Make Your Videos POP with Color Correction in Adobe Premiere's Lumetri Color | Marshall Rimmer | Skillshare

Make Your Videos POP with Color Correction in Adobe Premiere's Lumetri Color

Marshall Rimmer, Filmmaker

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21 Lessons (2h 5m)
    • 1. Welcome Trailer

      0:33
    • 2. Color Correction Prep

      5:22
    • 3. Basic Color Correction in Adobe Premiere Lumetri Color

      11:37
    • 4. Creative Color Correction in Adobe Premiere Lumetri Color

      5:27
    • 5. Color Correction Curves in Adobe Premiere Lumetri Color

      12:52
    • 6. Color Wheel & Match in Adobe Premiere's Lumetri Color

      8:27
    • 7. HSL Secondary Room in Adobe Premiere's Lumetri Color

      8:25
    • 8. Vignette Tab in Adobe Premiere's Lumetri Color

      1:57
    • 9. Final Adjustments in Adobe Premiere's Lumetri Color

      3:34
    • 10. Custom LUT Workflow in Adobe Premiere

      21:02
    • 11. Thank you!!!

      1:06
    • 12. OLD CLASS - Trailer

      0:30
    • 13. OLD CLASS - Welcome!

      1:09
    • 14. OLD CLASS - Luma Levels

      6:07
    • 15. OLD CLASS - Curve

      3:46
    • 16. OLD CLASS - Color Balance

      5:17
    • 17. OLD CLASS - Saturation

      5:06
    • 18. OLD CLASS - Genre

      6:05
    • 19. OLD CLASS - Secondary

      7:57
    • 20. OLD CLASS - Vignette

      6:01
    • 21. OLD CLASS - Thanks!

      3:05
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About This Class

I bet you had no idea that the footage that comes directly out of your camera is actually not optimized to be viewed immediately. Cameras capture footage in a way to preserve information, NOT to naturally look beautiful to the eye. That's where color correction comes in.

Color correction and color grading are techniques that will drastically improve the quality of your video footage.

Designed for students with little to no experience in color, this class will teach you all about:

  • Basic Color Correction
  • Creative Color Grading
  • Color Relationships and Color Balance
  • Color Correction Curves
  • Genre Conventions and Hollywood Looks
  • Color Wheels
  • The HSL Secondary Room
  • Custom LUTs and Output Looks

Make your video stant out with these simple, easy-to-learn techniques. Even though the class is taught in Adobe Premiere's Lumetri Color, all the concepts are theoretical color concepts and can be applied to Apple's Final Cut Pro, DaVinci Resolve, Avid Media Composer, and other color correction softwares. 

If you're interested in my color grading LUT pack, use the code "ClassDiscount" to receive 60% off all downloads.

