Premiere Pro Lumetri: Color Correct like a Pro | Jordy Vandeput | Skillshare

Premiere Pro Lumetri: Color Correct like a Pro

Jordy Vandeput, Filmmaker and Youtuber

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23 Lessons (2h 9m)
    • 1. Promotion Video

      1:33
    • 2. Introduction

      2:59
    • 3. The Lumetri Engine

      1:36
    • 4. Color Correction vs Grading

      2:54
    • 5. What is color?

      3:03
    • 6. Color Psychology

      3:52
    • 7. The Basic Tools

      5:46
    • 8. The White Balance (extra)

      2:21
    • 9. The Waveform

      8:57
    • 10. The Vectorscope

      5:52
    • 11. A Basic Color Correction

      6:21
    • 12. How to work with LUT's

      6:40
    • 13. Creative Looks

      3:50
    • 14. Creative Adjustments

      7:37
    • 15. RGB Curve

      9:48
    • 16. Saturation Curve

      3:44
    • 17. Color Wheels

      5:18
    • 18. Secondary Color Correction (extra)

      7:08
    • 19. Masking and Tracing

      6:23
    • 20. Working with Vignette

      3:53
    • 21. Color Transitions

      7:15
    • 22. Matching Clips

      12:49
    • 23. Greenkey Color Grading

      9:07
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About This Class

NOTE: If you're using a newer version of Adobe Premiere Pro, please join our updated class: Premiere Pro Lumetri 2020: Color Correct & Color Grade like a Pro.

This complete course will take you to the essentials of color correction with the Lumetri color tools inside Premiere Pro. You will learn different techniques while also understanding how color philosophy works.

We'll fly together through this wonderful world of colors. And on the end you will be able to fix color issues and take your shots to a higher professional level.

What do I get?

  • 5 introduction lessons to digital color (HD video)
  • 15 technical screen cast lessons (HD video)
  • An instructor that replies your question within 24h
  • All project files and video clips used in this course

 

What will I learn?

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

  • The philosophy of digital color
  • The functionality of every Lumetri tool
  • Read and use the measurement tools like the waveform and vector scope
  • Perform a color correction on an a bad shot
  • Create masks to color correct a specific area
  • Match the colors of different shots

 

For who is this course?

This course is aimed at beginners in the color correction/grading field. You are not required to have any pre-knowledge, however some basic experience with Premiere Pro will help a lot.

This course is not for experienced colorist.

Requirements

  • An installation of Adobe Premiere Pro CC 2015 or later
  • Mac or PC that can process full HD video clips to work with the attached materials

 

What is Lumetri?

Since the release of Adobe Premiere Pro CC 2015 we can now find the Lumetri engine inside Premiere itself. Before it was only part of the color correction program "Adobe Speedgrade". These lumetri tools have so much possibilities to make professional color corrections and grading that we don't need a dedicated program for it anymore.

