. And you can zoom in a little bit here. And then use the pen tool and just make a simple mask. Like so, just an area of the guys skin. Then go off here and click the effect for opacity back on. Now you just get a portion of his skin, go to the scopes. And now you can see that it's only looking at his skin and you can see it's slightly off. It should land exactly on this line. So it's slightly off towards the yellow area. So what we can do is bring this back towards red or magenta. So if we bring this over here and drag it this way, just that little bed that will make the skin tones look more natural. So going back to our facts controls, turning Opacity effect off, click anywhere off the mask to get rid of it and go back to fit. And that is a natural look and skins home. The other thing we can do then is look at scopes and here, and we can just increase the saturation a little bit to bring his skin tone and colors up more. And that's all looking good. So the effect before was like this. And now we're here. Now we're going to add teal background. Okay, I've added adjustment layer over our footage so that that's what will get the color grade. Let's go to HSL secondary. Let's choose our color, which is this guy skin tone. And then we're going to turn on the gray than we can play around with these. Try to get as much of his face and arm as we can. Now click on this blue inverse button here. So everything that's gray will not be changed. So we can play around with this a little bit here too, because you can get a good view of it right here. Like so. If we frame this a little bit more, and that's good enough, I think that's add some de-noise and blur. We can take the color gray off now, leave the blue on, because this means whatever color we change, the rest of it will be affected. So just drag the color wheel correction down into the blues, into the teal. And there we have a nice orange and teal look. A fact, this is what it was like before. And after. 11. Summary: Hey, you've done it. Hopefully we've demystified that Lumetri panel for you. And you've learned quite a bit from his course. We have lots of other courses here. So I hope you enjoyed this one. And I look forward to see you in one of our other courses. Thanks a lot again and take care.