Transcripts

1. Welcome Trailer: 2. Color Correction Prep: everybody. And welcome to this class on color correction. This is a great class to really take your footage to the next level and look and feel just much, much better than how it comes out of the camera. What we typically don't realize is that the video that cameras actually capture are meant Teoh taking as much information and picture as possible and not really render out the prettiest image. So we have to take that footage and put it into a software like Adobe premiere or something else and make that footage look good. So just a heads up in this class, just a quick little overview. I will be using Adobe Premiere and, um, even if you're using Final Cut Pro or DaVinci Resolve or anything like that, a lot of the concepts that I'm covering are all universal concepts, its color theory and things of that nature. Um, you know, obviously I will be getting into some specific tabs some bells and whistles in Adobe premiere. However, ah, lot of thes concepts like I said, do translate to final cut pro to Divinci resolve and any other software you may be on. So don't be too concerned If you do not have Adobe Premiere if you're looking to get Adobe Premiere, Um, I believe at this point it's about $30 a month, so that's something that you can try out. I'm sure they have some kind of trial version if you haven't used it before, but I definitely recommend Adobe Premiere. It's a great software that is professional, but at the same time is there's not a huge, steep learning curve like there might be with DaVinci resolve. Um, so I recommend getting Adobe premiere. That's what I'll be using a couple of things before you start. One thing I like to do is I like to set my desktop background to some kind of neutral gray like you see here, Um, what's nice about this is it? It keeps true gray color. I can see white. I can see black and so I can tell if my images to saturated or not saturated enough, or if the colors air dipping towards cool or towards warm. And I can really kind of see true color. In fact, ah, professional color. It's actually paint their entire studio this middle gray color, so that their eyes are constantly accurate because if your if your walls or are really bright red or really bright route blue, they could skew what you think. True colors are so just something to note. Having this in the background really helps. I just Googled something like color correction, gray card and a lot of images popped up by download. This one, uh and so that's what I did there. And one last thing that I also really like is I like purchasing this card right here is a color correction card. I bought this on Amazon for just about $10. There are $100.200 dollar versions of these to get super, super, super accurate. But for my purposes, I've worked professionally for 10 years, and honestly, something like this is just as good. So I bought this card, and what this does is this allows me to see true colors over here. I can set a white balance to this on, so it's a lot easier, especially for white balance. Instead of trying to find some white in your image, like a car or a T shirt or, you know, wall that can typically be off white. This is true white. So I can set my white balance here and then in the scopes here, Aiken, see if things are looking accurate. If these lines are going towards, here's the scion. Here is the yellow slightly off, as you can tell, but honestly, good enough your I will not be able to tell the difference. So that's kind of all the housekeeping. Um, beginning before you start color correcting once you open up Adobe premiere and you drag your clip into a timeline. Um, a few things to do. It's always good to Oops. Where are you? It's always good on adobe premiere. Um, you typically doing a lot of your editing in the editing tab. But if you're doing color correction, definitely click on this color and it sets everything up for you very nicely. Um, so what I typically do is I go out of the color tab, and one thing that I also like to do is I also like to have these scopes here. If you click on and off, sometimes there we go like to have these scopes here to see what I'm dealing with. So with color correction, you're using a lot of your eye to look at the actual image. But then you're also looking at these graphs to see if things were technically true. Now, if this is not what your graphs look like, you want to come to this little wrench here and change the settings So the vector scope is on the left. There's a couple different types of vector scoops, but I definitely like having the why you ve it has all of the colors in the right place. It has a skin tone line opposite skin tone. And this line over here, this is typically grass Aziz. Well, so a few, um ah, good things toe have here. And then on your right, you can either have away form, which has all the colors you can have a true hissed, a gram. Whoops. Um which comes off that right here. But I typically like to do the way form and the why you ve as you can see here. So now that we have everything set up, we are ready to get started with basic color correction. 3. Basic Color Correction in Adobe Premiere Lumetri Color: So before I get started, I like to think about the conditions that I was filming under, and sometimes this helps me understand what the color is it going to end up being in this process. So right now I know that I was outside and I filmed this. This was overcast, and what that means is, when it's overcast, there's gonna be low saturation. There's gonna be low contrast and also your, um, your your color balance between blue and orange can be very difficult. Typically, you're pumping a lot of orange into the image. However overcast does not really have a consistent color. Sometimes it's bluer than other days. And so I know that this this color temperature could be out of whack a little bit. I also know that I was using an indie filter. Um, that is a filter that I put on my lens that allows me to make the background very out of focus like this. However, what that does sometimes adds a little bit of creen into the image. So I'm going to assume that we're gonna have to pump some magenta in there to counteracted um, color correction, especially the stages, is all about color relationships. So you see on this wheel right here you're seeing the red, the yellow, this skin tone right here and then opposite this opposite yellow is blue opposite red scion , magenta and green. So using a lot of complementary colors, infusing one into the other to try and balance it out. Um, so the last thing that I know is I filmed this with a certain lens that I've actually seen noticed, sometimes is a little cooler than my other lenses, so I might have to pump some more orange into the image. However, this looks a little orange already. So just just trying to think of any and all things that affected the color of the day just so I can have the right headspace going into it. So once I've done that, then I basically start top to bottom in this color correction, this basic correction tab. Now the input led the input. Let L. U t is a look up table, and basically what that means is back in the day with different film stocks, they would use these look up tables to basically translate the way that a film was shot on certain film stock and translate that into a standard look that you would see in the actual movie theater. So input leads have to do with what camera camera's settings you actually used on the day of filming. You can see you have Ari Analects up here. You have a lot of s locked, too. And these air ones that I have put in because I used to film under these settings. However, this day I used a picture profile that was not any sort of, um, s log s log just for you guys who are are not aware s log is a setting that you can use on your Sony cameras that capture a very flat, very de saturated, very ugly picture. However, it captures a lot of information, and because it has more information in in the color correction process, you're actually typically able to get a better image out of it because you have more toe work with. However, for me, I was using straight at the camera, um, a different setting that kept it a little low contrast, but not anything as extreme as s lock. So when I click on any of these, because it is not set up with the same camera. I'm not going to get a good look out of it. However, if my settings matched these input Lutz, it would really help the process starting out. So from input, let we go to white balance and what's nice. I have this white balance card, so I'm going to use the eyedropper and click on the white. Now sometimes is accurate. Sometimes it's not. It's at least a good starting point. So, like I said, I thought this was gonna be kind of green because of the Indy filter. And as you see, we're adding 3.6 towards Magenta and this bloody orange umm on Lee went toe orange 2.8. Which, um, just to see the see what's affected, I'm gonna add a lot of saturation. Obviously, I don't like this, but I just want to see you just want to play with it now. That's interesting, right? When I take away a lot of this orange will add some blue into the image. It actually seems a little bit more natural, right? So this is it. Zero seems a little orange. I think I can go somewhere in here. I mean, there's obviously there's some big differences, but I think I can go somewhere in here, and that's gonna be pretty nice. Force it. It, um, takes the skin tone away from thes colors. Now, one thing with color correction is really your skin tone is king, so you always, always, always want to be making sure that the skin tone is taken care of before anything else is. So even if you have some blowouts in the highlights or anything like that, as long as it's not detracting from the skin tone, that is what you're going for. So I've added a lot of blue into the image. But as you can see, that's gonna help preserve my skin tone and allow me to pop from the background. The one quick side note with skin tone skin tones along this line right here, And when it comes to production design and what what you actually have in the frame of your image, anything that's opposite your skin tone is going to be much easier to color grade than anything near your skin tone. So a cheap and easy way to always make your footage look good and you'll notice this if you start paying attention to Hollywood movies or anything like that. Ah, lot of thief furniture. A lot of the close A lot of the set is gonna be blue Scion green is gonna be somewhere in here. Once you start adding magenta, red or yellow, any kind of warm image warm objects to your image, it's gonna be much more difficult to color, correct and actually takes, Ah lot Someone who's a lot more skilled. Um, Teoh to color. Correct with a lot of warm in the image. Let's see, we've done the color exposures next. When I look at this and I'm looking at this this chart right here now, this chart, um, this this hissed a gram is a chart of how the light is registered. So, um, it's it's the same as my video from left to right. So this part of the of the graph is is talking about this. This part of the graph here is talking about that so it's left to right. But it's a scale of brightness. So as you can see, some of the this part touches 100 so this is pretty much blown out and down here, the darkest of the dark is only about 8%. So probably about right here, eyes not to perfect zero. So I can see Gs based on this, that nothing is clipping. Nothing is too out of control. Here s o the exposures is as at least starting out is pretty nice. Maybe I can decrease it, Tad, you know I'm gonna put it at zero, will come back to exposure once we've messed with something else. So it was overcast and I was shooting on a low contrast profile. So I'm gonna add a lot of contrast into the image. Here's all the way here is taking all out. So I like to see what the extremes are just to start narrowing it. And and again, remember, we're looking at skin tone here. We want the skin tone to be nice. And what's great about these overcast days is a lot of my details preserved in the skin tone. Because he here, maybe it's starting to lose a little detail. Maybe, but on a sunny day, you would get a lot mawr loss of detail, um, than overcast. So we've added a lot of contrast in the image here highlights we typically bring down again . We're trying to preserve the detail of the skin tone. I'm gonna click on another part. So I've lost the and really we're getting all the detail here. So really, we don't have to do too much to the highlights. I'm gonna bring it down just a little bit. So all the detail is their shadows. Now, with still images, I typically add to the shadows, but with video, it actually looks better taking away from the shadows. So we're just you're just adding a little contract year. So here's all the way. So what we're gonna do with these shadows? We want to try to preserve the detail in the darkest areas of the hair. Typically. So, somewhere in here, maybe, um, and then whites you want to boost the wife gives it a nice little pop there, Actually, before I boost the lights, let's go back to this exposure. See, we can still add a decent amount into the image. Here we are getting a little clipping, but again, it's really just about the skin tone. As long as the clipping is not distracting, that is, that is the current way of thinking. Sometimes these trends go back and forth. So typically, do you like to add a little bit of white? Maybe I have to. And there's always a dance. When you affect one thing you're you're always affecting something else. Um, a good example of that is this white right here is your color, and the further out it goes is how saturated your images. So when I go like that, as you can see, it spreads out. When I go all the way de saturated, it's it's not there. So when I add contrast or take away contrast the image, look at the saturation, it's actually going back and forth. So, um, things these things are intertwined. So as I just contrast that typically have to de saturate an image. However, this was overcast, so I'm not having to worry about that as much. So the whites, I think, are in a pretty good place. Let's contrast a little bit now. These blacks were gonna We want the blacks to kiss the zero here, so I'm just gonna lower it until we're just lightly kissing. That's nice right there. I look at my image, my image still looks pretty good. Now these are blown out. But again, we're just really caring about thes skin tone. I'm gonna add a decent amount of saturation that seems a little too much there. Now, a nice rule, especially starting out with any kind of photo or video. Anything like that is the rule of haves. So, um, what that basically says is once you put something to where you think maybe it's okay for the first time, you just want to cut it in half. And then that's the more subtle, better version. So I went from my saturation from 0 to 1 50 Let's dial it back down to about 1 25 1 30 So we're looking at now that right there seems a lot more natural. Go back to my color temperature. I think this negative 20 looks right. Yeah, any time I ADM. Or it's getting pretty orange. So this is just the basic correction that we've done, and it does not look like we've done a ton. But if I go to my effect controls the luminary color here, if I toggle on and off, this is what we ended up with this is what we started with. So as you can see, it is day and night. Really? So we thought was an okay image first. Now really, Pops, this is really nice. That skin tone looks pretty natural. Looks like I was a little flushed at the time, but everything else would did a good job of putting a lot of cool colors into the image. Maybe not up here, but I think this will end up grading really nice as well. So that's the basic color correction from here. Now that we have a technically good image, we can start playing around with any sort of color, color, relationships and styles. 