Transcripts

1. Promotion Video: Color grading or color correction. It's what I believe the more difficult parts on making a good video. How can we fix this overexposed shot? What are Lutz, and how do we use them? I've got two shots from difference cameras, but I just can't get them to match. I just can't get my videos to look epic. Are those frustrations or do you wish to follow me into this course and make them challenges? Hi there, my name is Joldi, I'm a filmmaker from Belgium. In this course I want to teach you how to get started with professional color correction in the elementary tool sets of Premiere Pro. This is going to be a professional introduction course. That means we'll start from the basics. I will teach you what a digital color is and how we can manipulate this. Next, we'll go over all the features of geometric color tools, and also how to reach the measurement tools like to wave form adds in the vector scope. Finally, we'll take these tools into action where we create masks and even any method the colors. While I teach you this technical information, I will always reflect through the philosophy of colors. I want you to understand color so that you know what you're doing. If you're curious for more, then hit that button to take this course and starts color correcting like a pro today. Thank you for watching. 2. Introduction: Colors, the stuff that makes this world so amazing. As film editors or colorist, we can play with this amazing thing. We can manipulate the contrasts, the look, and the feel of a film. Welcome to the wonderful world of color grading and elementary tool sets of Adobe Premier Pro CC 2015 and beyond. First of all, thank you very much for purchasing this course. My name is Jordy, the author and producer of this course. Cinecom is my production company located in Belgium. We focus on commercials and promotional videos. Color grading is a very important part of the post-production. This is a process that will differentiate your film from an amateur or professional project. That's also what we tell our clients. If they're tied on budgets, we advise them to leave out the crane or the drone shots, but color grading is something too important to just leave out. You've come here to learn the basics of color manipulation in Premier Pro, color grading, color correction, whatever you like to name it. On one side, we have the technical aspect. This is pretty easy to learn. I can show you how to add some more contrast to a video, but that still leaves you with the question, how much contrast should I add to my video? Unfortunately, I can't give you the answer to that question because that's a personal choice, like I can't teach you what story you should tell because if I do that, then it would be my story and not yours. But what I can teach you are techniques, emotions that match a certain color so that you can use these techniques to tell your story. During this course, I will teach you the philosophy of color while explaining the technical parts which is needed to accomplish your desired outcome. Now, Kim is going to be the lovely actress for all the example footage, and you can download her as well to practice on the same video clips used in this course. You will see that there are multiple chapters in this course. It's very important you understand everything from one chapter after you move to the next one. On the end of each chapter, there's a small quiz. It's completely normal and it's not a problem if your score isn't that great. You're students going through a learning process, which means you sometimes have to rewatch certain lessons to completely understand the information. You have to promise me one thing, don't give up. If you're stuck or need some help, then let me know in the discussion. Again, I'm not just some guy in a video, I'm your teacher, and I'm going to help you make awesome color gradings on your videos. I'm ready and I think you are too, so let's dive together in the wonderful world of colors. 3. The Lumetri Engine: The Lumetri engine was first introduced in Adobe SpeedGrade, and later it was brought to Premier Pro. We were able to make looks and speed great and use them inside Premiere. But since the release of CC 2015, we also have the Lumetri controls inside Premiere. That means we can perform our color corrections inside our familiar editing workspace. Now let's have a look where we can locate these Lumetri controls. Since version 2015, we can see a workspace panel on the top.Click on "Color" to change your workspace. This brings up all the color grading tools, such as all the adjustment options on the right, but also a measurement tool here on the left. Both come from your Lumetri engine. Now, if you can't see this workspace panel on the top, you can also navigate to the "Menu," select "Windows" "Workspaces", and from here click on "Color". Or you can also enable that workspace panel on the top from the Windows menu again, and all the way down you will see Workspaces. Now, let's say that you like to stay in your editing workspace, and you want to have your Lumetri color options visible in there. Then you can do that again from the Window menu and search for the Lumetri Color. That will open up the panel for you. So these are the two new things, the Lumetri Color options and the Lumetri Scopes, which are the things we're going to work with in this course. Thanks for watching. 4. Color Correction vs Grading: Color correction or color grading. What's the deal with these two terms? Do they mean the same or is it something different? Well, it's something different. Let's start with color correction. As the name says, we are going to correct colors. Let's have a look at this clip. We can tell that some things are just not right. The environment's looks pretty yellow and under exposed. So we're going to fix this to make the clip look normal. First of all, we fix the colors so that the scene doesn't look yellow anymore. Next, we increased the brightness, comparing the before and after, we can say that we have corrected the problems or in other words done a color correction. Color correction is a fairly easy thing to learn as its all technical. But then there's color grading, which is a creative process. In theory, nothing is right or wrong in color grading. During this process, you are going to add an emotion to your shot by adding unnatural colors and effects. Let's have a look at this clip. The colors and exposure are natural. But when I change the colors to something like this, we perceive a different emotion that are big contrasts and there's a green color shade over to the video. This doesn't look natural anymore. So we talk about color grading. We are manipulating the colors in an unnatural way to create a certain look and feel. In this example, we can all agree that it has something scary in it, like an alien film or something like that. Now, color correction and color grading are not two things you must choose from. A result is usually a combination of both. When applying a certain grade or look to a video, we often need to correct our extreme behavior. For example, you want this shot here to look very cold, so we add this blue look to it. But this look gives us some issues. The skin tone starts to look too much unnatural. It seems like Kim is a bit sick now or she's almost dead. So we have to correct that problem. We select the skin and add a little bit of warmth in the color. Now her skin looks better, but we still remain that's cold look. So color correction solves problems in our videos. Sometimes we only perform a color correction. But when the editor or a colorist wants to add a certain emotion, he or she must change the colors in an unnatural way, and that process we call color grading. Thank you again for watching. 5. What is color?: Before we start playing around with the Lumetri Color controls, we first have to know what we're doing. So let's have a look at colors and where they come from. Here is a color wheel. We are going to see this more often throughout this course. If we start on the top, we see the color yellow. Going around from the right, we we'll see red, magenta, blue, cyan, green, and again, yellow. We can use this wheel to mix a selected color with our video clip or an existing color. When mixing colors in video, we talk about additive mixing. Another way to mix colors is with paint, here we talk about subtractive mixing. This often gets us confused. If you ask someone how to make a yellow color, green. Usually, they will answer with blue and that's correct. If you mix yellow paint with blue paint, you get green paint. The three basic colors in ink or paint are blue, red, and yellow; with these three colors, we could make any other color. But, if we mix all three colors together, we get black. Now, digital colors don't work with paint. Look at your computer screen, what comes out of it? Indeed, light, just light, nothing more. In colored light, we have difference base colors, namely red, green, and blue, RGB. With these three colors, we can create any other color. If we mix all three together, we get white light. As with paint, we would've gotten black. So which additive color should we add to form yellow into green? Well, we remove the color red. You see, that's the great thing about digital colors, we can remove something. This image here shows the three base colors. When they overlap each other, we get some new colors. Green and red forms yellow. Green and blue forms cyan, and blue and red forms magenta. If we combine all colors together, we get white. Doesn't this chart look familiar? Indeed, it's the color wheel. But, how do we get black then? Well, we dim the intensity of the light; make sure to dim all of them equally. If blue and green is at 70 percent and red is at 20 percent, we could look cyan. So bring all of them down equally until red, green, and blue all sit at zero percent intensity. Where there is no light, there is darkness, or black. Thanks for watching. 6. Color Psychology: Now that we know where the colors come from and how they react to each other, we can now look further into the psychology of these colors. Let's start with the basics again. There are two types of lights. On the left side, we can find cold lights. These lights are tinted blue. If you want to change the colors of a video to make it look cold, you want to make it blue. Now on the other side of this line, we can find warm lights, the opposite of cold. Here we can find orange lights like candles. In the very middle, we can find neutral lights or white light. This line perfectly represents one part of the color wheel and that part is called the color temperature. It's even measured in Kelvin, where 8,000 Kelvin is a more bluish or cold color and 2,000 is a warm orange color. Now video cameras will always adjust to this temperature, this is called the white balance. The camera wants to balance its colors so that white is white and not blue or orange. You can either adjust this manually on a professional camera or you can also set it to automatic white balance. So that means you can make the warm colors from a candle lights, for example, look neutral white, or in other words, your camera is going to do a color correction. Now unfortunately, it's not that easy. Sometimes we want to have cold or warm colors or we've mistakenly set our camera to a wrong white balance. Then we must fix that in the post-production or editing. But we'll dive deeper into the white balance later in this course. Now there are two more colors that have a certain feeling behind them. If you look on the color wheel again, we can also find the green and magenta as the two opposite colors. This part is called the tint. Now these colors don't have a certain name as they look artificial. So they are often used to fix something. For example, florescence lights tend to cast a green color. Now with the white balance, we can't remove this green, so we use the tint. By adding some magenta, we neutralize the green. But of course, that is when we want to have realistic colors. When you want to add a certain feeling to your video, you might want to add some green into it. As I've said before, it looks pretty artificial, that's why you usually see these colors in science fiction films. It tends to give you the feeling that there's something a natural, alien, artificial. Now back to the color wheel. We've seen that blue and orange are opposite colors. The same thing goes for green and magenta and also all the other colors that you see on it. It's a wheel, so every color also has a negative or opposite color. That means if you want to remove a certain color from a video, you have to add the opposite color to it. So let's have a look at this technique in the next chapter where you will learn these things inside Premiere Pro. You now have a very solid basis and this information will help you to understand everything we'll be doing inside Premiere Pro better. Thank you again for watching and good luck with a small quiz that will follow right now. 7. The Basic Tools: Hey folks. Welcome back to the second chapter of this course. We're going to start this lesson with the Basic Correction Tools. The first thing that you want to do is select any of the clips that you want to make color changes on and then on your right side we can find all the Lumetri Color tools. Now, as you can see, we have five tabs in here. We've got Basic Correction and if we click on that, we can find several options fonts and then we've got Creative, Curves, Color Wheels, and finally Vignette. But let's start with the Basic Correction Tools. Open that up and the first option that we can see in here is the input LUT. Click on this drop-down menu and it gives you several options. Now as you can see, these are all camera profiles. You've got some profile ARRI Alexa, we've got CANON or also NIKON DSLR profiles, but even GOPRO profiles, and you can also add a Custom profile if you want to. Now, I'm going to explain this very quickly because I have a separate lesson about these because it requires some more information and there isn't any good information as well on the Internet but basically what to do is change the colors of your clip so that you can start doing your color corrections. For example, I'm going to select this CANON 5D profile, and that will change the colors of my clip and now I can start doing my color corrections or gradings onto it. It's a starting profile, that is what it does. But more about this again later in this course, so I'm just going to set it back to none. The next option that we have is the White Balance, so this is something that we've seen previously in this course. We've got the Temperature and the Tint slider. Add some more warmth or some more cold to the shot. Same thing for the Tint, add some more green or a magenta to your shot. Now we can either use these sliders to grade your footage for example, make your shots more warmer but also if you have set a wrong color temperature in your camera, you can correct that right here with this slider. Now to reset this value, you just double-click on the slider, there we go. It's now reset it. The same thing for the Tint as well. Let's have a fragile look at the settings that we have. The next thing is the Exposure from the Tone settings and as the name says, just add some exposure or decrease the exposure. In other words, the brightness can be changed right here. Again, double-click to reset that value. The next thing is the Contrast, and this is something pretty interesting. The contrast is how much difference there is between the highlights and the shadows of your shot. For example, the highlights is right here in camera face on the right side and the shadows are shot which is pretty black or dark right here. Well, I'm going to decrease this value, you can then see that the exposure of the highlights and the shadows has been adjusted so that these two levels come closer to each other in terms of brightness or exposure. Well, I'm going to increase,this value the Contrast, you can then see that there is a bigger difference between the highlights and the shadows. Usually a rich contrast, what we speak up when the Contrast is high is more pleasant to the eye to look at, so that's it for the contrast just double-click on it to reset that again. Then the next four options that we have is the Highlights, Shadows, Whites and Blacks. Now, you might think at first that the Highlights, and the Whites, and the Shadows, and the Blacks are a bit the same and it's actually true but they have a tiny difference in them. What the Highlights actually does is it will increase the exposure of the Highlights or decrease the exposure of the Highlights While the whites, well, I'm going to reset it again, will do the exact same thing, increase or decrease exposure for the Whites but there is a bit of difference between these two. The highlights won't touch the whole white areas of your shots. To better explain this, I've got another shot which is overexposed. Let me just zoom in on camera face right here, I'm going to set that to 100 percent like so. When we are going to change now the highlights just look at her face, what it will do. I'm going to decrease the Highlights and it will somehow fix the over-exposed parts but not entirely because the parts that are overexposed are lost, which is right here on the right side and therefore the highlights will also not touch the actual overexposed parts. That is something that the white will do. Resets the Highlights again and I'm going to decrease the Whites now and here you will see that her face is starting to get grayish. That's because the whites does touch the overexposed parts. That's the difference between the Highlights and the Whites. The highlights and also the same thing for it goes for the Shadows by the way but then we're talking about underexposed parts. They will only touch the parts that aren't clipping or over or underexposed and they can be used to correct certain problems. As with the Whites and to the Blacks, you have to be careful when you're going to use them. Reset those values again because the last setting that I want to show you now is the Saturation and for that I'm going to head back to my normal shot and change the canvas size back to fit. The Saturation will add more colors to your shot, make your colors more saturated as the name says or it will also decrease the saturation so that you have a black and a white shot. That's it for the Basic Correction Tools, this is what they do and how they work. Thanks again for watching and I'll see you all in the next lesson. 