4. Creative Color Correction in Adobe Premiere Lumetri Color: Now that we've done our basic correction, we're not gonna be able to move on to color grading color Grading is the process of just style izing the image and making it look interesting, giving it a certain feel that matches the mood and tone of what we're going for. So again, working top to bottom, the next tab is the creative tab. And from here, we can actually add some interesting looks. Now, these air output Lutz. So I typically don't actually do this until the end of the process. So in this creative tab over here, I will maybe mess with the vibrance or the sharpness, possibly with the Hughes down there. But I do not do the looks or the output Lutz until the end of the process on I'm actually compiled. Ah, handful of clip to show you guys. What exactly those output Lutz conduce for you. - So as you can see those, let's come do a whole lot for your image once you've properly color corrected them on. Then, from there you add the left. But we're going to say that part of the process until the end, and from here we're going to continue on with this creative tab. But one thing that's interesting to note also is that in movies we don't really notice how extreme some of the color actually is. I've taken a few screenshots of some Roger Deakins movies. Roger Deakins is known as one of the best cinematographers of all time, especially the best one working today. And as you can see, you know, in this screenshot, a lot of these trees are actually blue. Um, and this whole image has a cool tone to it now for watching us in the theater. We're not sitting there thinking, Well, this doesn't seem natural. We just accept it because everything has the same look and feel. And then we go to certain scenes like like this dinner scene. I mean, this is super warm, your Onley seeing warm colors. There's no blues, there's no greens. It's just yellow, orange, red, just very warm colors. And it's all monochromatic. So again, we're watching this in the theater, and we're not thinking that seems unnatural, was thinking, Oh, maybe the lights in there really yellow or whatever. But as you can see, things can get very stylized, like Blade Runner. I mean this looks fairly natural. Um, at least two are I. But then we go to scenes like this. It's very warm, You know, this apocalyptic, you know, here is very cool. You get this cyberpunk blue and pink thing going on. So it's interesting, You know, this image is green and yellow, so films have their own distinct look and is typically not natural. I wanted to go back to the scopes. Faded film gives it a more vintage look. So what it does is it brings up the blacks. And so if I'm looking at something like this, as you can see on this graph right here now all the blacks are about 10 and this makes it feel like it was shot on old cards or old a film stock and weaken toggle. Well, we Kentucky, this creative on and off. So this is with the faded film on, and so you can see a big difference here. So it just gives it a different look and feel. I like to use fate of film with anything that's supposed to feel old timey. I like to use it with any kind of fashion thing. I think is interesting. um so those air, you know anything that that's trying to give off a distinct style, adding some sort of faded film is kind of nice. We could also sharpen it, adding that just about 10 to 15 on the sharpening is usually pretty nice. You don't want to over sharpened things. We'll see if we could get in close. If you job over sharper than things, you're suddenly your image looks like it was used. Ah, much, much cheaper camera. Let's see. Over sharpened now when resumed in this looks OK, um, but zoomed out. Suddenly there's a lot in focus. This camera seems a little bit more digital and on the opposite end of the spectrum weaken soften things. It'll send it out of focus a little bit, so I typically like to sharpen between 10 and 15. Just gives it a nice, subtle sharpening and really all we're all we really want. In focus more than anything is your eyes. So we want the eyes is sharp. Okay, great from their weaken mess with vibrance and saturation. Vibrance typically, um, does better things for even saturation. So sometimes I like to over compensate for the for the vibrance and then lower the saturation a little bit. Let's see. Do we like any of this fated film and let's go, Let's just keep it natural. For now, that's the basic creative one. I'm not gonna go into detail with all that looks here, but the cursed have that we're gonna go to next has a lot of interesting things and a lot of ways to to creatively change your image. 5. Color Correction Curves in Adobe Premiere Lumetri Color: always nice to step away for 5 10 minutes. Let your eyes reset and come back over here on this vector scope. It's important that this line right here is kind of the max saturation. So, you know, I don't ever want the white stuff here to get out of this line. Now, that being said, you don't want it, toe always touch the line. Just whatever looks good. But this is kind of to keep you in checking everyone Anything more than that, So OK, great. Um, we've done the creative. We might come back to the Lut once We've messed with all this other stuff, to be honest. But this this tab is next time is my favorite is the curves to have you can do so much in this tab on this is really where a lot of the color grading comes to life, which I really like. So, um, the way that it works, you first have your RGB curves red, green, blue, and, um, when it's white here, this is the full, um, illumination. So this is just everything. So this is the brightness. When I pull it up, See, everything gets brighter when I pull it down. Everything. It's darker. So a lot of people talk a bout s curves s curves. What that does is they wanted brighter in the skin and then darker in the shadows. That's important to note that most skin tone Caucasian skin tone lands about a 70% exposure . Um, basically, skin tone is anywhere between, I think 50 and 70% depending on the ethnicity. And so, with Caucasian skin tone, I'm assuming my skin tone is probably up in here. This is 0% 25 50 7500. I'm assuming my skin is in here. So I would grab where I think my skin is and lift just a hair and then to get the S, I want to pull down on these shadows and lower these shadows a little bit. So when people talk about it s curve, something like this is really all they're talking about. So in theory, it s but it's very, very subtle. No, I've already done some, um, heavy contrast here on my basic. So if I want to, uh, go in favor of the S curve, I'm actually gonna lower this contract. And that looks a lot nicer doesn't. We're getting a lot more detail in the hair. So because I have adjusted the contrast of this s curve, I went back and lower the contrast elsewhere. So again, this is a constant dance of things. So, um, one thing that people try to do also is with the red and the blue. Um, it's common to put blue in the shadows and warmth in the highlights. But when you do that, one of the pitfalls that you can fall into is, um, having the blacks and shadows themselves blue. So this sort of image right here does feel a little amateurish in the color grading. You know, if if people are just starting out and they saw said, Oh, you want Yellen the highlights blue in the mid tones. You might get a lot of stuff like this. And, you know, if you if you couple this with some like faded film, if you couple this with some some other stuff, you might get an interesting look. But if you're trying to get something that appears truth, EI, however, has been actually color grated. That's not the approach you want to do. So you wanna make sure your blacks are still black and your whites are still white. And so with something like that, if I did want to add some blue into the shadows, I could maybe do something woops, maybe even this dot But this is about 50%. Something like that might seem a little bit more natural. And when I raise this up, Dobie is going to you automatically lower this, um, and so same with the red. The opposite of red is Scion, so fight, take way, read a little bit of red. I get Scion in the shadows, and it's gonna give me a little bit of red in the highlights. Now. One thing to note is that we want our skin tone to be along this line, and it's pretty interesting that regardless of ethnicity, um, all skin tones in theory should really be the same Hume or less. It's just the saturation and the loom, a or light value that changes based on ethnicity. But we always want to try to get skin tone here, and because of that, as you can see, this skin tone is closer to read that it is yellow and so skin tone is basically orange, but a little bit more red orange than anything. So we're gonna come back to these curves. Let's just see on and off. So as you can see, we have done some stuff here. Um, but let's go to the hue saturation curves and this is the the bit. That's probably the most complicated in color grading, but you can get the best results from, So let's just go one by one. So Hugh versus Saturation. What this is saying is this is a line of different hues or colors, and the higher up here, the more saturated, the lower down here with less saturated. And one thing that's interesting that we find especially looking at the color relations in this graph. Here are I like skin tone and are I likes the opposite of skin tone to help the skin tone pop. Basically, anything here or here, um, are I does not typically does not like to be saturated as much, which is interesting because this is a lot of trees. This is grasses leaves that there's a lot of nature here that we actually four go and over here, um or ah, blue to magenta this is not a natural color, so we don't see that as much. So what I typically do with you saturation? And also, you can use the eyedropper here. So let's see if our skin tone is accurate. I'm gonna click on my skin, and this is where my skin tone is, and it's saying that these nodes right here, um ah, will not. Anything past these will not be affected if I drag this. So this is actually pretty good. So this is, um this is yellow. This is, um, read right here. And so it's closer to red than yellow. And it's this orange That's actually really what we want. So he over saturation. So my green, this guy right here, if we want, we can see where he is. So I just did that to Syria's. I'm gonna undo that. I'm gonna drag this down. So now I'm taking away saturation from green. Now, we need to be careful that we don't do anything super extreme like this. Um, because basically, even though it's okay to go extreme in some scenarios, um, the the lines between, um what saturated, once de saturated you might start to get some artifact ing or any some nasty noise and stuff like that. So the more subtle you go, the this safer your image will be, um, so let's just knock it down to something like that again. We do like blues, but we don't like the Magenta, right? So what I typically do is, let's see opposite skin tone is probably gonna be about right here. So let's just boost that up, see if we like that. Do we like that? Possibly. I'm actually going pretty heavy on the blue. That's interesting. And then this magenta here maybe not as much, you know, I don't have I don't really have any of that in my image, so I might just kind of leave it. To be honest, it's not really affecting it too much, so real quick just to see what we've done. This is on. This is off. So we've definitely made a change there. We've definitely aligned, um, that saturation to be closer to here. As you can see, it's not shooting out here as much. It's on the skin tone line and back down this way. So, Hugh Verse Hugh is interesting. This is where you can actually change certain hues to try and match other Hughes. So what I like to do, I just want to see where this shirt is. So I I dropped the shirt and it's right here, and that is that's gonna be pretty close to here. I think I think we can actually see it shooting out here. And so I wonder what we can always reset by double clicking these. I wonder what would happen. Let's just play around with it for a little bit. So I don't want to mess with any skin tone. So I'm going to just put some notes here and here just to be super safe. We do have to be careful of lips and lipstick in this area. So that's one thing to note with male talent. You don't have to worry about that as much. But lips will be more red, so just be aware of that. So let's just see what happens if I just see what I can do. You know, maybe I don't like this. This color of the wall and the fence here, let's just see what this is. So this is a little bit more yellow than I would have thought. And over here. Okay, so this is right in here. So what if I can adjust these guys to be maybe a darker blue and you can see when I raise it up, it'll get warmer. When I lower it down, it'll get cooler. I wonder if there's anything interesting at all. Looks like we're getting a little purple. And we have to be careful of these leaves. Also, cause that looks very unnatural, doesn't it? Let's just see what happens if we warm it up. It's kind of green. That's maybe that is some of for us. Hugh Verse Louima. I typically like to drop my blues to be honest slits and Louima especially, is one of those that you do not want to go extreme on. If you go extreme, you start to see Look at all that. That's Glarus on this gross. So maybe I just want to lower a little bit. Have my shirt get a little bit darker. Something like that. Okay, Almost Seems like we lose a little bit of saturation. No, that's good on the skin, but the cools I still want to make that a little less saturated. Okay, now loom a versus sat and sat versus set. I don't mess with as much. There are some people and sometimes I will do this. Like I was saying earlier, you want your blacks to be black and your whites to be white. There are some people that totally de saturate their blacks to make sure that they're black and totally de saturate the wides to make sure that they're white. That doesn't really give you the affect your looking for because the fall off if this is totally de saturated and then this is fully, you know, at the saturation it needs to be, um it looks really weird. And again you can really gonna see that here when it goes from super dark to actually saturated. So what I like to dio I do like to cheat it just a hair. So this is things that are very saturated. You can take him down a little bit, things that are not very saturated. You can take them up or down, so that's pretty much it on the curves. I'm gonna go on and off so you can see we did so it does start to give it a little bit more of a style. So maybe we wanna not Style isn't quite as much. So we can just change the intensity of some of these things. Okay, so that's really nice. So that does not feel super stylized, anything like that. When we go on and off, we can see that there's definitely a big difference there. Yeah, that's really nice. Really. Get in there. All right, So that is your curves. Ah. And next we will go to color wheels and match. 