8. The White Balance (extra): Premiere Pro keeps updating their programs and that's a good thing. That also happens after I've created this course. At this moment there are some new features within Lumetri tools. One of them is the auto selector for the white balance. You can find that just above your white balance settings, we've got this color picker right here. Very simply what it does is you can select a white point in your video and say to premiere that, that is white. To adjust its temperature and tint accordingly to make that point actually white, and that will also change the other colors in your shot so that your white balance is set correctly. This is a typical tool that you want to use for when your white balance is off in your camera. Let's just do that for a moment. I'm going to click here on the color picker and well, these doors right here, they should have been white and they're pretty yellow at the moment. I'm just going to click on them. Let's just start off with the right door right here. As I'm clicking on it, you can see that right away it actually fixed somehow the colors, and it was pretty drastically so you will never be able to get it's really right. It's always better, of course, to set go to temperature, just correct in camera. Now we do want to warn you that by using these automatic tools, you always want to use your eyes to make sure that the tool has done it's process correctly. At the moment, everything looks pretty okay. Also make sure to script through that video and see if everything looks okay. But let's, for example, assume that I selected a different point in this video, for example, here on my left, where it's even more yellowish and that's because of this shadow that we have over here. When I'm going to click on that, you will now see that it's actually way too blue. At this point yes, the colors are better, but on the other side here on this door, it's actually too blue. Now you might want to adjust that by adding some more temperature to that again, or also change the tint. As you can see, Lumetri added too much magenta to their chart. You also want to adjust that accordingly, or just perhaps take that color picker again and select a better point until you get it right. That's it for the automatic white balance selector, it's nothing more than that. But there is one more tool and that is the HSL secondary right here. This is also a new feature from the June 2016 updates and we'll dive into this, which is a lot more, by the way, as you can see later in this course. Thanks again for watching, and I'll see you guys in the next lesson. 9. The Waveform: We have this video clip of Kim sitting in front of a window. Therefore, it's very bright right here inside the window, but also very dark here outside in the edges of that window. Now, if we'd like to know what we can do with this, we need to measure this image right here. We have a couple of measurement tools right inside Premiere Pro now. One of them is the waveform tool that I want to explain you how that one works. To call up that waveform tool, you actually just have to go up to the menu, select Window, and from here, select the Lumetri Scopes. You click on that and that will open up your measurement tools, and already we can see the waveform. If you can't see the waveform in here, then right-click in this Window and select the waveform from there. You can also select other measurement tools like the vectorscope right here, which we are going to take a look at in the next lesson, but for now, I want to focus on the waveform. What you want do is deselect everything but the waveform, so I'm just going to deselect the vectorscope again. Doing a color. Now, before I start, I first have to explain the difference between a colored waveform and a luminance waveform. We currently see the RGB or the colored waveform. If we right-click again in here, we can go to the waveform type options, and from there we can choose Luma. If I click on that, you'll see that all the colors are gone, and we now have a black and white waveform. This is a luma waveform. Now, both of them are actually exactly the same, but the colors waveform has some more information in it as this one. As the name says, this here is the luma waveform, which means it will only show the exposure or the lumosity of the scene. If you would like to see each color channel separately, so the exposure or luminance of each channel, we have to select, right-click again, go to waveform type, the RGB waveform. Now we can see these colors. Now, if this might be a little bit crazy to you, right-click again on that and also open up the parade for once. The parade shows each color channel separate, so right here we've got the reds, the greens, and the blues. If we lay all these three on top of each other, we get the RGB waveform. These two are exactly the same, but we're just taking each color separate. For now, I want to leave out the RGB parade. Just look at the exposure. Again, I'm going to deselect the parade and I'm going to change my waveform right here to the luma waveform. We have a vertical and horizontal way to read this waveform. Let's start with the vertical way. The vertical way shows the luminance or the exposure from 0-100, 100 means very white or much exposure, which is this window right here. This is overexposed actually, so the information of this window sits on top right here, we can also see that at 100. The rest all sits in the middle somewhere, so Kim, these leaves, etc, they all sit somewhere in the middle. Then finally, we've got the blacks, which are the shadows over here, and they are all laying down below. This is already a big part, this is how we can set a certain luminance to our video. If you are not sure whether there is still detail in your shadows or highlights, you can see that over here, whether there is or not. That's it for the vertical way to read this. Then there's the horizontal way, and the horizontal way is a representation of our video image over here. Let's start on the left side where there is only black, right here, right before this window starts. At that point, we actually don't have any whites or highlights, so we should also see that in our waveforms, and also is that way. The first part right here of our waveforms only has information down below in the shadows, everything sits below 10 percent, and that's this part right here. But also, very importantly, you can see that it doesn't sit on zero yet, and that means that we still have some small detail in here. It is not underexposed. But if we then go further over this image, we get at the window right here, you can then see that we are overexposed over here. This over here is the window, and how do I know that? Because over here we've got this small gap as you can see, and that is this part over here. That makes sure that we have this small gap into it and then starts the big window over there, and that is this part. Again, we've got this small gap, as you can see over here, and then we've got the other window, which has some more leaves in it and less sky, and therefore this part is not overexposed. As you can see, this information is not sticking on the 100 percent as with the window in total here. Then again, the window stops right here, and then we've got again a part which is black, and that is this part where all the information is sitting below. That is how you can read such a waveform. But let's do that with another clip. I'm going to open up clips folder, and from here, I'm just going to select a normal clip where Kim is just standing, if you can find one of these. Oh, right here. Just drag that to your timeline like so. Just close that folder, and I'm going to stand on that now. You can see that we don't have any over or underexposed parts, which is great. We still have some headspace right here. Again, when I'm going to read this, I can clearly see that this part here is where Kim is standing because there's more information here sitting towards the blacks, and that's because of her black shirt. Because the light is coming from the right side, which makes her shirt go from very black to a little less black, you can also see that line here going upwards, going from almost zero, a little bit up to 10 percent somewhere. Now let's see what these waveforms do when I'm going to do a color correction on them. For example, I'm going to increase the exposure. As you can see, it will then also lift up those waveforms, and that's normal of course. I'm lifting up the shadows, I'm lifting up everything, the highlights, the midtones, everything is just going up when I'm increasing the exposure. But there's a certain point when I am going to increase this actually too much. At 100 percent, we can go above that, so everything is clipping and smashing in each other. Of course, that creates an overexposed image, so that's not what we want of course. Just reset the exposure again. Let's have a look when we're only going to adjust the shadows, for example. When I'm going to increase the shadows now, what I should only see now is that Kim's shirt is going to be lifted because those are the shadows which are down below here. Let me just do that. Increase the shadows, and look what happens folks. Indeed, the shadows are being lifted but this information right here, which I thought would also go up, isn't going up that much. Here you can now definitely see the difference between the shadows and the blacks when I'm going to change those now. Just, again, reset the shadows and look what's going to happen when I'm going to increase the blacks now. Now, it does take all that information and lift that up, and that's the big difference between the shadow and the blacks. Again, the same thing goes for the highlights and the whites by the way. The shadows is going to preserve the blacks a bit more. It's going to be careful by just lifting those. This is also how we can use these waveforms. For example, I would like to add contrast to the scene, but I want to make sure that I don't over or underexpose any parts. As you can see, I still have a little bit of headspace up here and also a tiny bit down below here, so I could increase my contrast until they nearly touch the zero and 100 percent. This is how we can use the waveform. Is my information clipping or not? What's clipping, I mean that the information is going to stick towards 100 or stick towards zero. That means information is clipping. When we are going to take a look back at the first chart, it's very clear that lots of the whites are just clipping. They are overexposed, we can not do anything with them anymore. In the next lesson, we're going to take a look at the vectorscope. Thanks again for watching. 10. The Vectorscope: Let's continue with the Lumetri scopes. We're going to take a look now in this lesson at the vectorscope. We've seen that in the previous lesson to change that, we just right-click in here and select the vectorscope. Now, as you can see, we have two options for it. Let me just open up the two of them. First click on the HLS and then right-click again and then select YUV. I'm going to deselect the waveform for now, so we can see them next to each other. Now, basically these two are exactly the same, but the second one right here on the right side, this is the YUV, has some more information into it. The one on the left actually shows everything within this circle over here. This one is actually a bit zoomed in as you can see. I'm going to close the one here on the left so that we have more information that we can work with. Right-click and I'm going to deselect the HLS. Let's work with this vectorscope over here. The first thing that you will see is the color wheel. We have seen that in this course so far. We can see several of the basis colors like the magentas, the blues, the cyans, the greens, the yellows, and the reds over there. Each of them has a opposite color. The yellows have their blue as the opposite color. The magentas have their green as the opposite color, and the red have their cyans as the opposite color. This is a control here also in the Lumetri colors tools. If I select my clip, which we can also change. It might already get cleared that the vectorscope shows the colors of your shots and that's correct. But before we go to change colors, let's start with the saturation. As with exposure, there's also a certain amount of saturation and we can also over saturate or under saturate a certain shot and that can be seen in here. Let's just add some saturation and look at what this white information here is doing. Increase the saturation and it also gets bigger. When I'm going to decrease the saturation, it goes down to a very small dot. In the middle right here we can find zero and on the outside we can find 100, and everything above that is actually oversaturated. That's why this vectorscope is so great to see whether your saturation is oversaturated or not. To saturate this correctly, I'm going to add some saturation until I nearly touch those edges like so. This is actually the maximum saturation as I can go now. But it goes further than that. Let's change the contrast. I'm going to add some more contrast and look what it will do in our vectorscope. Not only the exposure and the blacks and the highlights are being affected, but also the saturation. We're gaining more saturation by adding contrast. I'm going to reset the contrast and now decrease the shadows. Also, here look, the saturation is going a bit more up. When I'm going to increase the shadows, look what it will do now, it will do the opposite. It will decrease the saturation a bit. It's even more clear when we are going to decrease the contrast. There is now less saturation. This is definitely something to take in account, when I'm going to increase the contrast, you have to make sure that you might bring down your saturation a bit until it nearly touches the outsides like so. Now, I'm also sure that the saturation is correct. That's it for the saturation. Know that each of your exposure tools can also affect your saturation. So that's why you always have to check that inside your vectorscope. But there is another thing, not only saturation, but also the way the colors are balanced can be seen in here. Let me just reset all of these values here. When, for example, I have set my color temperature a bit wrong in camera, you might see something like this. My shot is way too warm, but also all my colors are now more leaning towards the red or yellow parts. You might wonder to yourself, how much blue should I add until the colors are neutral? It's not always so easy to see when there aren't any white parts. Bring this down until the information sits somehow in the middle. If I add too much, you'd also see all the colors leaning towards blue, which isn't good as well. Try to find a middle. Don't look at your slider or your image even, only look at your vectorscope and try to search for a point where this information sits somewhere in the middle like so. This shot even needed some more warmth, as you can see. As in the first place, we thought the color temperature was actually correct. But in fact, it wasn't because the scopes were telling us difference. Of course we can also play with the tint. We've got the magentas and the greens. If I add more green to it, you can see that all the colors will lean more towards that or if I add more magenta, all the colors will lean more to that side. So maybe you want to correct that as well. It's usually when you're going to fill them with cheap fluorescent lightings or other artificial lights that have a certain color cast to it. Then right here you can fix that, makes sure that the colors are laying somewhere in the middle, like so. This is how the vectorscope works. We're going to use the vectorscope in conjunction with the waveform tools. Right-click in here and select your waveform tools. Now if we'd like to color correct this image, we're going to take a look at these two scopes, but that is for the next lesson. Thanks for watching. 