6. Color Wheel & Match in Adobe Premiere's Lumetri Color: So now that we've done, it's not so now that we've done our curves. I just want to show you guys real quick how far that we've come, which is kind of cool. So this is what we've done so far and where we started and it's pretty remarkable that we were looking at this. Originally, we didn't think that it was that gross or ugly oven image. We I mean, we don't think it was great, but it's pretty remarkable the difference in the two just so far, Um and so we've just done her curves to the next one to do is the color wheel and match. And it's important also that at this point, um, like basic correction is necessary. The creative, uhm is a nice in step um, curves and color wheel People typically gravitate towards one or the other that the match is pretty interesting. I haven't had too much luck with it. Um is basically saying that you can try and match, um, the color of images from one clip toe another. And so the reason this is difficult is because, um, color and production design are intrinsically linked. And so if you have an image with a lot of different colors, and you're trying to, um, make it conform to the color of another clip that has different colors. It doesn't line up quite as well. So we're just gonna do a quick example of the match just to show you guys how it works. Um, and so I have put another clip here. Um, let me maximize that for you guys. I put another clip here. That is from a stock footage site. Ah, this guy on a date. It's kind of a dark, intimately lit date. Um, and it's does not really have any grade to it yet. So, you know, I might throw one of my let's on real quick. There's one that I think would be really good for this. I go to indoors and Moody Room, and so this is nice and yellow, and this really mirrors a lot of those Hollywood cinematic of candlelit dinner things that we've seen before. So if I am, that's a great freezer. If I'm on this image and this is what we've already done, I go to the comparison view in the color wheels and match it will because these clips are side by side. It'll automatically line up to it. This right here is like my timeline. So if I have another clip on there that I want to match to, I can scrub through and try and match it. So again, these two images have very different things going on. This one before it was this color, you know, it was it was it did not have all these blues, all these screens. It did not have all this cool stuff. So if I apply a match, let's just see. And it has face detection on, um, so that has to do with skin tone. So I apply a match. Yeah. So it's gonna It's gonna tell me now that this is matched to that. So again, this really only works in similar locations, similar production design elements. If you try and do things that no one was shot outdoors when we shot indoors, you're not gonna get a great comparison there. So I just wanted to show you guys that was an option again. You know, if if you're in a single location and you're doing one camera to the next in the same room , you will have much better results than trying to do something that does not line up there. So just to show you guys what's up there, I'm gonna get out of this comparison view. And now So we're going shadows mid tones and highlights eso these air the color wheels. One website that I really enjoy that has helped me. Aton in color relations is color dot adobe dot com. Um, what you can do is you can set your base, Hugh. Ah, and then you can look at any kind of all these color relationships. So this is really helped me in my color grading game. Complementary is the main one that you stick to. And one thing that I, um by default it goes rgb, which I think it's fine. But I really like going to hue saturation value because I like to let up with skin tone. Skin tone usually registers between 30 and 33 on the Hugh on again. That's that's in the orange range here. So this is our skin tone supersaturated. But skin tone typically is gonna be Caucasian skin tone. Will some, you know, be And here, so whoops Somewhere in here and you see darker skin tones here. Still 32. You're just messing with the saturation and the loom A at that point, um, So, um, it will change, You know, when I can I would see I can, uh I see different kind of skin tones, but this is all in the 32 range. So that's something to note. That's really nice. Um, and what it allows me to do is it allows me to see these color relations. If I was, you know, super color Grady guy, I could I could make an image, has a lot of green and purple. That is a very difficult thing to dio. So doing this complimentary is where most movies live. It's what you know. You see a lot of office videos. It's gonna be khaki and jeans, you know? So this right here is actually pretty representative of a lot of the color scheme that you see, just because it is based on skin tone, which everyone has. And so from here, what that means is again My skin tones lived in the mid tones, so I could if I want, pull this up towards the orange here. If I wanted to add to my skin tones. Now that's drawing a lot. Let's see a little more skin, little more red and to counter act that we want these shadows to go into the kind of Siam Blue, right? So what's nice about this? We talked about earlier about the color going when we were doing these curves we talked about, You know, bad color grading is infusing a lot of, um, you know, the actual blacks and shadows are getting a little bit too colored that way. And what's nice about these wheels is, as you can see, we've we've shoved this into the skin tone. We show the shadows opposite skin tone and highlights. What you actually want to do is highlight. You typically want the the light source you want to match the light source. Eso. Sometimes it's yellow. Um, but if you are in a bar, hasn't me honest. Unlike that, you always want to kind of push the highlights into what's naturally already there. But just look at this color Well, on and off. When we look at this image, we don't think that this is heavily stylized, right? This is off and on, and we definitely kind of warmed up the skin a little bit, which is kind of nice that we've kind of counteracted. What if we go to the white balance, bring it down? Just a hair. So, yeah, this is nice. Is definitely seems a little bit more inviting. Gonna cool off just a hair. So a lot of these things will kind of compete with each other, So you have to definitely do that dance back and forth. So really color, wheels and match. That's really kind of all there is to it. Like you saw earlier. There's a little bit more control in the curves, and you typically do it either or But I think what we did is fine. I think that that, um I think that works for us. 7. HSL Secondary Room in Adobe Premiere's Lumetri Color: Okay, so now that we have done the color wheels and match, let's go to the ages Cell secondary. That is huge saturation Louima color saturation and light secondary. So a secondary room for color correction terminology is when you're you're isolating specific things within your image, and here you can either isolate the hue, saturation, loom a or all three. So again, adobe has He's really nice eye droppers. So let's just play around real quick. I'm not quite sure what we want to do at this point to the actual image. Thean Midge itself looks okay, but tell you truth is kind of overwhelmingly cool, so well, I don't know why it says that's red. Let's try again. Okay, so now that we've clicked on this and we've isolated our color, we see that this is the hue that it selected. This is the level saturation, and this is the light so we can expand these areas if we want. Um, but let's just see what we can do here and again. Hs l secondary Very similar to some of this curve stuff where weaken select certain colors . Um, but H s l is a little bit more pinpoint accuracy of specific. You're getting all three at once. So let's just see what happens if I d saturate some of this cool stuff. Let's go all the way just to see what we're dealing with. So I'm actually going to try and open this up to capture mawr of thes cool colors. So I'm gonna grab here. And as you can see, it's showing me in gray color gray here and show me what it's selecting maturation. You know, I don't know if saturation matters for me, so I'm gonna de select that. So now get all. And now this is gonna be tricky because I don't really want the shirt selected, So we've changed the selection. Okay, Now, cool. So we've basically got all the wall and all the fence here, so if we go supersaturated boom. Okay, so this is where we're at at 100. So it seems like I want to de saturated. Now. That might be a bit extreme again. The rules have. So we got down a 60 let's go up to 75 80. So that does not seem too distracting to me. It's still present, but it doesn't give this overwhelmingly cool feel that kind of clashed with some of this warm tree up here. Um, so we still are preserving our skin tone. We've done that. I don't want to mess with any sharpening contrast. Um, Tender, anything like that. Um, Now, you can, uh, try and de noise or blur here, which is kind of nice. You can try and blur the skin tone a little bit, but that is a little risky cause you don't want to de focus too much, but I think that to be honest with c on and off, maybe I'm going to give it just a little bit more something like that. So it's still present, but we're not, um, too distracted by how cool it is. So that's actually pretty nice. That does not take away too much. So with this hs l secondary, you know, we've We've done this with the fence. I'm going to crop this. So we have what we've done here, and I'm gonna just gonna change this real quick. So let's now just try and go into a skin tone and see what we can do with with skin tone. If we if we want to do anything at all. And so let's see. This is my skin tone that I've selected. And, uh, I have not done anything to it yet, so let's just see. I don't see too much. Okay, so this is really all we're getting. So I'm going to expand this to try and get more skin here. That's good. So it looks like I can I mean, I can pretty much get unclip this and get more my face. Let's go with this saturation. See what we can get here. This is gonna push everything. We couldn't separate it into shadows mid highlight if we want. But if we want to say you know what? I want to make sure that we're getting perfect skin tone. So we want the skin tone on this line or just ah, redder than it. So we wanted here, So it looks like it's pretty good, actually. Let's just go full saturation, okay? Just to see where it winds up, that's fine. So let's just go. Let's go. Just the mid tones towards skin and typically what you want. You want the mid tones towards that skin line and you want the shadows to be a little bit warmer, actually, so that's a little bit redder. Let's take this saturation down something there that seems pretty natural. So just real quick. Let's just see if we've made the skin better or not. Now it's definitely warmed up the whole thing, and that's very subtle. But I do like that you can see, especially on the forehead. Here in the shadows, it seems a little gray, and with it on, it's there. Now what we can do is we can actually add a color correction on top of a color correction. So, uh, real quick, let's just go back to this guy. And remember, this is the one that we use the secondary two de saturate, the, um, the walls here. So we're gonna dio is we're going to click off of everything. So on Lee, this ages cell secondary is highlighted. Going to come over here to this. We're gonna copy it. I'm hitting. Ah, control C Command. See Mac And then over here to this guy, we're gonna add a 2nd 1 by pasting. And now you can tell this is with it on, and this is with it off. So the skin at this point. So this one right here is just the h s l secondary for this wall, The skin at this point because we've de saturated this other stuff. The skin does look like it's a little bit too much for us, so we will have to switch the's in a second. Now, I can rename this so I can rename the color color wall. Uh, d sat. Okay, so this other one right here, um, we're just going to overall lower the saturation. We'll see. Poopsie. Okay, here we go. To there something like that. That's nice. That gives us a nice, subtle look. It does. It is cool in the shadows. Skin tone looks good. We can si, on and off. This is what we started with. And this is where we're at now. 8. Vignette Tab in Adobe Premiere's Lumetri Color: Okay, so now we're about to get into the vignette, which is actually probably gonna be one of shorter lessons before I do that. I took a step away, and now I'm looking at this image and because it does seem like it does have a Grade two it style to it, I think I can lean into that a little bit more. And I think this faded film look might give it a nice style here. So look at that. That's nice that Grady, that little small, subtle, faded film really brings it all together. So that's cool. Um, when you keep the Waldo saturated appear so we can modify this one. So the vignette, to be honest of within yet less is more so you can go whole giant three stop vignette right here on the dark. Um, I try to keep it half a stop or less. Typically, it's just maybe, too. And I always want to feather it out larger. So it's It's less noticeable, so you can see a little bit on the shoulder. If I toggle on and off, you can definitely see a difference there. I might even go want Native 0.1 So this vignette, What's nice about it in premier? Maybe I typically do just very small vignette. Just try and center the eyes. But what's really nice about it? If I do have a lens that's a wide lens and does natural even yet on the sides, I can actually add a positive and yet, so I can brighten the edges. So if I have a lens that has built in Vignette and I don't want it, I can actually counteracted here on live and yet, which is really nice. Otherwise, I'm gonna make it very small, um, feathered up and I don't need to mess with the midpoint or the roundness, so that's really kind of it for the vignette. 9. Final Adjustments in Adobe Premiere's Lumetri Color: Okay, so this is the image that we have ended up with. And, um, one thing that I like to do is I like to export this as a lut, and then from there, I can scale the intensity of it on and off. And so since we've actually done to, uh, color layers here, um, we can actually do something interesting and combine them into one. So let's not worry about this color wall De Saturated. For now, let's just focus on the main one that we have been doing this whole time. So this is our image. We think it looks great. It definitely has the Hollywood skin and ah ah, blue shadows. It is subtle, um, in some ways, but not in other ways. So what we can do is we can come up here and we can go to export dot look or dot cube. I prefer the dot look. So let's go ahead and export a dot look. And let's just call this, Um, Let's just call this test for now, and we can just put it on my desktop. No big deal. So now we have saved this as a look. So what? We can do now we can have on Lee the color wall de saturated. Um, let's just make sure that all this is reset that all this is zeroed out. I just want to make sure everything is back to normal except for our ages. Cell secondary. Where to turn on all these check marks. And the reason we're not just dragging a new ah color layer is because we want to keep the age of cell secondary where it was so we could keep that wall de saturated. Okay, so now we're at the point where were all original, minus th yourself secondary. So we can do is we can come to this creative winged brows good or desktop. And now we're basically putting in what we did earlier. Right? So from here, we can turn the intensity on and off, which is really nice if we thought what we did was too much at this point, we can scale it all as a look. So this is what we did right here. And what if we just drop it to 70% or so? And I think we got ourselves a clip. This looks pretty natural, but at the same time has a style to it. I think we've done a really good job here, So that's kind of the last step is being able to export as a lot and, ah, just the overall intensity. Ah, so from here, we're gonna explore some of the let's that I've created and show you guys just exactly how you can style, um, an image based on a location. So if it's outdoors with a lot of blue, if it's if it's outdoors in the urban city, if it's indoors, If it's a romantic, candlelit dinner so different, let's just based on different subject matter. 10. Custom LUT Workflow in Adobe Premiere: - All right, So this is a lesson on let's and how to use lots in Adobe Premiere. Ah, Lut L u t stands for look up table, which doesn't really mean a whole lot this day and age, but basically think of it as, like an instagram filter or a way to achieve a Hollywood movie. Look, eso, um, when we watch movies, it's interesting to see that's even though we think the image looks fairly natural if we are to take a screenshot taken. A few screenshots of this is of skyfall. We look at screen shots and we can actually tell while this image there's a whole lot of blue until it's really cold. Um, and we look at scenes like maybe, ah, see this scene right here. While this is like an intimate dinner scene, uh, clandestine meeting kind of thing because you can see the whole images really orange really yellow, really read really warm, whereas these other scenes seem natural. But ah, as you can see, we're only really seeing, uh, some some tans, some science here. So everything that is done in movies you can see we don't see any red, any purple, anything like that. A lot of it is in production design, Yes, but after the fact, actually go in and change the color as well. So this image, we might think, is natural when we're watching the movie in the theater. But as you can see, we see skin tone and pretty much everything else is green, even when this car's probably black in real life. So as you can see, um, color grading does a whole lot for your story, and different genres will have different types of color that go along with them. This is images from assassination of Jesse James. You can see everything is kind of we're seeing a lot of Tan's. Even this. We're really only seeing a monochromatic image here. So different movies have different looks and styles, and so that being said, I'm going to go over some Let's that I've been working on in the past few weeks that I think turned out pretty well, So I divided them up into basically into different locations indoors and outdoors, city nature, but also different styles as well. So that's kind of how how I did a lot of people approach there. Let's just from a trying to make a cool image. But I wanted to approach it from a very practical standpoint. Basically saying, OK, I know this was shot in the desert. This will look cool. I know this was Shot and snow. I know this was shot in an urban city environment indoors, etcetera. So I approached it from a very practical standpoint, which allows you to get kind of the most out of it. So I divided up here on my premier timeline Hollywood moods, but also outdoors indoors. So just kind of want to go through these and show you guys how to, um, put Lutz on an image. Now, one thing that's important to note is that all of these clips are from stock photos or stock video sites. And so because of that, they've already done the basic correction. And I try to find clips that were basically on. Lee used basic correction and didn't add any additional style or look or anything like this . So most of these air pretty true to the colors that were on set. So that being said, let's jump in. So I selected these. I think these would be good style a Hollywood style. The Hollywood is heavily saturated. You see a lot of skin tones, and then everything else is a very cool color. One thing to note when when you're doing your lutz, any image that has the least amount of colors is going to give you. Ah typically give you the best results for using Lutz. So as you can see in this image, we're seeing blue. We're seeing skin tone. I guess there's a little bit of pink in this shirt, but it's heavily saturated, So really, we're not seeing a ton of colors. Same with this image. We're seeing black and white skin tone. Um, here we're seeing blue and skin tone. That's pretty much it. So anything that has, the less colors, the better. For Lutz, anything that has is vibrant like this. I typically like to dio with some of my fashion Lunts, which looked really good with a lot of different colors going on. But any kind of Hollywood stuff, you want to try to keep it, and this is important for you to note while you're on set, try to keep it the the least amount of colors as you possibly can while filming. All that being said, Let's jump into the lutz. So if this were a clip that we had filmed ourself, we would use the basic correction to make the image correct. And then the creative tab here on Premier is where we style eyes it. So I go to look, um, have a bunch of let's preloaded, but the ones that I created that I really like, I'm going to find here and lots. And so this is a Hollywood style, so we can either go with style were also outdoors. I believe City has some interesting stuff as well, but let's start with, um, this style in the Hollywood orange teal and I like. I used the look that dot look in Premier certain software. She'll use the DOT Cube Premier works best with the dot look. So when I open it up, we see that this is a pretty heavily added image, which again, if we're watching this in a movie theater, we're not thinking twice about how realistic this is. However, if we want, we can adjust the intensity here and with with let's I typically balance the intensity, and the saturation is typically what I'm doing, so maybe you want to go a little less. Let's see. This is nothing. This is twice which is too much. Let's say I want to go a little lasts maybe around 86 or so. And what if I boost the saturation just well, that image If I'm watching that, I'm really not thinking that this is a heavily graded style, even though it definitely is. Um, so some of these looks for more subtle than others. This looks really nice to me. We can toggle this. This is on and this is off. This is on. That's really nice. I'll see what else we got. Um, Cinematic subtle won't see if that does anything for us, it's a very different look. I would even say this is a little bit more of a fashion. Look, with this, I think braiding bringing the fated film bottom might be kind of nice. So this is a nice look as well. And as you can see, these luds minutes really just kind of drag and drop. Let's try some of those outdoor urban. Let's see, urban grand. You should. We'll see if that does anything interesting. Okay, so now we're getting into a different style of movie, right? This, um, maybe a little bit. Maybe there's some kind of horror element. Maybe there's some kind of suspense thriller, that kind of thing. Let's see if we add the intensity it's take away. That's faded. Film. Look, get some saturation. Now that's pretty cool. That's definitely a nice, you know, scary movie. Dramatic kind of thing again. All these air Real Dragon dropped really nice. And like I said, the less amount of colors you have in an image, the more versatile that image is probably gonna be. So let's just go to something else again. This has very few colors, so I'm going to assume that let's see, Hollywood action hero. Does that do anything for us? So here his skin tone is not super Ah, saturated. So this doesn't do as much as I would like. It still does. Still does center it, though, but I do think this might might be a little bit better on that, um, Hollywood orange teal cinematic subtle, Probably Also, yes, this that's a little extreme. Let's see if I bring it down, something like that might look nice. So again, this may seem extreme just by itself, because we know what it was. But if we were in a theater watching this, we wouldn't think twice about it. You know, we can look at some comparison. So correo man, he's a really nice images. Um, I'll see if I get one, try to find one that's very saturated. Something like this. Pretty saturated orange. You know, we're seeing a lot of warm towns here. Um, again, this one because there's not as many colors. This is gonna look nice for sure. Hollywood tea oranges might be boom, and that's a right Hollywood epic Transformers. And again, you know, we can obviously play with the intensity. So that's kind of how the Hollywood ones look heavy contrast. Oh, this might actually be nice. A lot of gray green. I think I'm gonna try that grunge on this one. Let's city urban grunge. Yeah, that looks great. That looks great. So So here's one that is in the Hollywood. Um, but ah, when I did this one earlier, I found a really moody, dramatic one. So, uh, let's see what urban crunch does. Yeah, that's that's not gonna work for us, probably because the prevalence of the greens. But if we release the saturation of the greens, the one that I liked here outdoors nature there was a moody forest one, She's in the forest. Let's do dot Look, she's in the forests were doing moody Forest and Boom. There's something pretty scary and off putting about this. We d saturated, darkened all the leaves, and that looks really creepy and nice. So this would be a great Hollywood horror movie now, Like I said, um, with the fashion one's anyone's that have a lot of colors. I typically like to do these fashion filters. Um, so let's throw on one and see what we get, Um, and the fashion one's air. But the style is mostly Hollywood, so the fashion ones are actually gonna be outdoor city Hollywood action hero. Warm fashion memories, Vintage urban, frustrated vintage urban fashion. See, we get as an interesting look. Yeah, that's really nice. So again, lots of colors in the city. Finnish, German. That looks really nice. Let's try with this warm fashion memories, and this is definitely a heavy filter, something, you know, some kind of instagram something. This is definitely stylized, but this looks really nice as well. So again, very colorful lot going on. Let's try one of these. I was trying vintage urban. See how that goes And that is not going to do it for us. Yeah, that blue really does not work for us. And warm fashion memories. Oh, see, now, that's interesting. Nice, warm. And again, this one, you're definitely going for a look. If you want to make it real subtle, you probably could. But I think this one actually benefits from being pretty extreme and leaning into it that way and see warm fashion memories. Yeah, that's nice. So these air really again, These lets air just drag and drop. Really cool. Um, like this one a lot with the warm fashion memories. Yeah, it's really nice. So it brings up the blacks. Let's see, we'll put on the scopes. We're way up here, but it's really nice. Stylized in the urban fashion. Really like that. So that's the fashion ones and this mood intimate. So this is we go back to any kind of cops here. Um, let's see. We have a Blade Runner. Blade Runner is gonna be crazy of it. So this seems pretty normal again. This is green and skin tone. The least amount of colors the better. But look at these. Look, I warm. These colors are I mean, this is a dystopian thing, but if we were to g o back Teoh any kind of intimate dinner scene and pretty much any movie we're getting this right. It's variations of skin tone. We saw that in the sky. Fall is well, I believe Yeah. So this so I mean, this is really heavy. Just one color, right? So if we're trying to imitate anything like that, um, we have a really nice one on indoors. Moody Room is Yeah. So something like that immediately feels a little bit more like that movie. There was another I did a candle lit one at works on some doesn't work on others here, Um, the colors not quite. Or the brightness is not quite right for it. So, um, anything like this intimate. I mean, these air out of the camera. But if we go to that moody room boom, we're looking at just yellow. That's kind of nice. Now, this will be nice, and it'll warm up the street lights here, in which will be really good. Many Ram, though. Yeah, so that again, we think this is totally natural, but it's very yellow. All the moody filters work best when you have a subject in a very dark background. So what I noticed in this clip is the background is not dark enough. If we were to put that moody room or the candle it, Ah, one on it, I believe everything is gonna be yellow in a kind of bizarre way too romantic candle dinner . This actually this is passable. This is not I don't love it because of how bright the background is. Um, there was one that's really good for intimate stuff with a brighter background. And that's just settle skin push. This is again, it's called. It's called subtle, but you are just trying to make the skin tones pop here is with it on. Here's with it off. As you can tell, the use of it definitely makes you focus on the skin a little bit more. That one's very subtle. Um, what? This should go with something big, and so those are the intimate ones. And then with outdoors outdoors, cool. I'm basically talking about anything with blues or greens in the images. And so something like this. Let's say we wanted to make this match that horror movie that we had talked about earlier. So this is the outdoors nature, and we're gonna go the forced the moody Forest. And while look at that, that's cool. So this is definitely a spooky, scary thing. And what's nice about these lessons, just how easily they are to drag and drop? We're really not having to mess of the intensity or saturation of most of them. One thing that's really nice about, uh, these is some of the travel ones are actually really good. Um, so I like this when you see aerial view of the ocean of the beach here and if we go to this is outdoors nature, we're going to go to Ocean Beach travel and suddenly boom, that that ocean pops a lot more, looks a lot better. We can actually even improve. The intensity of it may be of the saturation, and suddenly this water looks so nice. So this is really good for some travel stuff. We could do the same here with this family. Ocean Beach travel boom seems a lot more tropical doesn't, doesn't it? That's great. So 11 of these filters that I really like is this autumn Push some of these green. Some of these leaves are yellow, but a lot is green If we go to this autumn Autumn boost. Sorry. Autumn boost, filter, Boom. Now everything. Now this is the middle of autumn. All these leaves, even though it's snowing, it looks like all these leaves are now or engine yellow, which is really cool. Yeah. So I bet we could do that with this clip. It might be hard, but we'll see what autumn boost does with this one. So this one Interesting. Yeah. It kills the grass, makes all the leaves. Wow, this is really nice. So this puts anything in the season of autumn. Wow, that's incredible. The difference there. So this is I mean, this is night and day that autumn one is really cool. Um, this is another beach. One outdoors. Yellow. Now look at this one right here. There's actually not a ton of Is there some blue? But it's fairly monochromatic. I think this one would actually do well with one of those fashion filters that we saw. Um, so that was outdoor city Vintage urban fashion. Uh, not that one. Let's see her brand warm fashion memories. That's kind of cool. Yeah, that's a heavy color caste, but it looks really nice. Yeah, that's really cool. Um, again, when there's less colors on the frame ah, you can typically get away with with, um, putting basically any kind of filter on it. Let's weaken tried desert Dusty. Does that do anything for us all puts it together into some nice, more kind of khaki feel, so that's really nice and outdoors. Yellow. We could do a lot here. Um, there's some good like desert ones. Outdoor snow. There's a lot of really good snow. One. Um, I did three different snow. I think snow landscape was the best one there, and suddenly it feels a lot colder there, doesn't it? So we preserve the pops of yellow and red, which is nice. Ah, but but it really cools everything off. Makes you really embrace that snow a little bit more, which is really nice. As you can see, there are a ton of different options, a lot of good work ones as well. But there's a ton of good options here. And these lets Air really designed, so you can kind of really drag and drop almost any of them into an image. So that is, is how you do lots. It's really easy. You definitely want to keep it in the creative tab. Ah, it's real Dragon drop and adjust the intensity and saturation, but that's pretty much it. So for you guys, these let's are on sale. So if you wanna give him a download, feel free to do that. Ah, having broken down into different packages or if you want to get a discount, you can get him all at once. Um, so that's lots in a nutshell. 