11. A Basic Color Correction: Let's use the information that we've learned so far to make a basic color correction on this clip right here. As you can see, there are some things wrong with it. It's a bit overexposed and the white balance was set wrong. The shot is way too warm. So let's use the tools here on the right, but also look at our elementary scopes here on the left to color correct this shot. Again, always select your clips so that we can get started. Now the first thing that we're going to do is the exposure. Because you know that the exposure controls right here can also affect the colors. So always first do the exposure settings and then afterwards correct your saturations or colors. So if we take a look at the wave form, you can see that a lot of information is sitting on the top, which means it's a bit overexposed. We're not losing any detail, maybe a tiny bit up here and over there, but I don't think it's so much. We do still have a lot of space down below here. So the first thing that we want to do is just bring down the exposure. Just take this control here and move everything a bit more towards the middle like so. But be careful that you're not going to clip the blacks over here. Maybe if you want to bring down the exposure even more, you could bring up the blacks for a second. So just move that up like so. Now, you can bring down the exposure even a bit more. What we're actually doing, is we're lifting up this spike here by moving up the blacks. Now, don't only look at your wave forms, but also at your image. What I can see for example is here on the right side of Kimara face it's still a bit overexposed. I think these parts here are the ones up here. The face is actually something which should be around the 70 percent or 75 percent. So I'm going to roll off the highlights, bring down the highlights to fix that a tiny bit. As you can see, the information now is going more towards the 70 percent, which is good. This also means now that I can increase the exposure again as I'm getting more room above. So increase that again. That's actually also what color corrections all about. You're going to add something or remove something, and afterwards you going to change the settings. So as you can see, I've first set the exposure to a certain value. Then I've made changes to the highlights and then I saw that I actually had to rethink about my exposure value. So I had to change that again. You are actually constantly doing this while color correcting an image. So the exposure is starting to look good. But I'm losing some contrast as I'm lifting the blacks right here, I'm removing some of the highlights, so increase the contrasts again. But keep a look in your wave forms that you're not going to clip your information like so, just tiny bit. Now, it starts looking great. All right, so that's it for the exposure. We are using the whole spectrum from zero or I'd say almost zero to almost 100s and that's a good thing. Make sure that you are using this spectrum if you want to have a clean image. We are not talking about color grading here, guys. We are talking about color correction. At color correction, we want to have a natural look. To every natural look, we want to use the whole spectrum like so. Make sure that most of the information is somewhere in the middle around the 70 percent for the skin tones and the rest all sits from zero to 100. So this here is good. Now, let's have a look at the colors, because that's a different story. Those things are not good at the moment. As we can see in the image, but also in the vector scopes, the colors are all leaning towards yellow, orange, red, all towards this part. So we have to add some blue to bring it towards the other sides. As we've seen, we can do that with the white balance tools here, just add some blue to that shot. While you're doing that, make sure to look at your vector scope over here so that the information is sitting somewhere in the middle, somewhere like that. Now, even though this was shot with natural light, when the camera is set to a wrong color temperature, we might sometimes get a color shift in the tint. We can also see that, that there's some more information leaning towards the greens. So I'm going to add some magenta in this shot, but just a tiny bit, not too much, so that this information is sitting more in the middle. Now, the colors are also a lot better. Maybe add some more blues because when I look at the image, it's still looks a bit too warm, so I'm going to add some more blue to it. There we go. We are getting some blue spikes here. That's actually because of the highlights over here. Kimara face is a bit overexposed. So one thing we can do here is actually just decrease the whites. That will bring down that spike. But then again, you can see that your face is now starting to get a bit gray. So unfortunately, that is something that we can not fix. It's overexposed and we cannot do anything with this. So I'm going to bring back up those whites because this is not looking too well. We'll just have to do it this way. But of course, we are still using the basic correction tools. There are some more options where we can fix this more, but that is for later in this course when we are going to also play with the creative curves, color wheels, and vignetting tools. For now, I think we've done a great job to color correct this image here. If I look at the before and the after by unchecking and checking again this box right here, you can see the before and the after. So it already looks a lot better now. It's not perfect, but to have it perfect, you just need to shoot your images with the correct color temperature and correct settings. Then you don't have to do that much post-production work anymore. The less post-production work that you have to do, the better your shots also will be. So that was it for this video lesson and also for this chapter where I've explained all the basic tools. In the next chapter, we're going to dive in the more advanced tools and we're going to start with the creative effects right here. So thanks a lot for watching. Again, like any previous chapter, we're going to follow up with a small quiz. I wish you all the success and I will see you all in the next chapter. 12. How to work with LUT's: Hey folks, welcome back to chapter number 3 of this course. In this chapter, we're going to take a look at some of the more advanced things with the Lumetri color tools, and we're going to start in this lesson particular with the LUTs. Now we have seen this little bit in one of the previous lessons, but I want to have a more detail look at it in this lesson. So let's see again where we can find the LUTs. When you select your clip, the color tools will be activated and from your Basic Correction tab, you will find input LUT and that gives you a drop down menu of all kinds of LUTs where we can choose from. Now, a LUT stands for a Look Up Table and it's actually a mathematical file that is going to alter your image. Now, essentially what it will do is it will change the look of your image. So it will do some pre-color correction on your footage. So for example when I take any of these, let's just say the black magic cinema camera LUT file, then you will see that the colors are changing. The colors, the contrast, anything can change in here and that is stored within the LUT file. Now, why should we use one of these LUT files? Well, for example, I'm going to reset this back to none. You see that this shot is pretty flat. When I'm going to compare this to another shot, when I open up my clipse folder and I'm just going to take a normal shot from here to this one. Just close that again and I'm going to compare that to this shot, you will see that there is way more contrast and colors available in this shot. As we're in this, the first one here is very flat, and that is done with a setting inside the camera. Some cameras have a special log profile for their cameras and that will shoot very flat. For example, the Sony cameras have an SLOG2, or also an SLOG3 profile and that will also shoot very flat. Now, why shoot in flat? Well, when shooting in a very flat mode, so when we take a look at the elementary scopes right here, you will see that we have way more space to do our color correctioning. We still have some space below here at the shadows, but we also have some more space up here at the highlights and when I compare this shot to the other one, you will see that this profile luthilizes very more of the dynamic range. So we are almost at zero here at the shadows, and we are also nearly at the top, we still have a little bit of headspace, it's not so extreme, but some cameras even shoot and I'm just going to do something here and a profile like this that this is some extreme contrast, but there are cameras that are able to shoot like this and once you have such colors, you cannot do anything much with it any more. Your shadows are underexposed and sometimes your highlights will also be overexposed. So it gives you not so much playground any more in the color correction workflow. So that's why we are going to film on flat profiles. Now flat profiles have a great advantage, but they also come with some disadvantages. Flat profiles must be color corrected every time. So in every shot, you have to add some contrast to it and maybe add some saturation to it, just to make it look natural and to do that every time is just too much work. There's one reason on how to use LUTs. I'm just going to reset this again, also the saturation here. For example, let's say that I'm going to select from this drop down menu, the SLOG3 that I was talking about. Now it's actually going to add some contrast and some saturation etc to this shot that matches with the SLOG3 profile. Now the great benefit of using a LUT now is that when the LUT is going to overexpose parts of your image, you can always rescue that with the controls down below here. So you could for instance say I'm going to apply a LUT to every shot in my timeline and afterwards I'm going to fix the problems that the LUT has created. It's sometimes easier and more faster workflow. For example, the highlights up here are maybe a bit too much now, and we can just bring that down with the highlights slider or even with the white slider over here, without doing much wrong. However, when using LUTs you must know which LUT you aren't using. I'm just going to reset this again but I'm going to take one of the Alexa LUTs right here for example this one here, then you will see that the image looks a bit too blueish and that the highlights are pretty blown out, and we can also see that right here in the vector scope and that's because well this wasn't shot on an Alexa and therefore I'm actually using a wrong profile. Now that doesn't always mean you have to exactly take the LUT of your camera because this was actually shot on a GH4 in a CineD profile and I actually tested it out with the SLOG3 profile and it looked okay. So I could use this one but of course the best thing is always to look for a profile that matches your camera profile and one way to do that is by just going on the Internet and look for your camera and see if you can find a LUT for it. I've also done that and I have found the CineD profile. When I click again on this drop-down menu, I can select from here, browse and then on my desktop right here, I have downloaded the CineD file and select that, just open it up, and it will apply to your shot and this sets the contrast and colors of my shot in a natural pellets and this is essentially how LUTs work. Now, you will hear from some people that they will tell you never to use LUTs inside a color correction workflow, or other people will tell you that you have to use them. So there aren't any rules about using LUTs or don't using them or how to use them. I just say make sure that you use them properly and just know what you're doing. If you want to accomplish a look like this and a LUT is going to help you with that, then use the LUT. But if you find out that the LUT is going to do something weird to your image and you have to steer a lot with these controls, then maybe don't use them and it also depends a lot on whether you are going to create your footage or correct your footage. That's also that we've seen in the previous lessons in the first chapter, difference between color correction and color grading. For color correction, I think an input LUT is a great way to get started with your basic correction. Now if you're going to open up the Creative tab, you will also see again a look menu from here and that gives again lots of LUTs, but they are a bit different but that's for the next lesson. Thanks for watching. 13. Creative Looks: We've just seen what a LUT is and how to use them inside the basic correction tab. But if we go to head over to the creative tab now, you will also see that same drop-down menu, except in this case it's called a Look instead of a LUT. But essentially, it's exactly the same. However, in the creative tab, you will find some different LUTs. Now these are more, looks like the name also says. As you can see right here, we've got the Blue colds, Blue Day for Night, Blue eyes, Blue intense, Cinespace, Gold sport, etc. Now these are all presets of color grading that you can directly use on your clip. There's a neat feature down below here where you can easily scrub through all of these looks if you press on this arrow right here, and then you can see one of the previews of how it will look. If you click on that, it's applied to your clip, and then you can just scribe again through which until you find something interesting. For example, right here, we've got the Cinespace. I'm going to click on that again, it's applied to my clip. Actually, it looks pretty good now. You can also change the intensity of this look. You can add more or you can add it less. Sometimes, just a little bit of this look is already enough for your type of shots. It depends on your needs again. But in this case, I'm just going to keep this on 100 because I want to show you guys something. Let's for example say we've chosen to work with this look, but actually the contrast is a bit too much. I can't see the details in here anymore, also here in the background, the blacks don't have much detail anymore. You also see that right in here in the elementary scopes where all this information here sits on zero. So that means it's crushed, it's clipping. But again, because this wasn't shot like this originally, we can change all of these things inside the basic correction. I'm going to head back to basic correction now. You know what? I'm just going to increase the shadows like that. You will see that all the information is right in there. Also, the highlights are a bit too much, so I'm going to bring that down. This looks actually pretty cool. We've just used a preset for a color grading and bang, we've got something. This is something usable. I'm going to be honest here. I also sometimes use one of these presets just because it's so easy to use, but we are very limited to what we can do, and we also don't know what we are doing here. Because when it comes down to color grading, you always have to know what emotions do I want to put into my video. Usually, it's not so easy by just flipping through some presets here to find the kind of feeling that you're looking for. Usually, we're going to play with the colors in very detail and not use any of these presets, but I want you to know that it is there, and for some projects, that has to go fast, we can use them of course. Now, you aren't limited to only this list like with the LUT, we can also branch right here and we can find any LUT that we can download from the Internet. I've got a folder right here that I found on the internet. By the way, if you just search on Google LUTs, you will find tons of presets Looks that you can just download for free. For example, what I have right here are some Kodak and Fujifilm looks. That's from the old days and I'm just going to grab any of these, select that. Apparently, this here is the look of a Kodak film. So that might be an ID to first apply a look of a certain film camera to your digital footage and start grading from there to have that film look. Right now, I should have the look of a Kodak film, and now I can start with my basic corrections onto it. Maybe add some more contrast, maybe play it with the highlights, etc. I can even do some more creative effects onto it, but that's for the next lesson. Thanks for watching. 