11. Thank you!!!: Well, this was a Superfund class to teach, man. I really enjoyed diving in here and changing the color up and showing you guys How did had it not only collect correct, but give it a grade that you can change the subtleties. Hope you guys check out those those lots and see that You know, you can save yourself a lot of a lot of time just by dragon dropping. Ah, but it's It's pretty impressive that we have gone. Uh, we ended up here and we started here. Um, we have done so much to this image that when we were looking at it out of the camera didn't seem ugly. Now it clearly clearly is. Ah, but we have made it come all the way to something like this. So the colors are popping. It seems natural. It does have a slight style to it without being able to, um, put our finger on it. And it's it's nice and subtle. Ah, and it does a whole lot. So really pleased with where we ended up. Hope you guys took away a lot. If you have any questions, let me know. And, um, you guys on the next one 13. OLD CLASS - Welcome!: - everybody and welcome my class on color. - Correction is just a introductory class and something will just cover the basic steps of - color correction. - It's divided into two different sections. - The first section is actual collect correction. - The second section is color grading. - If you don't know the difference between those, - hang on. - We'll get to that on if you're new to filmmaking. - If you want to learn more about lights and cameras and things like that, - I do have other classes that you can take and I'll put those in. - The additional resource is if your skills to remember then you could just sign up for free - and won't cost you anything. - Eso definitely recommend looking at those as well. - It'll kind of give you a more rounded approach to filmmaking. - So for the project for this class, - all I want you guys to Dio is to go out, - shoot something 5 to 10 seconds doesn't need to be anything huge. - Take that footage and then great it. - Have fun with it. - Make it crazy. - Make it wacky. - Make it cool. - Make it subtle doing everyone Just have fun with it. - I advise you to try to do something that you? - You know, - you like the style of that. - You would maybe one emulate, - You know, - the whole piece. - So maybe not something to wacky, - you know, - unless it's some kind of music video or something like that. - But very simple project. - Just 5 10 seconds color. - It uploaded. - You're good to go. 14. OLD CLASS - Luma Levels: - all right, - so this is the first step in color correction. - Adjusting the levels, - as you can see here are test footage is me wearing a silly hat and speaking in slow motion - . - So it's part of Project I've been working on. - This is directly from the camera. - Nothing has been touched with it so far. - And as you'll notice, - I've said my background to this 50% gray color. - Doing this actually allows Meteo kind of keep my eye honest and see the colors for what - they are. - It's very easy when you color correcting to get lost in an image and you go away for an - hour to come back. - And you realize I've done a terrible job putting this 50% gray as my background really kind - of helps me see it more objectively professional colors. - There's whole studio is actually painted this 50% gray so they can see the colors for what - they are. - So I'm using Adobe Premiere. - You could be using any software. - They all have the same techniques. - They look a little different, - but this first step I'm adjusting the levels. - Eso I've used a filter here, - the fast color corrector I like it. - It's kind of ah, - kind of a one catch for color correction. - I've done a couple other things as well, - but this fast color corrector has these levels. - So what you do is you. - Since we don't have a history, - I'm here hissed A gram is is a graph that actually weaken Measure the light in different - places. - Since we don't have that in this software, - we just have to eyeball it, - Which is not great for professional color correction. - Um, - if you're just learning, - it's fine, - you know. - But once you get to a certain level, - you definitely need to be looking at these charts, - so it helps if you have a good monitor. - Uh, - Mac monitors are great, - and they're very true. - I'm working on a Mac pro right now. - Ah, - sorry, - Mac Book Pro. - So the monitor is an apple, - and it is really nice. - If you're working on a cheaper monitor, - it will be more difficult. - Teoh find colors that are true. - So with levels here we take the input levels. - And as you can see as I'm scrolling at what it's doing to our image is it's making all the - shadows. - All those darks get darker. - So just showing you what it can do. - This is not what I would recommend. - Okay, - So basically, - what I want to do is I want to bring us up enough, - so I'm kind of seeing a little bit more contrast. - I'm seeing a little bit more differences in the shadow. - Maybe something like that is okay, - and I'll take the top is, - Well, - now, - before we start, - I guess I should have. - It's always good to look at the image and just kind of get a feel for what needs to happen - . - So when I look at this image before I've done too much work, - let me go ahead and just set the levels back to the euro. - So this is an untouched image. - So what I'm seeing is it's fairly well exposed. - There is kind of a hot spot on the right side of the frame behind my head. - Um, - can't do too much about that, - but the colors are okay. - One of noticing about the colors that shot outside and everything feels a little blue, - you know. - See the risers There, - there. - Those are gray in real life. - And as we can see next door 50% gray They look a little blue Eso What I'm assuming has - happened is we've When we shot this we white balanced to true daylight which is in the sun - over When I'm looking this I'm in shade the rises Aaron shade eso shade registers is a - little bit more blue so we're probably gonna have to do is infuse some yellow in our image - But that's later down the line So we've looked at her image and we know that the colors OK - , - so we just need to kind of just in contrast to make it look a little nicer. - Um, - And then infuse that yellow a little later on. - So I look in my levels, - I'm gonna bring these up, - so I see a little bit difference there. - Now, - color correction is all about subtleties. - One rule that I love is I just things until I see a difference. - And then I cut the intensity in half. - Um, - basically, - once you've done something till you actually seen it, - then it's that it's usually not too good. - When you look at some beginner filmmaker videos, - you see heavy vignette ing um, - and vignette ing looks nice. - One done right. - But if you can notice it, - if you can pick it out and say old, - it's been getting its usually not done that great. - So what I usually do is if I am vignette ing, - I go ahead and do it, - and then I take it down to about 50% so I can barely see it if I'm looking really hard. - But if I don't know to look for it, - that it doesn't look like it's there at all. - Um, - So with this input, - I think somewhere around here looks fine. - And I'm gonna just the highlights as well as you can see when I crush it down here, - it goes crazy. - So just show you guys what the what it does. - Um, - but it looks I can break it up a hair. - I see. - But like I said, - it's all that subtleties. - And starting off it may not may not look like I'm doing anything, - but I am, - and I'll show you in a second. - So it's output here. - It kind of the opposite. - It'll bring up the blacks and bring down the whites kind of wash it out a little bit, - depending on what Look you're going for maybe like this. - Maybe you don't. - It's kind of in right now to kind of have that milky kind of gray color. - But this is not an artsy fartsy video. - This is me and a silly hat. - So just to show you guys on and off, - you can see that difference. - Okay, - it's there. - There's it off there. - Is it on? - So it helps me pop out from the background a little bit. - I'm not even give a little bit more. - Might be a little heavy, - but let's see. - Um, - yeah, - I think I like that. - I think that's nice. - Um, - so that's just the levels that's just kind of setting the edges of the light in color - correction. - We're dealing with the Loma or the light and the chroma or the color. - So these first couple steps are just gonna be about the loomer. - They're just gonna be a about the light. - Worry about the color here in a minute. - So, - really, - for our first step, - that looks pretty good, - setting the levels with no history and we don't know for sure. - So we're hoping that this monitor is great, - but I think it looks pretty good. - So that's all for the levels. - Let's move on to the S curve 15. OLD CLASS - Curve: - So this lesson is about the S curve and the S curve references. - The loom, - a curve in this case, - um, - to the image. - And the Lumen curve is basically this line right here. - As you can see, - it says Master and I'm right now I'm in the RGB curves effect. - And if you're following along on Adobe premiere, - um, - so basically, - what this does is it's adjusting the light. - If I grab something at the top right here, - it's adjusting the highlights a little higher. - Or I could make the highlights a little lower, - as you can see there on if I just it from the bottom here, - it's making shadows a little higher. - Uh, - wow, - that is hideous. - Look, - or I could make the shadows a little lower. - So you basically just manipulating that, - Um, - so the s curve, - it's called the S Curve cause it looks like an s kind of, - but it's very subtle s so basically what this emulates is kind of the way that film used to - be processed and really kind of helps the contrast. - It makes faces pop a little bit in the shadows, - kind of disappear a little bit and really kind of separates the things that you want to be - looking at, - the image versus the things that you don't want to be looking. - So basically, - with the ifs, - best curve means when you grab something here at the top and you raise it just a hair. - So basically take it from where it was and raise it directly up, - that might be too much. - Like I said, - it's very subtle. - And then same thing at the bottom. - You grab it where it waas and you lower it a little bit so you can see the s. - You know, - if there's kind of a s there, - basic idea, - but it's very subtle, - very subtle. - S so maybe something like that will look okay. - And look, - look at her image. - Um, - looks all right. - So let's see. - This is on and this is off on off. - Yeah, - that's better. - That's better. - So it's at this point. - We have to realize that we're doing things in stages. - So the color right here doesn't look great to me. - It's It's it's not saturated enough. - It's not the end. - No, - just doesn't look good color wise. - But right now I'm just looking at the Loma. - I'm just seeing Is that is that light going? - Okay? - And what I see with this is my beer gets a little darker. - My skin pops out, - the risers go down. - I mean, - everything kind of looks like it's coming together a little bit. - It could be a little intense, - and maybe we'll just it later. - One thing about color correction is that you think you're done, - and then you walk away and you come back and go. - I gotta just this and there's too much red, - you know? - So it's it's kind of a a long process that until you've done it 1000 times, - it's difficult to get right every step of the way. - So for now, - I think that's okay. - I might I might make it a little less intense, - but not by much. - As you can see, - this s is very subtle. - Some people, - when they hear about this concept of the S curve, - they just make it look exactly like an abstinence. - Not that great, - but this is this is looking pretty good. - So there's on and there's off. - Um, - so I think that's good. - Soas faras the limit goes, - This is looking pretty good. - Um, - I think we're done with the limit. - We're gonna move on to the color stage. - We're still in color. - Correction. - Color correction is referring to, - um, - making the image look right. - Look correct. - Look, - Riel color grading, - which is part of the color correction, - is kind of a catch all term. - But there's there's really two sections correction and grading color. - Grading is when you get more into stylized. - You know, - you make the Artemis films look nice and green, - and you make the scary movies all heavy contrast. - Upgrading is talking about style, - izing it and making it interesting. - Where's correction is technically just making it look pleasing to the eye and accurate. 