14. Creative Adjustments: Let's continue with the settings underneath the Creative tab. We've seen the creative looks and now we have some more adjustments settings down below here. Now the first setting here is the faded film, and what that actually does, it will lift your black so that your footage looks like film that is faded as the name says. When I'm going to increase this, you will see what it actually does. It's a pretty drastic change, so be careful using this. Know also when you are going to use this. That's what the faded film does. I sometimes use that a little bit because sometimes I find my chest a bit too hatch and then I increase that just a tiny bit to 10 somewhere 15 maybe to have that more cinematic or to have that film look. But for now, let's just reset that again. Because I want to show you the sharpen, then as name says sharpen will just sharpen your image as you can see. Bring it to the right side to sharpen it, but you can also bring it to the other side to have it more blurry. Now, why would you use this? Well actually some cameras or actually lot of cameras these days, especially those DSLRs, they have the option to bring the camera sharpening all the way down to zero. I also recommend you to do that because Premiere Pro here does a way better job at sharpening your footage than your camera does. By the way, I'm talking here about the end camera sharpening. This is always a digital sharpening. This has nothing to do with your lens or anything like that. If you have the option then decrease the sharpening of your camera to zero, and just bring it up right here just a tiny bit to something around 20 or so. What I always recommend with sharpening is that I'm just going to increase it now to the maximum. You will see that actually this shirt might look okay, but when I'm going to play it, you will see that it's really over sharpens. That's not what we want. Always bring it back a bit and then test it out over example, around 20. That was something I was saying, play it and look for yourself, does this look good or not? Next is pretty sharpening, then we have the vibrance and saturation. Now, the difference between these two. Let's start with that because both of them actually alter the colors. When I increase the vibrance, you will see that we have a more saturated image, but the same thing also goes for the saturation of course. Now, the saturation is a uniform bumping of the intensity of all colors in your shot regardless of the starting point of your colors. Now, this can result in clipping and oversaturation of skin tones, leaving them looking too orange or a natural. As with vibrance, is a smart tool which cleverly increases the intensity of the more muted colors and leaves the orderly well saturated colors alone. It's a fill lights but for your colors. Vibrance also prevent skin tones from becoming overly saturated and unnatural. If you look in a vector scope, you will also see that the red is more saturated from the beginning. So when I'm going to increase the saturation, you will also see that it spikes a lot towards those sides. Now you can see that actually the blues, we can definitely see that over here and the reds are just over saturated when I move that to the maximum. But look what happens when I'm going to increase the vibrance now to be maximum. The colors are now spread out way better. It actually leaves those reds and blues a bit alone. It touches them, just a tiny bit but not too much, but it's going to work more on the other colors to have a way better increasement of those colors. Now if you hear my story, you would say that I'm always going to use vibrance. Well, that's not true. You always have to look at your situation again. What do you need? Sometimes you do need to increase the saturation a tiny bit because you want to have those [inaudible] , reds or blues or depending on your seeing those colors. Sometimes you want to make a mix between these two. That could be for example, well, I actually want to increase your saturation a lot. But as you can see, her hair here it's starting to look brown instead of blondes. I can bring down the vibrance for that bit, and now I'm getting a very interesting look. The colors are very vivid here in the reds and to the blues, but her skin tones aren't. Already other colors here are the magentas and the green side here, knowing that going to say that her skin tone looks good here, but it could be an idea. Maybe this is to look at your going forward, then it's a good idea to mix these two settings. You can also go in the opposite side, maybe bring down the saturation to have this very faded or black and white look. But yet again, you do wish to bring out some colors, they just bring up the vibrance to have something like this. Now you actually have a colored black and whites look, maybe this is something interesting. This is how you can play with the vibrance and saturation. I'm just going to reset that again because the last setting in here is the shadow and highlight tint. As the name says, we're going to add a color and you could just speak from the color wheel, and this is also something that we've seen in the beginning of this course, this color wheel. You can assign that to these shadows and also to the highlights. For example, I want to have some more yellow tint in the shadows so you can just bring that to the yellow side, and I'm just going to over-exaggerate here. I highlight and go to add blue to it. Now remember that we are altering here the shadows and the highlights. This is not the blacks and the whites. It's different. It's the same as in your basic corrections right here. We also have the highlights and the shadows, and as you remember, these do not touch the blanks which are all the way down here at the zero. That's actually great as it will leave your blacks and whites as they are. But when I look at my image right now, it's actually more blue than it is yellow, either though I touched both of them. Where's my yellow? Well, that's the tint balance. Currently its set in the middle, which is somewhere right here at 50 percent. What it will say as well, everything above that, already highlights and everything below that already shadows. But you could also move this parts, for example, to the left side. When I'm going to do that you will see that it is now more blue, and that's because we've moved this points down. Now we are somewhere at around 20 percent or maybe 10 percent, and it will say everything below the 10 percent already shadows and everything above that, which is way more information as you can see, are now the highlights. That's why more is now blue, or if we bring this to the right side, you will now see that we can see the yellow a lot better. That's because we've brought this tint balance all the way up here. Maybe we are now at around 70, 80 percent somewhere, and it actually said, well, everything above the 70 percent is blue, which isn't much information, but everything below 70, which is all that information now, already shadows. Now always use this tint balance while looking at your image. I maybe want to have a tiny bit of blue here in her face which is more towards the highlights, and the rest can be a lot more warmer. Let's just bring this to the left side until you see some blue cast in her face like so. Now I have accomplished the effect that I want you. Again, if you would like to reset any of these values, just double-click on them, and that will bring it back to zero. In the next lesson, we're going to take a look at the third tap within the lumetri color tools and that RD curves, and are actually two great parts here. We've got the RGB curves and we've got the hue saturation curve, but that's for the next lesson. Thanks again for watching. 15. RGB Curve: We have seen everything from the Creative tab, and that means we can now head over to the Curves tab. We're going to start with the RGB curves right here. Now, let's start by explaining what this actually is. As you can see, we've got a line right here and we've got some black area behind that. Now, the first thing you might want to know is that we can grab this line and position it elsewhere. Already, you can see that it does something to our image. Now, it creates this point as you can see. Currently, we just have one point. You can always grab that point again and place it somewhere else. But we can also click somewhere else in this curve and create a second point. It will always work in a curve, so you cannot make straight lines in it. That's why it's called the RGB curves. There's also a point down below here which we can grab, and there's also a point up here that we can also grab and move around. We are currently working in the white line. That means we are working on the exposure. That means all the three colors together: red, green, and blue. But we can also change one of these colors separately. For example, this shot is way too blue. I'm going to reset this first by just double-clicking in here. Then, I'm going to click on the blue dot right here. Now I can change the blue colors only. For example, there's too much blue in here. I can just take that curve and bring it down. Now, you can see that we are taking out the blue from it, and it already looks a bit more natural now. That's actually one way to fix your shots. By working with these curves, we can play around with the individual colors. We've been changing these curves now. But how did it actually work? For that, I'm going to reset it again and head back to the white curves, which is the exposure. Up here we can find the highlights or the whites and down below here we can find the shadows or the blacks. Then, there is this line right here, the white line, and that represents our video clip. Up here we can find again the whites, and a little bit down we've got the highlights. Then, down below here we have the blacks again and over here somewhere is the shadows. Then, here in the middle we've got the mid-tones, of course. Now, I'm going to grab the point all the way down below here, and I'm going to drag that upwards. You will see that I will add exposure to my blacks and that it will fade the image somehow, or I can also add more black to that by going to the other side, to the right side here because right here are all the blacks. We can already see that we can actually add contrast to our clip, if I move this bar to the right and the other part more towards the highlights. There we go. But for that, I'm going to head over to my other clip right here. Well, I'm going to add contrast to here. I can just take my blacks, move it more towards the blacks, take my whites and move it more towards those was highlights or whites again. Now, we have a beautiful contrast added to my clip. It's the same as when I'm going to add contrast with the basic correction tools right here, contrast slider. But let's see what else that is possible because we are working in curves now. Currently, I have drawn a linear curve, which means a straight line. That isn't always so good because as you can see, I'm taking the blacks and I'm actually crashing those blacks, the same thing with the highlights. I'm crashing or I'm clipping those highlights. You can also see that here. You can also see that in this spot right here. That's why I have this clip again over here. Let me just draw a different line here. I'm not going to take the ultimate blacks now, but I'm going to take the shadows. That means I have to click somewhere right here, a little bit below those blacks. I'm just going to move that up, add some more exposure to those highlights. Then, I'm going to do exactly the same thing, but then for the shadows. Don't take the blacks right here, but just a little bit up around the 10 percent somewhere and bring that down. Just look at your wave form and at the same time at your images, well, at how farther you can go with this. But as you can see, the whites will always stay white and the blacks will always stay black. We're not going to crush those things. That preserves the detail in it. Now, we also have a beautifully contrasted image. When I'm going to compare this one with the other one, which had a linear curve, as you can see, the S curve looks a lot better now as it preserves those details here in the shadows. Look at those parts. A lot better as you can see. The same things goes for your highlights, it preserve those way better. Colorists will also always talk about the S curve as it alters your contrasts way more natural. Now, if you would like to bring up or bring down your mid-tones or just the normal exposure, you can always grab the middle of it and just move it up or down. Now, here's something interesting that I want to show you. For that, I'm going to go back to my first image. Now, what I can actually do with these curves is make my blacks completely white by just bringing it up all the way on top. What I can also do is just take my whites and bring them all the way down to the blacks. That creates a negative image. You can also see that my line is now in a negative position. This is already one way to make your clip look negative. But it also lets you understand how the curves work. Let's go back to the first one. Because we're going to try to fix this image because, let me just reset that again, we have several problems. The first one is it's underexposed. All the information here sits below the 50 percent and we even have some underexposed parts. As you can see, her blouse right here, it almost sits at zero. Then, also this image is way too blue, so we have to color-correct that as well. Now, since that we are working with the RGB curves here, I'm going to bring up a new measurement tool. Go to right-click here, and I'm going to say the Parade RGB. Also, to make it a little bit easier, I'm going to deselect "Vectorscope" so that we can see the waveform and the RGB parade here on the right. Now, we've got red, green, and blue. We also have that over here in our curves; we've got red, green, and blue. That means we can change any of these separate. For example, I can already see that the blues is way too much. But where exactly? Well, it's speaking out in its highlights. What we could do is just take the highlights here and just bring that down so that it somehow matches the green like so. For the reds, I'm just going to take that and bring it up a bit because the reds are just laying there all by themselves below like so. Also, for the blacks, you know your reds are just laying way too much down there. So just bring that up, just tiny bit like so. The same thing for the blues. I'm just going to bring down that as well. Just click on blues and just take that point so that it somehow matches. As you can see, they are now all on the same line. By just focusing on the RGB parade and trying to make all of these three colors play on the exact same levels, you can already fix your shots like this. But there's one last thing that we have to do and that is the exposure, of course. Just click on the whites now. What I want to do is just grab the whites and bring it all the way up to somewhere around here, to the 90. I'm going to add some curve into here because most of the mid-tones [inaudible] are also laying way towards the black. I'm just going to punch a curve into it and already it starts to look a lot better. Maybe it's too much here in the highlights, so just bring that down a little bit. Only it looks a bit too reddish and you can also see that, so maybe I'm going to bring down reds a bit more. Something like that. You know that this actually looks pretty okay if you know where we are coming from. If you look at the before and the after now, this is the before, way too blue and underexposed. This is the after now. The colors are now a lot better. I'm not going to say it's perfect, but a lot better, and also the exposure now is also a lot better. This is how we can use the RGB curves. You're going to change the reds to green and the blues in here. You're always going to use your RGB parade in your Lumetri Scopes when you are going to change those colors so that you know what they do in the background. Another way to know when your colors are laying on top of each other is by right-clicking here, again, in your Lumetri Scopes. Head over to Waveform Type and select the RGB. Then, you can see whether they are laying on top of each other or not. Already I can see that the reds are actually not laying so well here in the shadows, so maybe bring that up again a bit more like so. Maybe bring down the greens a little bit so that it will cover up the reds there. This is a hard process and sometimes also time-consuming to have them lay on top of each other somehow. How you know the idea behind it? I would say just play around with these curves. You've got this project file as well. You can either work further on this or just start over again with the test footage that you can also download. That's it for the RGB curves and how they work. In the next lesson, we're going to take a look at the hue and saturation curve, which is also something very interesting. Thanks again for watching. 16. Saturation Curve: So in the previous lesson, we have seen how the RGB Curves works and now we are going to take look at the saturation curves. Yes, indeed, also the saturation can be altered towards curves. Right here we've got the color wheel again, and basically how it works is we can make this inner circle bigger, or smaller. If you look at our image as well, you can see that we're going to add more saturation if we are going to move this up, or we can also decrease the saturation and make it black and white if we are going to move this down. Again, double-click to reset. Now, the great thing here is that we can also create points on this circle. For example, we'd like to isolate the reds colors. So that means I'm going to vivid Spider-Man a lot more in the backgrounds. For that, I just click here somewhere in the reds to create a point for that, and to isolate that, I'm going to create two more points next to it. That means when I'm going to take the middle point now, I can increase the saturation only for the reds. Also if you look at your vector scope here, the Lumetri scopes, you can see what it does to the reds. So we can increase reds or decrease reds. This gives us a lot of customization towards the saturation of the colors. If I'm going to increase the reds for now, you can see that Spider-Man is a lot more vivid, but also, we can bring down the rest of the colors. If we're going to bring down the left point here, like that, and also the right points, towards that, you can see that we have a great effect now. Everything is in black and white except for the red colors. This is also called the Sin City effect. Now we must be honest that this clip isn't so great to do that because we've got so many shades of colors in here and that means we have to increase the ranges while you can see what it does right here. Sometimes we have to increase that, this range to fully accept all the reds in here, maybe you'll somewhere magentas. Right there you can see what it does to our Spider-Man. But also again, you can add more points to it. So maybe if you're taking too much yellow in here, just create another point and make a curve out of it. That's also what the name says, it's a saturation curve. So don't be afraid to add lots of points in here, make curves, that's what this thing is for. This is how you can actually fully isolate only that red color of Spider-Man. If you wish to reset this, again, just double-click in your saturation curve. Now below here you will find several colors, and that's for example, when you want to select the reds, you can just click on that and it'll automatically create three points here, and you can then just move up those reds to increase the saturation of that. Same thing goes for the blues, if you want to alter the blues, then just click on the blue, and it will automatically create those three points again. So you can either do this manually, with the Pen tool here, just click anywhere where you want, or you can already select any of these colors here. Now it doesn't always mean that you're going to make drastic changes like I've done with the Spider Man. But sometimes, for example, you want to have a more natural skin tone, and then you can select somewhere right here, the yellow, orange, this side over here, and just move that saturation just a tiny bit up to alter those skin tones and make her look a lot more alive. If we look at the before and the after, you will see that the changes are just minor. Actually a lot more to her hair, but that's also because of the saturation over there. So this is how the saturation curves work. You can isolate a color and change its saturation of it. In the next lesson, we're going to go to the next step again, and that are the color wiggles. Again, thanks for watching. 17. Color Wheels: The color wheels. Another tap inside our at Lumetri color tools. What we can find in here are the three levels, the shadows, the midtones, and the highlights. Again, the shadows are not the blacks anti highlights or not the white, so remember that. Now, what do these color wheels do? Well, they are actually a bit the same as the curves that we've seen in the previous lessons. When I'm going to decrease the shadows and I'm going to increase the highlights, I can create contrast just like using the RGB curves over here. But sometimes I do prefer to use the color wheels, as you might think it doesn't give me that much freedom. Well, the color wheels are way more controlled as with the curves they are not controlled. Let me just show you that. I'm first going to reset these values right here by just double-clicking on to them. When I'm going to go back to Curves, let me just make a curve, for example, I'm going to bring down the shadows, bring up the highlights, and maybe add another point right here, and do something else right there. Already you can see what it's doing here. When I'm going to change one value, for example, this point, it will also change the other values like over here and up there and that's why the curves are not so controlled. I'm starting to get scared of KIM now. I'm just going to reset this values here because that didn't look so well. When I head back to my color wheels now and I'm going to change my shadows, and then I'm going to change my midtones, I am sure that I am not changing the value right here now. Therefore, this is way more controlled. What I can do is increase the exposure of each level. Again, to create contrast, bring down the shadows and bring up the highlights and then maybe change something of the midtones to set the exposure well. This is already one way to add some contrast to your shot. If you see the before and the after, this looks pretty okay. But it gives us a more controlled as you can see, with the color wheels as well. What we can actually do is assign a color to the shadows midtones or highlights. For example, what we sometimes want to do is make the shot a bit more warmer, but we do wish to retain certain colors in a certain level. That could for example, be well the highlights and the shadows are good. Now, they're looking black and they're looking white, so they're okay. I don't want to change the colors of that, but I do wish to make the scene a bit more warmer. What I can then do is only at some warmth towards the midtones like that. Then it won't touch too much of the highlights and the shadows. As if I would change the color temperature from the basic correction tools, then it will change the shadows, anti-highlights more as you can see over here. If you would like to make your shot bit more warmer, at least suggests to use the color wheels and just grab the midtones for that. But there's more that we can do with this, for example, and that's something that we've seen in the beginning of this course, there are opposite or a contrast colors. If we look at the color wheel, for example, the yellows here, they are the opposite of the blues. If we think about the shadows, we also think about blues because when it's night it's dark, we think about blue, the moonlight as well is also blue. I'm going to add some more blue into those shadows and don't be afraid to add enough into it. Then for the highlights when we think about light, the sun, candlelight maybe it's all warm. It's all yellow, orange. I'm going to increase that, the highlights towards that site so that it looks more warm. We are now creating something very interesting here. We are actually adding more contrast to the scene without altering the levels. Because there's no blue into the shadows, it looks like the shadows are deeper or more black, while it's actually not, we are just retaining the details in there. The same thing goes for the highlights. It looks like we've increased the exposure of the highlights, but it's not, we've just added some yellow to it. But our brains make that up because we assign yellow to bright colors, to bright things. This is also a technique which is used in lots of Hollywood films. For example, you've seen one of the Transformers films. They even went very extreme into this. Just pay attention to that grading, what they've done is add a lot of blue into those shots and even more orange into the skin tones. I think they've if even added some more as well as from the midtones and they've created something like this, maybe add some more actual contrast by bringing this down and bring the highlights up. But this is somehow the look of what the Transformers was using. Because it gives us the impression that there is lots of contrast and contrast is cinematic, definitely in action films. This is how the color wheels work. We can assign different colors to each level, but it's way more controlled and it doesn't go wild as with the curves. That brings us to the very last settings within Lumetri color controls and that is the vignette. But I'm going to leave that for the next and final lesson of this chapter. Thanks for watching. 18. Secondary Color Correction (extra): Welcome to, again, an additional lesson to this course, because as you know, Adobe released a new update and new features, student program in June 2016. If you haven't done that update yet, definitely do it because they've added now these secondary color corrector. There was actually the last thing that I was missing within your Metric tool. Let's get started and look at that thing. You can find that there is an extra tab within your tool, so underneath color wheels you can find HSL secondary. Click on that, and you will find a bunch of buttons and sliders and color wheels and everything. But don't get too scared yet because it's actually pretty simple and pretty cool also, once you know how to use it. Let's get started. The first thing that we have to do, let us basically the whole idea of this tool is to select a specific color in your video shot so that we can then manipulate that specific color. We're going to set that that's color. Just take out the color picker, and for example, we're going to select the blue shirt of this guy. You want to just click somewhere, it doesn't really matter where, we're going to fine tune these later. Then we can add another color, and this is to select a different shade of that blue. Now we selected a more brighter part, and for the art color, we're going to select a more darker colors, so somewhere down here. Just click on that, and now we've got two shades of blue. Then you can also select to remove a color. Let's say that there is something that comes pretty close to that blue, perhaps some green, for example, the grass right here. If you are scared of that, you could select that grass in the background and say to remove that. All of these things that you are selecting right here are actually visually being shown in the HSL and that is where this thing comes from. It's use saturation and lightness. It's making automatic selection for you. But you will note is that once you are doing this as well, that it will not be that convenient. Let's say nine out of 10 will always have to go into these things and set them correctly manual. There is a pretty cool setting that can help you with that. There's this little checkbox right here, just click on that and that will isolate that color already for you, so that here you can see what the output is going to be. Now currently the mask or the key is shown as the color itself, and a gray, which is going to be left out. But you can also select something different, for example, color and black, or you can also select white and black, so the white is now the selection. Note this is basically up to you what you prefer most. I'm usually the guy that would go for the color anti-black. Now right away you can see that the selection wasn't done so greatly. Right here in the shadows here you can see that not everything has been selected too well. You can actually change those things right in here so it can make the range bigger for you if the color wasn't selected well, or it can also increase that farther so that it takes a bit more range but in the farther area. Now usually the hue is selected pretty well when using the automatic tools right here. If you think that it only gets worse when changing this option right here, then just under your actions, enter, bring it back to default. If we look then at the saturation anti-lightness, and usually here you will see a big or a drastic change sometimes. I'm just going to increase that range, and already you can see that more things are selected right here. Just increase that, now don't increases too much because you can see already what happens here, I'm selecting parts that they don't want to select. I just play with that also with the farther bits so that those edges aren't too hard, until you're able to select the biggest part of his shirt and that the same thing goes for your light, this is well, does increase that and already here you can see that we are getting a lot more finished shirt. Do you also see some tiny bits right here? It's usually not that big of a deal. If you have some other parts selected as well, you can always create a mask, by the way, around his shirt. But in this example, I'm not worried too much about these small pieces over here, but I'm worried more about masking later in this course. I believe that I've got everything selected now, I might want to change the farther a bit more, there we go, I'm pretty satisfied now. If your result isn't that well yet, you can always refine that by adding some blurriness to it, so this is an actual farther, and I am not advising to use this unless you are really having a problem selecting your color. You can also use a denoise if you have some of this fingerings going on here in the edges somewhere, then you can use that. Again, don't use it if you don't see any of those fingerings in the edges. Then just shut off your mask because we are done, we have selected the color. Now if you go into scroll down, we've got all of these tools which we aren't pretty familiar with to change that color. We can use the one-way color wheel to change the color of that shirt. Usually you won't get that great results with this thing. That's why I usually advise to use the three-way color wheels by just clicking on this button right here, and now we can change a lot more than just the mid tones. For example, in the shadows, we can add more of this, let's say more green, and then in the mid tones, perhaps go bit more to the yellow side to give this a green shirt. Also here in the highlights, because folks, we are mixing colors here. We're not changing that blue shirts color and now we are adding yellow to that blue, which results in green, if you remember from the first lessons. Now we have a beautiful green shirt. Look at that, and it's that easily that simply than end results are pretty awesome. If you have someone who is wearing the wrong color shirts or something, you can always change it and post. Also things like temperature can change at right here. Tint, contrast, sharper and saturation, all of these great tools. Now I'm going pretty fast over this because want to go to a pretty cool thing. If you might remember the film Sin City. What they've done in Sin City is actually make everything black and white and only had one color, and that was the color red, it appear in that movie. That made it also pretty special, it's pretty good movie as well. If you haven't seen that film yet, definitely watch it. Let's also do that, but instead of black and white and red, we're going black and white and blue. I'm just going to reset all of these things here to just do that, and I've clicked on all of these, and I'm going back to my key right here. Because what I'm going to say now is instead of working on a selection, we're going to invert this and say work on everything else except the selection. That's done by actually one simple click and it has this button right here, next to your mask. Just click on that. Now we have inverted that whole thing. Now what I'm going to scroll down at moist saturation, and green gets all away down, you'll now see that all the colors are gone except for that beautiful blue. Now we have that some Sin City look, except it's blue now instead of red. But this is how the Secondary Color Correct tool works. This is also used to let for skin tones to select those to make them appear more warmer than the rest of the scene. That's usually not so easy to do as skin tones is a color that comes back, usually in the background as well. Let me just double-click back on at saturation, if we would select those skin tones right here, it this coming back in these buildings also, we've got these letters here, so it's definitely not going to be easy. But again, I have a lesson in this course that will cover working with skin tones, and we're going to use the technique of masking. That's pretty cool as well. Thank you so much for watching and I'll see you folks in the next lesson. 19. Masking and Tracing: Hey guys, welcome back to the last chapter of this course. In this chapter we're going to take a look at some of the more advanced things within the color correction process and we're going to start with masking in this lesson. Now, first of all, what is masking? Well, I have a shot right here of Kim. Kim, she's walking from one point to another and I would actually like to do some color correction only on her face. There are a couple of things that we must do. First of all, we must isolate her face, but also we must truck her because she is moving. Let's take a look at how we can do that. First of all, we are going to duplicate this layer. Because if we are going to mask out her face, then we would only see her face and that would leave a black background. Therefore, we need to have a duplication of this layer and the easiest way to do that, is by holding down your "Alt" key on your keyboard and then drag your clip to channel number 2. Like that, and that will duplicate that exact same video clip. Now, what you top layer selected, we're going to head over to our Effects Controls and from here open up the Opacity tab. Already you have some tools of where you can make a mascot. I'm going to select the normal pen tool. Now, first I'm going to zoom in a bit more on the character. I'm going to set this to 100 percent here and locate Kim, there she is. I'm going to take the pen tool, as I said before, and now I just draw a mask around her face. Let's start from somewhere here. You can do this pretty rough if you want to, because we are going to play with some feathering afterwards. Something like this. There we go. Now if I would disable the layer below, you will see that everything is black and we just set this back to fit, and we'll see that now everything is black and only her face is visible. So that's why we needed to add the second layer, that duplication without the mask of course. Now what we can do is, we can make changes to this. For example, I am just going to exaggerate so that you can see what is happening. I am going to add lots of exposure to it. Already you can see that we are only now affecting her face. So that's great. Now, you might see these hard edges down below here. I'm going to just zoom back in, I'm going to do this more often I think. Right here, you can see these hard edges. We can somehow remove them, by increasing the feather of the mask. So inside your Effect Controls, here's the mask, mask number 1, we can increase the feather and by increasing that you will see that, that hard edge will be visible less. Now, also we can play with the expansion. May be your mask was a bit too small, then you can increase the expansion to make your mask bigger or make it smaller as you can see what it's doing. So we've got our mask, now let's take a look at what we'd like to change. I'm going to reset this exposure here. First of all, we would like to pop out your face and now these are things that are being done a lot. The face is something that we look at. The face is something that has to be sharp. We are going to start by adding some sharpness to it. Increase the sharpness from the Creative tab. Something like this, not too much because you don't want to see too much of a difference between her face into the rest of the video. Something around 30 looks pretty okay. Then head over to the basic correction and maybe her skin looks a bit too bluish, so we're going to add some more warmth into it. Just a tiny bit like that, and maybe also increase the exposure, but not too much. Make sure that it still looks natural. Tiny bit like that, may be decreased your highlights, as you're getting a bit too much, you're in the right side and then increase some contrast. This something that you can play