16. OLD CLASS - Color Balance: - Okay, - so now that we've adjusted the light of our image, - we're going to talk about color and some common color issues. - Eso real quick. - We can look at what we've done to our image. - This is directly out of the camera, - and this is what we've done so far. - Soas, - faras color goes some common color issues and we can see one here is shooting outside - during the day when it's white balance to the sun. - But our subjects were in shape, - so they're gonna look a little more blue than they should. - If you guys want to learn more about white balance and things of that nature, - I teach a class on camera and lighting as well. - So check those out. - It'll it'll help you to figure out how to properly white balance your camera. - But in post here we look at this image. - We see it's a little too blue, - so we'll have to put some yellow into it. - Other common issues are, - um, - when shooting under fluorescents, - things tend to look a little green. - Eso you need to infuse some magenta into your image. - One thing that's important to know is just kind of the relation of colors. - And general, - When we look at this color wheel right here, - we can see opposites. - So we know if this images to blue, - we need to put in some yellow if in images to green, - we put in magenta and so on. - If if those air usually kind of the two axes that that things will need to be adjusted on - if there's something improper with the color in the camera itself. - Um so, - yeah, - it's good to know it's good to get familiar with those. - The primary colors of light are green, - um, - read and blue. - That's good to know. - RGB red, - green blue are the primary colors of life. - So with the RGB, - you need to know their opposites as well. - So we look at these curves. - If I raised the red, - I'm losing scion scion the opposite of red with green. - The opposite is magenta, - and with blue the opposite is yellow. - So those air the three important colors to know those air, - the important relationships to know as well. - So I'm trying to take this image, - and right now I'm just correcting it. - I'm not trying to graded, - um, - I can look and I can see. - Okay, - first off, - we're talking about the blue and yellow relationship. - So what I can do is on and again, - I'm in Adobe Premiere. - And this effect is the RGB curves. - Um, - rgb curves. - Gives me a little bit more latitude than the fast color correction, - fast color corrector. - I have to just kind of pick one color, - but here I can adjust kind of all three, - which which I enjoy. - Um, - so right now I'm gonna take out some blue. - Basically, - when I look at the image I say to myself, - I need to put in yellow, - so to put in yellow, - I have to translate that because yellow isn't a primary color. - So I'm taking out blue. - So when I take out blue, - as you can see him putting some yellow into the image so that's right. - There looks a little more true. - And the tough thing about color correction as we do this in stages. - So I'm not looking at the saturation right now. - I'm just looking at the color relationships. - Um, - there might with red. - I maybe put a little red into the image. - Scion and blue to the human eye are very similar. - um so sometimes it helps to adjust the red. - Remember, - subtlety is key with color correction, - so that looks good on the red. - Now the image feels a little green. - I mean, - there's trees. - There's my shirt. - Green is the predominant color. - I just want to see what happens if I if I put some magenta into the image here. - Whoa. - It is too much. - Uh, - let's go back so that Okay, - so that right there looks pretty accurate to me. - Let's turn this on and off and see what we've done. - Color wise. - Keep in mind that this is just this is turning on and off the S curve that we've done as - well. - But his first color goes My skin is naturally more magenta than most people's. - It's that might throw us off a hair, - but that feels pretty accurate. - Um, - in the grating step when not when I stylized it a little bit. - What I may want to do it. - There's too much magenta. - See, - this is this. - Back and forth is constant when you do color correction. - Um, - when I stylized it in color grading, - what I may want to do is that may want to add some orange to it, - so it add orange. - I would either up up a little bit of the red and lower some of blue if I had orange to it. - Makes it feel more outdoors. - You know, - maybe it's kind of in the evening. - The sun is setting. - It feels it feels a little bit mawr exciting. - I guess right now it's still kind of stale. - Um, - and in the correction process, - that's okay. - We're just trying to make it accurate. - Um, - but it did. - Yeah. - There's nothing exciting about this image. - I think if we if I think we warm it up a little bit, - I think that, - um, - I think that the image will feel a little bit better, - but that's for later. - So for right now, - I think we're OK on the actual color relationships. - Eso Let's jump into the saturation 17. OLD CLASS - Saturation: - all right, - we're moving on to saturation. - One thing to note is we don't have any hissed a grams or scopes or anything like that. - No charge to tell us exactly the point of saturation that we should put it up. - So we're just using our I, - um And you know, - professional colorists will have something that when this line touches that line, - then it's good. - We're just using our eye right now. - And one thing that's important to note with saturation. - Also, - it always helps to know when you're coloring what camera? - The image was shot on. - Um, - this was shot on a Sony. - Sony's don't put a lot of colors into their image natively, - um and, - um cannons. - Canon DSLR is like, - What? - I'm shooting this on those that a lot of saturation right out of camera. - So usually when you shoot on a canon, - you have to take the saturation out. - When she don't Sony usually put it in. - If you shoot on a red, - it adds a little magenta into the image, - so you have to fix that. - So just little things to know that you'll pick up along the way. - You know, - what was your camera. - What was your foot? - A shot on? - Ah, - and usually it helps in this process. - So another thing to know is relationships. - Between contrast in saturation. - When you up the contrast a lot, - it's it's adds saturation into your image, - just kind of as a byproduct. - If you take set. - If you take the contrast out and make it really flat, - it's usually a very de saturated. - So those things toe know that contrast in saturation kind of have a dance back and forth. - So when did you hear this was shot on a stony. - I'm looking at the image, - and it just doesn't feel very colorful. - I mean, - there's a green shirt which looks fine, - My skin just it. - It's not popping out enough. - It should pop out a little bit. - Not too much. - Um, - so I'm gonna bump it up to 1 10 and see what I think. - And you know, - usually 1 10 Usually that's too much, - but it feels OK. - Um, - maybe it feels all right to me. - The only thing that I'm noticing in this maybe 108 nothing I'm noticing that I'm not crazy - about is the grass over my left shoulder really popping out, - but do keep in mind is the saturation of kind of the overall image on some color corrector - software's their secondary rooms. - We can go in there and isolate certain parts of the image certain colors on and take - saturation outer put saturation in and really kind of a gesture images that way. - So this is just kind of a no overall past. - Still in correction, - were not grading, - were not stylized. - We're not making in this into an action movie yet or a war movie or anything like that. - Um, - so we're just trying to get it look right? - And to tell you the truth, - I think it looks pretty good. - Um, - let's see. - So this is what we have. - This is this is what was straight out of camera here, - milky blue gray. - And this is what we've done so far, - and I think I mean, - I think that there's a lot of truth. - I think that's looking pretty good. - So is first correction goes. - We're almost there, - if not there. - There are some spots in this image that air blowing out that sign over my shoulder. - Um, - there's not really too much we can do about that. - And it's not in this day and age, - That's not terrible. - If a little bit of your background is blowing out for some kind of Web video or short film - or something like that, - if you want something to look absolutely cinematic and perfect and flawless, - you know it should have been shot a little differently somehow. - Um, - but this day and age it's not terrible. - You see that on TV these days? - You know, - 15 years ago, - if you had seen this image, - you would have said, - I don't know if we can use is But now you know, - that's only a little bit of the image. - I think we're okay. - Um, - so I'm feeling pretty good about the about the correction here, - Uh, - one thing that we could do, - and I don't do this on premier, - but certain software is allow you to isolate the shadows and the highlights and ad - saturation, - or take saturation out of that. - And that's something that's really nice. - Once you great an image when you make it all style eyes. - A lot of times, - people have to put blues in the darker parts of the image. - But when you do that? - It sometimes turns hair blue and green and things like that. - So isolating the, - um the shadows and the highlights and de saturating those a lot really helps to kind of - balance your image out, - especially if you've added a lot of color into those areas to give it kind of stylized look - , - you want it to be stylized and cool, - but you don't want it to be obvious colors all about subtlety. - Um, - and so you want to achieve something, - and people say, - Oh, - how did he do? - That looks great. - Um, - you don't want to do something with like, - oh, - gosh added so much scion and or engine of This is crazy. - You want to achieve cool looks, - you know, - without giving away your secrets, - so speak. - So that's pretty much it for the for the correction will move on to the grading. - Um, - hope you guys were following along so far, - double premieres. - A great software for editing and color correction. - Um, - you know, - there's definitely other options out there, - so hope you guys have fallen along all right, 18. OLD CLASS - Genre: - it's now we're gonna talk about color grading. - Color correction is not super straightforward, - but it's more straightforward than color grading color. - Grating is it's all kind of subjective and what's popular at the time and what you like, - and it's all based on your taste. - So what I'm gonna do right now we're looking at the image which we worked on so far. - Um, - this is straight out of camera, - and this is what we've done to it. - I lower the saturation a little bit from last time. - Like I said, - color correction is always great. - Once you think you're done, - walk away for 30 minutes, - come back and see what it looks like. - Um, - so one thing that's important about color grading is always keep it separate, - then the color correction. - Even if you're using the same effect, - add another effect. - Keep it separate so you can have one for the correction and one for the grading. - What this does is say you great it in a way that you really love and you think is cool. - And you show your producer or your partner whoever you show someone on there like Oh gosh, - I didn't like that choice. - Can we do it this way? - Instead, - instead of having to redo everything, - all you have to do only have to undo is that one effect that you've added. - You still have the image corrected as you had before. - So what I'm gonna do for for grading? - I think this RGB curves is pretty good. - So I'm going to get the RGB curves. - I'm gonna add it onto our image here. - I'm gonna put it above, - um and so this is separate than the other rgb curves that we've worked on, - which is great. - So I do something like throw a bunch of blue in the shadows. - Boom. - Um, - it's it's separate than are other effect. - Let's talk about what we want her image to look like a different styles. - So one style is Army movies. - Uh, - war movies. - Those are typically kind of green and saturated with high contrast. - So this is just I'm just playing around at this point. - Um, - just kind of show you a quick example. - Um, - there's also, - in effect, - brightness and contrast. - And that's the best way to adjust contrast in premier um so just contrast, - Just isolated. - So let's see what happens when I do that. - Um wow. - Okay, - that's a little too much. - And remember, - the more contrast I add, - the more saturation that's going in there as well. - Um, - so here is something and again, - this, - You know, - this wasn't shot as a war movie. - There's not a lot, - uh, - to help it. - So it's kind of you know, - what kind of faking it here? - Um, - so we upped the contrast. - We have green. - And if we want Teoh kill the saturation, - we're gonna go back to that fast color corrector, - which I like, - throw it on there. - So I have my great my three grades here above the to correct er's. - So the fast color corrector, - uh, - out of 50%. - Let's see what that does. - Does that do anything? - OK, - so you can see that there's now has a style to it. - This now has a look to it. - Um, - if I was doing this in a in a different software, - I might I might be able to pick out my skin and change it, - uh, - saturated a little bit. - Maybe make it a little more orange. - You know, - brown, - you know something worse with that palate? - A little bit more, - but this definitely has a feel to it. - So, - you know, - put me in fatigues, - put a gun in my hand and now you guys maybe take off that ridiculous advisor. - But now you know it's a war movie, - so let's just look at what it was before, - says without any grading right here. - And now look what our eyes have done to this. - We're so used to that green that now when we look at this, - we're like, - Oh, - there's way too much magenta And this image is a prime example of walking away coming back - and seeing it for what it is. - Maybe there is too much magenta. - Maybe our eyes still haven't adjusted yet. - You know, - we're not totally sure what it is. - Um, - so besides war movies, - you know, - 11 good thing is watching movies and really look at the color look at movie posters because - those usually align with how the movie itself is graded a lot of action. - Hollywood big budget explosion movies. - Those put a lot of Scion's into the shadows and a lot of oranges into the highlights that - makes the skin tone really pop. - It's interesting when you start really thinking about color? - You You look a lot more production design. - A lot of those movies. - People are wearing blues and greys and cool colors, - so their skin kind of comes out a little bit more. - Um, - you know, - the matrix was really green Heavy contrast school. - You know, - there are those, - like, - intimate romantic scenes that are candle it and those air shades of yellow and orange And - so color is really interesting. - You know, - with grading there's a lot that you could do with It s o. - What really helps is to pick the genre that you want to emulate and look at a lot of - posters looking a lot of scenes and really see what they're doing. - Look at the contrast. - Look at the saturation and look what colors they choose. - Um, - so with that being said, - let's go on to the next video in grading. - This is all subjective. - It all depends on what you're making and what you want your film to be. - Um, - so, - yeah, - this is this is kind of the fun part of color correction 19. OLD CLASS - Secondary: - Okay, - so we're gonna talk about the secondary room, - which in professional coloring software's it's usually a little bit more isolated and easy - to find on something like Premier Final Cut. - That's kind of more of, - Ah, - one stop shop kind of thing usually have to dig for it. - So right now I'm looking at