with. But if we're going to take a look at the before and the after now, you will see that it actually does a pretty good job. Her skin now looks a lot better and Kim looks and more alive. But when I'm going to play this, you will see that the mask actually will stay at this point right here. I'm going to disable to first litter again, now we can see what is happening. Everything starts at a great point, but when she starts moving, she moves out of that mask. So we have to track that mask with her face and that is pretty easy to do. I'm going to go back to Fit mode right here, and from the mask up here, we've got the mask path, and from there we can actually animate that mask or actually make it track. Now, we've got several controls in here, this one right here will just play the clip and it will automatically track the mask with her face, but there are also some other controls we can also reverse play, we you don't have to track the mask in a forward way. We can also do that backwards or we can also move one frame forward or go one frame backwards. Now, the reason we've got this one frame backwards and forwards, is because sometimes your mask won't stick that well to a certain moving object, and then you want to adjust the mask while you are doing the tracking. But in most cases, faces track pretty well. So let's just see how it goes. I'm going to select my mask so that I can see it right here and now I just press the "Play" button. As you can see, it's doing pretty well. One advice here, keep your mouse on the Stop button, because if you see that the mask would go wild at a certain point, you can always press "Stop" and then adjust the mask so maybe grab it and position it to the correct place. For me, this was pretty okay. So I'm just going to leave it at where it was and then you can continue. As you can see right here, it's creating all these key frames. It's animating, that's bad. Now, until here. Now, she's out of the image. Press "Okay", and everything is done. When I'm going to play this video right now, I'm going to shut off the layer below so that you can definitely see it. You will see that the mask is perfectly following her face. I'm going to enable that layer now again, you won't notice that we've actually done a color correction on her face, but she's actually looking a lot more natural. This is how masking works and also how we can track that mask. This is something that is used pretty often to make some changes on a particular point. Again, thank you very much for watching. In the next lesson, we're going to continue with this, where we are going to animate the colors instead of a mask. 20. Working with Vignette: Vignettes, the last control and Lumetri Color controls. Let's see what that can do. As the name says, we can add vignette or remove some vignetting on your shot. But let's see what these controls actually do. We're going to start with the amount, how much vignetting would you like to add. We can either move this to the right side, which is going to add a negative vignetting or a white vignetting or to the left side, which is going to add the famous black vignetting. But let's start on the right side because I want to show you the other settings here as well. Then the next one is the midpoint and see what it will do. It will add more vignetting or it will move the midpoint more closer to the middle, or we can also move that to the outside. It is only a tiny bit that we would like to change. That is what the midpoint does. Then we've got the roundness. If we move that all the way to the left, it will take out more of the shape of the shot, which is almost a square. But we can also move that all the way to the right and that will make a perfect circle of your vignetting. Now usually you don't want to have a perfect circle as you have a wide screen shot. Usually, you want to make sure that the edges here on the right are the same length as the one here on top so that usually sits here in the middle. But again, that really depends on your needs. Then finally we've got the feather. If I'm going to move that all the way to the left, you'll see that we have a very hard line, which is usually not something that we want. But again, if that's your needs, then you can also use that and also we're going to bring that to the right side. We can add more feathering to that mask or vignetting. Now, in which ways can me use vignetting? Well, first of all, we already made something. This is some kind of a dreaming shot, a smoke effect maybe. Going to leave that up to you, but you could add some negative vignetting to it to create this and let your character dream, or we can also go to the other side to add some blacks to it. Reset that feathering again and now we've got that skater style, the typical vignetting that we see sometimes maybe increase that midpoint even more, add some more feather into it and now we really have that skater style. We just used lots of those skate videos or other extreme sports videos. But vignetting is not always used to add a certain effect to your video. It's also used to sometimes correct your image and for that I have this second shot right here. Now this was shot with a lens that automatically created some vignetting up here. You can also see that, and it's not the one I want so I'm going to remove that vignetting and I can do that with here. Instead of adding more by going to the left, I'm going to move the slider to the right and lift that vignetting a bit like so. It's maybe a bit too much, is going a bit too far. I'm also going to change the midpoint a little bit. It's more towards the outside. It's not that much of vignetting like that and now it actually looks a lot better. When I look at the before and the after now, you can see that we have removed the vignetting and it looks a lot better now, definitely look here in the corners, you can see that it did a great job. Then as full, essentially, it's how vignetting works. These are the controls and that's what you can do with it. You can either correct a clip with it or you can also add a particular style to a clip. It was also it for chapter number 3. It's going to follow-up again with a small quiz. I wish you all the luck with that. Then in chapter number 4, we are really going to dive into the advanced techniques because we know technically now how all the controls within the Lumetri Color tools work, so we can start making masks now, we can make any nations of the colors, we're going to match some shots. We're even going to do some green screen grading, and finally, I'm going to leave you with a conclusion on the end of this course. Thank you again for watching and also again, good luck with the small quiz. 21. Color Transitions: We have a very typical scenario in the timeline right now. Let's just play this clip and see what happens. The colors here are pretty natural. Everything looks okay until Kim walks into this different spaces, different room. Verde white balance now is completely off its way to warm, so we have to fix that. We've seen how we can do that, for example, with the temperature slider. So I'm going to add some more blue in to this shot like so, so that you whites here up top look white. This shot right now looks natural, but when I'm going to head back to the beginning, now you will see that the rest here looks pretty bluish, so pretty cold. This doesn't look natural anymore. We have to animate this color. At a point where she moves into this room, we have to animate the temperature right here. Let me just reset that again. Now to animate, we have to create keyframes. From lumetric control tools here, we aren't able to create those key frames. We have to go into our effects controls, and right here, you will also see lumetric color effects. If you open up that effect, you can see all the stamps that we also have written here, basic correction, creative, etc. When I'm going to open up that basic correction, we again have all the tools that we have inside the basic correction like also that the temperatures lighter. You can also do your color gradings in here, but of course, this is a visually more attractive to work in as with all these numbers here, but to animate it, we have to work in here. So let's have a look how we can do that. I'm going to start at the point where she's going to walk into this room. So that's somewhere right here. I'm going to create a keyframe for temperature over there, then move a bit further in time right here when the room is visible, and then decrease that value so that we add more blue into that shot, so that your whites look white. You can also see that slider moving while we are changing the value right there. Now we have created an animation. When I'm going to play this shot now, you will see that the colors are natural, the colors will change now and they keep looking natural. That's one way to use animation of colors to change the white balance when you are walking inside different rooms that have different lighting, but now let's take this a step further. I'm going to remove the elementary effect in here, there we go. Because I'd actually like to add some grading into it and I don't want to use the controls in here, I want to use my familiar lumetric color controls here. Of course, we can do that, but not with normal keyframes. Now, we have to work with adjustment layers then. From your project's panel right here, select the new button, and press on adjustment layer, then press "Okay, and a new item is at its junior project panel, adjustment layer, just drag that on top of your video clip. Now, this adjustment layer is something where we can add effects onto, and those effects will be applied to everything below. We could also play this onto video channel number 3, and at another layer down below here, then the effects that will be applied on the adjustment layer will also be applied to both of these channels. But for now, let's just leave that on channel number 2. Let's apply a grading for the first part right here, where everything looks pretty natural. I'm going to be pretty extreme now because I want to show you the big difference. Let's just do something crazy here. I'm going to head over to my color wheels, and I'm going to add this very popular teal on orange. So I'm going to add lots of teal or blue into my shadows. Like that. I'm going to exaggerate, and I'm going to add lots of orange here into the highlights. There we go. Then add some more contrast by moving the highlights up and moving the shadows down. There we go. Maybe also move up the mid tones, just tiny bit, go to add back to my basic correction here, maybe add some more contrast. Something like that. It's starting to look pretty nasty, but okay, it's just so that you can see the big difference. This is the first shot that we want to have until he or she is moving here into this other room and from this point, we would like to have something else. What we're going to do is drag in the adjustment layer again just on the point where we would like to have this change. That's somewhere right here. I'm going to trim this adjustment layer, add the new adjustment layer just beside that, and now I'm going to work on that second adjustment layer. Again, we can use all the controls in here, so maybe make use of the curves now. That's a more contrast from here, that beautiful S curve as we've seen in this course, then from the creative tablet, just apply a lot to it. Just see what we have in here. Blue Moon. Just press on that. That looks intense, doesn't it? Head over to the basic correction. I'm going to decrease the highlights a bit because that's just way too much. We have something crazy now. We've got two different looks. We've got this very orange-yellow look. Pretty nasty again, and now we've got this bluish look, also nasty, but two way different looks. Now what I'm going to go into play this, you will, of course, see that there's a hard cut between the two colors, which is not good. What we can do is add a transition between these two. Head over to your effects, type in here, dissolve or diss, and you scroll down. Right here, we can find the cross dissolve. Drag that between these two layers to add a transition, and then you will see that the colors will beautiful transition between one and the seconds. Now by the way, DJI made a great movie here as well. DJI is a company that makes motorized stabilizers like DJI Ronin, tri-axis Gimbal, and what they've done is made an entire short film in just one shot. They had all these different kinds of scenes, like a left seen, a dramatic scene, an action scene, etc, and each of these scenes has a different colored grading to it. They also applied the same technique to it today, made a certain color grading to one scene and then applied a beautiful transition over to the other scene like this. This is how you can animate the colors. One way is just by animating the actual effect in your effects controls with the key frames, or you can also work with adjustment layers and then just add a cross dissolve transition between these two, and you can always make this transition by the way, larger if you wish so, so now it takes a bit longer to transition from one to the other color grading. There we go. It's now more subtle, or you can also of course, make this smaller if you would like to have a faster change between the two colors. From there we go. That was it for animating colors. Pretty simple, but something you just have to know, and you also see that you will use this more often than you think. In the next lesson, we're going to take a look at how we can match two shots. I think that's also something that we're all looking for. We've got two cameras, we've shot this interview, but for some reason, these two cameras, those colors, they just won't match. So that's up for the next lesson. Thanks again for watching. 22. Matching Clips: We've taken an interview from Kim with two cameras but unfortunate, these two cameras just won't match. This here is the first angle that we have, it's a long shot. As you can see, the colors are pretty gray, it's pretty cold everything. It's also more soft as within this shot right here, which is shot with a different camera. It's shot in 4K, which gives us that very crisp, very sharp image. Also, the colors are way more saturated, it's warmer and everything. These two shots just don't match, and that's something that we cannot deliver if it was for a client. So we have to do something with the colors here. Now before we get started, we are first going to rearrange some things in our workspace. The first thing that we're going to do is bring up the reference monitor, because we would like to see these two images next to each other if we are going to compare them of course. You can do that from the menu up here, select ''Window'', and then from there, find the Reference Monitor, it's right there. That will bring it up in a new window, it's over here. Now, the great thing about this Reference Monitor is that it isn't linked to your playhead of the timeline as with your program monitor. If you're going to move your playhead, you will also see that right in here in program monitor that it will follow that, but it doesn't happen in your reference monitor, but it is a presentation of your timelines. So that means you can take this little playhead of that reference monitor and move it around at any spot in your timeline. But you just won't see your playhead also moving when you're doing that. We're going to position this one here on the first clip and then position the actual playhead on the second clip. So we can see them next to each other. Now, another thing that we're going to need are Lumetri Scopes right here. We're going to work especially with the Vector Scope and also a little bit with the Waveform Monitor, which is right here. Now, we're also going to position this elsewhere because else we don't see the reference monitor anymore. We're just going to grab that and I'm going to drag that into my project panel right here. So it's going to use this space over there. Now we have a Shot Number 1 on the left, Shot Number 2 on the right, we've got the Lumetri Scopes, we've got the timeline, and also our Lumetri color controls over here on the right side. Now we're constantly going to compare these two images while we're going to match these two shots. Now before we are going to pay attention to the details, we are first going to do some global changes. That starts with the saturation or the vibrance of the image. I currently had the second shot visible in my program monitor, and you also see that here in my Vector Scope that there's a certain pattern of the saturation. When I'm going to compare that to the first chart, you'll see that the saturation is totally different. There's actually not much saturation there, so we're going to increase that. In your color controls, open up the Creative tab because from here we've got both the Vibrance and the saturation. Let's just start with the Vibrance. We don't want to exaggerate because we also see in the second shot that we have a nice spike in here. So if it we only increased the vibrance, it will not create such a spike as you can see. It will actually just make that dot bigger, so that's not what we want. You won't have that spike, so therefore we're going to work with the saturation. So increase that saturation. Let's see to where we can go. I think we can go pretty high with this thing. Something around this 155, 160 maybe. Don't be afraid to go too much. It maybe also increased the vibrance just a tiny bit because we are comparing these two. As you can see, just a global saturation is a bit less. Just look at the two images as well. Don't only follow your metrics here, but also look at the two images. We're going to need some vibrance swell not too much. Maybe just two-and-half. Just a tiny bit vibrance. Something like that. This is starting to look pretty okay. They'll only look at the saturation of the colors, don't look at the warmth actually itself because that's sometimes misleading. This is of course a very warm shot, and this is a very cold shot. Don't look too much to that, just look at the saturation of the two colors. I think it might get a little bit more. Then the next thing that we also notice as well, this here was shot in 4K, so therefore very sharp, and this one here is shot just in 1080P, but also the sharpening turned down inside the camera. So what I want to do is just add some sharpening to it. Don't be afraid to exaggerate into this because we are comparing this to a 4K image. What I'm just going to do is I'm going to add something around 75. As I felt you before, always play your clip when you're going to add sharpness and maybe a little bit too much. Bring that down a tiny bit. [inaudible] is 37, 35. Play it again. This looks a lot better now. Also if we compare that sharpness now to this shot, it already matches way better. Then the next thing you want to do, and by the way we're still working global, is the exposure. There's also quite a difference between the two. As you can see, the mid-tones are less exposed as in this shot. You see we've got a very bright shot in here. The shadows are pretty similar. These are pretty okay, but the mid-tones aren't. Now we could increase just the mid-tones, but it's always going to affect somehow the highlights. So there is a better way to do that. Head over to your Basic Correction and just increase the Exposure. Not too much. Let's just see how far we can go. Maybe somewhere around six or something. Just only look at the mid-tones now by the way. They look pretty similar if I look at the two of them. Also look here at your waveform. The second shot is really using the whole range here. So it's not going to be that easy, but try with your exposure. Also lift that a bit so that it's using more of that range. I think around 0.6 should be okay. Then your highlights, we're going to fix that. We're going to bring down the highlights. Not sure how much. Maybe around 50. This looks pretty okay. Definitely look at your face right now when you're doing this, because that is something we can compare in these two shots because there isn't any sky in this shot. So that looks pretty okay now with the highlights during down a bit, and we also have to fix the contrast now because as we're lifting the exposure and bringing down the highlights, we're actually decreasing the contrast. So we're going to add some more contrast as well. Let's just see how much that we have to add. I think we can go pretty high with this actually, because as this is a pretty vivid shot, maybe around 50 somewhere. Also pay attention when you are going to increase the contrast. It will also increase your saturation. So you might want to alter the saturation again. It really depends on your situation, but in this case, it's pretty okay now. I think that the saturation and the exposure is starting to match pretty well. We've got a nice contrast here. We have well saturated colors, just as in the other shot. So that's okay now. Now let's start working on the more precise things, that are the actual colors. I think it's pretty obvious that the right shot here, the second shot is way warmer as the one on the left here. So we're going to add some warmth into its, but we have to be careful again. What I'm going to add a lot of temperature in here. Okay, the shot will be warmer, but you will see that something is just not right when I'm doing this. That's because, well, the temperature control will just take the whole range right here and make it all warmer. But if we look at the right shot, not everything is warm here. The blacks are beautifully black and Kim faced the highlights here. Well, they are a bit warm, but they're not orange. When I'm adding so much temperature in my first shot, you'll see that we're starting to get an orange sky. Also our face, it's not natural anymore, it's just too much orange. So we're going to use different controls for that. We're going to work more on the levels, but that doesn't mean we can't use a temperature control. If I'm going to reset this, you will see it's very cold. So we can add a tiny bit of this. Maybe something around 10, but be careful, don't add too much. Let's then have a look where we can change those warm tones, and that is in the color wheels right here. We're going to work on the mid tones and the highlights a bit, but we're going to stay off the shadows. We want to keep the blacks black. So let's start with the highlights. You can really push a lot of warmth into that, a lot of orange, because compared to the other shot, it's pretty cold. So maybe something around this. I think we're halfway now. It's starting to look pretty good. Don't look at her face at this point. Her face is more inside the highlights. Look at the environment around her. Definitely take a look at her jacket. This jacket here is starting to look a bit purple. So don't be afraid to maybe go a bit more towards the green side. Compare these two elements to each other. Her jacket has to be the same blue and both shots. Also try to merge that by playing with the mid tones. Her jacket is in the mid tones. So something around this, this is starting to look pretty okay. Now we can also add some more warmth into the highlights, but we're going to be careful with the highlights because they will affect also the sky and we don't want that orange sky. So we're not going to add 50 percent or something into the orange side. Maybe just tiny bits, maybe something around 20 percent, 10 percent, something around this, not too much. Just make her skin here a bit warmer as in this shot, and this is already enough. Now comparing these two shots, there's still something wrong in this shot. Now because we were fixing this cold shot pretty drastically by putting lots of warm colors into it, we were actually shifting the colors. We were actually pulling the colors in an unnatural way and therefore I see this magenta cast in her. Well, we can easily fix that if you go back to the basic correction, we might want to add a bit of green into this shot. Not too much. Be careful with that. It might just want to be like around minus four, minus five, just a tiny bit of green to lift up those magentas that you saw. This is already starting to look a lot better. Now there's one last thing that I want to go over and that is the grass over here. The grass looks artificial and that's mainly because I've added some more green into the shot, but also because of the saturation which was pumped up pretty big. Kim is looking great though, but there's just too much green, which makes that artificial. So we're going to decrease the saturation of that grass as well. Because comparing to this shot, where we don't see that much green, it's just tiny bit up there and a bit down here. But for the rest it's more brownish over here and also Kim is covering more of image. As in this shot, we've got a very big spot of grass. I'm going to head over to my Curves because from here, I know that I can decrease only that green channel. So let me enable that green channel right here. I'm just going to decrease that green just a tiny bit, not too much. We don't want to have a 2D saturated grass. The grass have to be vivid because the other shot is also pretty vivid, but it doesn't have to look so artificial. Something around this. I also might want to bring down this part right here because the grass isn't actual green. Now it's more like this autumn green. It's also autumn by the way so that's why it's not perfect green. So I'm going to enable the yellow channel as well so that I can touch this one over here. I might want to bring down a bit more of that, something around this. Keep comparing the two shots by the way. So there we go. The two shots have been matched. Remember how I've done it. I've worked in different stamps. I've started globally with the exposure and the saturation, and then I started with the actual colors working in the different levels. The shadows, the mid tones, and the highlights. That is how we can accomplish this. Remember to always look at the different detailed spots like I was telling winter jackets. Sometimes your skin tones look great, but your jacket could be a whole different color. So be careful with that. Of course, I think you're all waiting for this. Let's look at the before and the after. I'm going to head over to my Effects controls to stand on that shot. Let me just turn on and off that Lumetri Color tool. This is the before and this is the after, which is an extreme difference. Also take a look at your Lumetri Scopes here. The Vector Scope, you've got a lot more saturation and also at the waveform, we can see that now we are using one much more of that range. Now speaking of matching two shots, in the next lesson, we're going to match a green key shot with some backgrounds. So stay tuned for that, and thanks for watching. 23. Greenkey Color Grading: In this lesson, we're going to take a look at how we can match a shot from a green screen with its background. What I have right here, it's something that I've actually worked on last year around Christmas. Here's a couple who are dancing. This is going to be the background that I will be using. Now, I must say at friends that I'm sorry that I cannot share this background as I don't have to license for that. But I do have a link in a Notepad file of where you can see this background and also buy it if you want for $8. But other than that, it's all about the technique that I will explain you, and not this background in particular. Let's get started. The first thing that we want to do is actually, do the keying itself. I'm usually doing that inside Premier Pro because Premier has a great keyer. Let's head over to our Effects and search for the Ultra Key. Drag that to your clip and this will help us do all the keying work. The first thing that we're going to do here is take the color picker and select green from the background, and that will already give some keying. Then let's head over to the settings in here, and let's see what else that we can do. The first thing that we're going to start with is the Transparency. I'm going to move this down until we don't see anything coming out of the close anymore here. Everything actually looks good. We're first going to pay attention to the characters, the thing that we're not going to key out. By only looking at that, I might actually want to put my Transparency something around eight maybe. This looks good. Then the next thing that we want to do is change the Highlight and I can bring that all the way down to zero. Then comes the Shadow and just bring that up or down. I see I have to fix some things because you can see it's also keying parts over here, so be careful with that Shadow, bringing that up, and I think we have to be at 60 for that. Then the next thing is going to be the Tolerance. Let's see how far we can bring that up. We can bring that all way up to 100, which is great. Then the Pedestal, let's see how far that we can go with that thing without touching the actual image. Apparently, we can also go up to 100, which is great. Now, we're going to go back to Transparency because there are still some fringling things around it, which we'd like to have away. Now, we can increase that transparency because we've changed some other settings here as well. Let's see which number we can go, something around 23, that will do it. This here is a pretty good key that we've done. Of course, there's still this edge and that's something we're going to fix, and the next settings, that's the Matte Cleanup. In here, we're going to start with the softening. Now, be careful with your softening, don't soften too much. It'll just make your key ugly. The maximum that I usually suggest is just a softening of 10. That will already do some choking, and that's why we first do the softening. Now, we can add some choke to it. I think we can do pretty much choke. Let's see how far we can go here. I think something around 84, 85, something around this. Then finally, the Spill Suppression because I still see some green here. Bring up the Desaturation. We can go around 50, I think. Then for the Range also, just bring that up a little bit. That's starting to look better, something around this. I think the Luma, we can just bring that down without harming too much. Bringing that down to zero. Now, we have actually done a great keying as you can see. We still have some stuff over here, but we're just going to mask that out with the Opacity here and just draw a mask around these two people. There we go. You might want to bring these two points here outside the frame. That's it for the keying. Now that we've done the keying, we can now clearly see that, well, they don't match with the background at all. The background is something at night and well, they're shot in a studio with a tungsten lighting. You can see that it's an inside shot that we're putting on an outside shot, so this is not good. We're going to do some color correction onto it. Select your clip and go to the Lumetri color tools, and let's start with the basic correction. Because in here the first thing we're going to do is just bring down that color temperature. You can bring that down a lot. We're going to bring it down to around 65 or something, something around this. His shirt can really look bluish because we are at night and when we are at night, well, things start to look blue, like also the background, so that's great. Then the next thing is the exposure. We are at night, so it's dark. Bring down the exposure. Not too much. Maybe around 0.2 or something, and then increase the contrast as well. I think we can add a lot of contrast to this shot, definitely a lot, something around this. Because it's night, we've got very hard shadows. Because the only light spot that we have is the moon and that moonlight is also casting lots of lights, so we're going to increase the highlights. Do something around 60, somewhere around this. When I'm going to look at the before and the after now, you can see it had already matches a lot better. But we can do it even more. I'm going to scroll down in here and look for the color wheels in the shadows. I'm just going to add a tiny bit of blue. Not too much, just a tiny bit. I'm also going to fix that now because when I'm adding blue in the shadows, it will also touch a bit of the mid tones, so therefore, I'm going to lift that to the opposite site here by adding a tiny bit of yellow into it to keep those skin tones warm as you can see. This is how we actually matched this shot. What you have to do is imagine where is the background at. What type of scene is it? Is it in a hospital? Is it an abandoned place maybe? Is it something horror or something dramatic, something action? Think of that and look at the colors. We've got lots of blue in this shot in the background, and also we've got heart lights here. These parts over there, up in the Christmas tree, and the moonlight, these two parts gets lots of light and gives you those hard shadows, which are pretty natural at night. Therefore, I've increased the contrast and increased the highlights. This is one part on how you can match your green key shot with the background. Let me we just look again the before and the after. As you can see, it looks a lot better. But there's one more thing that we can actually do to blend it in even more. When we think about Christmas, we also think about snow. So what I have right in here in my clips is actually some snowfall right here. I'm going to drag that onto my timeline. There we go. We can use this snowfall at something I generated inside After Effects. I've exported that, so we can also download this and use this anywhere you want. When you select that clip, head over to the Opacity, and from here select the Blend Mode, Lighten. Then you will see it blends with that image. Now, we have some snow falling in the background, but also over these two people. That can be anything. For example, also dust if you're shooting a war film, an action film where some explosion has gone off, then you can see that dust coming into the shot, which isn't only appearing in the background, but also on top of your characters, or a sun flare or anything like that. Make sure that you have some element that doesn't only appear in the background, but also on top of your subject, and that will make them blend even more. Now, for those of you who are going to download this project because as I told you before, I cannot share that unfortunately, so you will see something around this to also give you that same effect like the background. That's it for this video lesson, but also for this course. I want to thank you very much for following. You've learned everything now from the Lumetri color tools. The only thing I can advise you now is to keep on practicing. Color grading or color correction is one of the more harder things inside film-making, and therefore, I would say, don't give up. None of this course is not something magical that will suddenly make you the best grader in the world. It will just help you so that you can practice easier and faster. I'm going to leave you with one final quiz after this lesson. If you complete that, you've completed the entire course, and you'll also receive a certificate. You might want to follow me further, and that is possible on my YouTube channel. You can subscribe over there and see a new video every Tuesday. I upload lots of tutorials and film-making tips. My name is Jordy, and thank you very much for watching.