the RGB curves, - and I'm looking at the's secondary color correction option. - Whatever software you're using, - there should be a secondary color correction, - and it is a little bit more advanced. - So it might not be in something like I movie or Windows movie maker. - But it's also important to note that I'm doing this on the RGB curves. - That's part of my grading scheme and not my correction scheme. - I talked about that a little bit in the last video, - so so far we've we've made my ridiculous tennis short from normal, - which this is normal and I've made it into a war movie. - Maybe there's, - ah, - might be a hair too much green in there, - so let's take out a little bit of the green will still leave it green. - Take a little bit of the green. - Ah, - I don't know. - Maybe the greens. - Good. - Maybe the greens. - Good. - And you know what? - Just for fun. - Why don't we? - Why don't we look at the, - uh, - levels? - Maybe bring bring some of these up just to see what that does? - Um okay, - great. - Cool. - So we're working on the secondary, - so get rgb curves. - I'm gonna secondary. - So secondary is when you isolate parts of the image you isolate a certain color or a - certain section and then you kind of mess with its saturation or its hue. - Or what not secondary color. - Christian is great. - It allows you defined problem spots in the image and kind of do away with them. - So with secondary, - what you want to do is you want to actually grab a new effect. - RGB curves, - put it on my image again, - and but at the top, - it gets a little confusing with all these layers. - I don't know if you can rename these in Premier. - I don't think you can just kind of a bummer. - So what you do is you want to grab the part of your image that you think is a problem right - now, - my skin isn't a problem, - but it would be nice to kind of saturated a hair more. - So let's see if we can do that. - So we grab something, - we do the plus drop. - And I think I don't know if we have toe hold shift, - maybe. - No. - Okay, - let's look at the mask and see if it's grabbed what we want. - No, - not a lot. - Okay. - Um okay, - so this is a little technical here, - but stay with me. - It's not that hard. - So the hue that we were messing with right now we're trying to grab my face so my face is - gonna be orrange. - Let's not get into the greens. - So let's show the mask here. - This is everything that is Grab, - not my face. - Okay, - so let's try again. - Um, - maybe give the saturation a little bit more of a range, - loom a a little bit more of a range. - Kate. - Let's see if we grab what we want to grab. - Uh, - getting there somehow. - Now, - my computer does not update super quickly, - So we're trying to grab more in my face unless of what's around. - See if we're able to do that. - Okay? - That saturation worked for us a little bit more magenta. - See if we do anything here? - Okay, - there we go. - So there's a little spillage over to the side, - so that's starting to look pretty good. - So I take these down edge softness. - It's good to soften it up a little bit, - so you don't get some weird, - um, - parts of the image edged thinning. - I think we're okay there. - An invert if we wanted, - uh, - that's too soft, - isn't it? - May be a 3.5. - Um, - invert would instagram my skin. - It would grab everything outside. - Which helps is well, - sometimes. - So let's undo this mask. - So now when I justice RGB because we've we've selected as a secondary, - let's just show you real quick what couldn't happen crazy. - So when I adults read into my image what will happen? - Uh, - what boom. - Ouch! - That is sunburn sunburn, - man. - So, - as you can see under my, - uh, - I there did not select it, - which is not great. - So really, - what I wanted to do with this, - I want had a little orange. - I'm gonna add a little red, - take out a little blue and then maybe saturated hair. - Uh, - although in this this affect right here, - we can't mess with saturation, - that saturation talk about the selection. - So, - um, - we're gonna have to saturated by doing the curves here, - which is a little scary. - But let's just do it a little by little. - I don't want I don't want to mess with this too much, - but just to show you guys what is available as a secondary, - okay, - that's starting to make me look a little bit more live. - Oh, - that's a little too yellow. - Before I was feeling very much like a zombie. - Um, - you wanna, - you know, - it's It's nice to have the skin tone pop out a little bit, - but you don't want it to be very noticeable. - You don't want it to be something that people comment on just wanted to be part of the - image that's starting to feel a little bit better. - Even though it's subtle, - we could see it on and off. - This is on, - and this is off eventually. - Um, - it's a subtle change, - but it's it's definitely there and definitely helps. - So another way to make this image better is to do that secondary room. - I sleep that grass over my left shoulder that that yellow green, - bright grass and just kind of kill that saturation. - That would be That would be the only thing I would think to make this image better, - you know, - realize that we have style. - There's a lot. - But one thing that's important to know is is keep your style, - keep it consistent throughout your video, - and people don't notice it as much. - I watched family for the first time in years the other day, - and I was just blown away by how saturated it waas. - But when you're in the movie, - you know, - maybe you think about the saturation for the 1st 10 seconds. - If you think about it and then you're in it and you forget about it, - it becomes part of the style. - So something like this, - you know, - we can see at first glance like it's kind of greens kind of saturated. - But now my eyes kind of adjusted to it. - And, - you know, - I don't hate it, - you know, - It kind of looks nice, - you know, - it could be could be maybe some kind of, - you know, - sports movie or something like that, - Um, - some kind of something. - But it has a unique style to it, - and I think you know, - The next step is I would want Teoh see if I can duplicate this Now. - You know, - I want to take out that grass better than that. - Looks pretty good. - Is definitely stylized, - Um, - and start to feel really great. 20. OLD CLASS - Vignette: - All right. - So here we are gonna talk about vignettes, - Um, - and just to give you guys an update, - I walked away for a while. - I came back on. - I thought that there were some issues with her image before it was a little too de - saturated for me, - and the blacks were brought up a little too much, - so I just cleaned it up a little bit. - I think it's starting to look better. - Still feels stylized, - but it's a little more subtle it in it. - It's not as in your face. - Oh, - look, - I concolor grade, - which is never great. - So the way that I like to do vignettes, - um and of course, - it's It's very tedious if you're working on a larger project, - but I actually like to take the image going to photo shop and build a vignette there. - Ah, - lot of the default vignettes in editing software is make it a perfect oval, - and there's some issues with that. - If we had made vignette over this image that that is a perfect oval in the areas on the far - right, - where it's blown out and really bright, - Um, - if you try to vignette areas that have that level of brightness. - It looks really off. - And and you can tell that that something was done and it just doesn't look that great. - What? - I like to do it. - I like the idea of the oval, - but I like to build of in yet that is kind of like that. - But allows, - you know, - if there's a bright light in one of the corners I don't want I don't want have been yet - that out, - I leave that kind of where it is. - So here's even yet that I've created I'm gonna go ahead and put it over our image and our - image turned completely black. - Okay, - great. - So there's our image with oven yet. - So id like I've already just did the opacity, - and we'll go over that real quick, - but this looks good to me. - Um, - when I look at this image, - I can't tell that someone additive. - And yet to it, - it just it feels right. - The subject pops out, - it does a lot, - surprisingly So here's it without the vignette, - just to show you guys a difference. - Um, - if my computer wants to update, - which sometimes it doesn't. - Okay, - so there is it without the vignette. - So it's subtle on all it does is kind of darkens part of the image that we don't need to be - looking at. - Anyway, - we shouldn't be looking over there on the bleachers when I'm clearly very handsome on you - should be looking at me, - so that is a lot better. - So, - basically, - let's go into this real quick. - Um, - And just to show you guys, - actually, - I have Nope. - Have a I mean, - a white background here. - Okay. - Just show you guys exactly what the vignette looks like. - There's a white screen right there, - and there is my vignette, - so it's very subtle. - I'm gonna go ahead and turn the opacity. - It's at 14%. - Gonna put it at 100. - So this is my vignette. - So it kind of darkens the left side and the bottom right corner, - but I left the top right corner. - Um, - open. - So this is the vignette over our footage once the computer gets there. - Okay. - So I left the right there because I guess I could have put something on the very corner. - But that white sign, - um, - I didn't want have been yet. - That and you can see the bottom right Also. - How the sidewalk. - This is what I'm talking about when people put it. - And yet on something that is blown out already, - there's a weird There's a weird middle ground that it just doesn't look great. - It it's white, - but it's black. - It's it's you know, - it'd not crazy about. - So this is my vignette at 100% which clearly I should not dio. - So let's say I was looking at it and I'm trying to make it more subtle. - I'm gonna put it at something like 40%. - So when I look at Dad, - I'm like, - Oh, - I can't notice that too much. - That looks great. - Um, - but this is one of things I've stepped away. - I come back. - I'm like, - Oh, - there's been yet on that And when I look in the bottom right corner, - that sidewalk, - it hits that middle ground for me. - So when I go back to 14 15% it's very subtle, - but it does a lot. - Eso let's see wanted updates. - Okay, - so there we go. - So when you look at this image, - not in a 1,000,000 years would you say, - Oh, - there's been yet on their um but your eye in your brain kind of adjust to that, - Um and that's looking pretty good. - So this image, - it's come a long way. - Um, - I think this is our final. - I think this is our final image here. - So this is Remember, - we put on kind of the war film grade making kind of green and de saturated. - But let's just go through the steps. - I'm gonna turn everything off, - just kind of review what we've done very, - very pleased with how they turn out. - So this is the image straight out of camera. - This is what you got when you looked at on day one and you said, - Oh, - there's nothing wrong with that. - Why don't need to color? - Correct? - That's all right. - And then we corrected it and we got to there, - Um, - and then we said, - Oh, - let's put a cool grade on it And slowly but surely we added some layers and way isolated - some skin, - and we grab that grass. - I did that when you guys weren't looking on, - would get to a point where, - like okay, - that's pretty cool. - It's a nice little image. - The green kind of you know, - ties it all together. - I think we've done some really good here, - So that is color correction. - In a nutshell. - Um, - I hope you guys learned it. - Hope you guys love It takes a long time for you to get good at those subtleties, - but the more you do it, - it's fun. - You know, - it's nice and relaxing and put on some music and, - you know, - just, - uh, - just start working. - So it's great. - That's color correction. - A few more tips in the next video. - You guys, - we're almost there. - So good job. 21. OLD CLASS - Thanks!: - All right. - So this is kind of a parting video for you guys. - Thank you guys, - for taking this class. - I really hope you have liked it. - I hope you've enjoyed what you've done so far on. - You don't have fun. - Local correction. - You try some crazy grading, - take things to the extreme and then dialling back and just kind of have fun with it. - A couple good tips I have for you guys is one this 50% gray that I was talking about. - Um, - it's it's very helpful. - Um, - you know, - you don't have to have a boring gray background computer all the time. - We need to do color correction. - It really does help. - You kind of keep an objective eye on things. - Like I said, - professional professional colors, - their whole studio is this color. - But for you, - you know, - just the back of, - you know, - just your desktop background might be enough. - Eso there's that. - There's also the half the 1/2 rule which I briefly mentioned, - which was once you get to something that once you get to a level of cool vignette or a nice - little of saturation or something, - once you think you have it right. - Take it down to 50%. - It's gonna make it more subtle. - It's not gonna jump out at people. - And, - you know, - it definitely helps when I look back at films that I have made years ago when I just - started learning how to color, - Correct, - I was, - you know, - so excited about Oh, - look at this new cool thing I could do and all the blacks are blue. - And, - you know, - all the colors are so cool and you go back and you watch them and you're like, - Oh, - this is Oh, - you thought that was a good idea, - you know? - So definitely grading is a great idea, - but doing it in a subtle, - unnoticeable way is how you want to do it. - It looks pretty amateur when there are very in your face color choices. - For the most part, - I mean, - obviously, - you could do some cool stuff with that music videos. - You have more leeway. - But but yes. - So there's the 1/2 rule and also the the 30 minute rule. - Um, - work on it, - walk away for 30 minutes, - you know, - watch a TV show, - you know, - grab some food, - come back and look at the image with fresh eyes. - It's very difficult when you're in it and you're adjusting things for you to kind of see - things objectively. - So definitely, - any time you get a good fresh I on something, - the better. - And then the last thing is just refined, - refined, - refined. - There's There's no rule that says you have to do one step at a time. - A lot of times will be working through this and I'll say, - Oh, - I need to go back and adjust those You know, - those black levels earlier or oh, - I need to go back and infuse a little bit more blue or you know, - something like that. - So there's no hard and fast rule, - Um, - and that's pretty much it. - You guys have learned a lot of information, - so feel free to go back and watch the videos as many times you need to. - Like I said, - I also teach classes on lighting and camera work and things like that. - So if you you know, - if you just signed up and you got the color grading lesson here, - if you remember, - go to those classes, - sign up completely free. - You know, - um, - it's not gonna charge you mawr per month, - so check those out as well. - And, - uh, - yeah, - I look forward to seeing else projects.