Color Correction in Adobe Premiere Pro

1. Introduction: Hello, hello, Welcome to this course on color correction and color gradient in Adobe Premiere Pro. I am Martin logic. I'm your host. I'm an Adobe certified expert and Adobe certified instructor and Adobe Community Professional. And I'm glad to see you here on this course. I hope you're going to enjoy our learning path, exploring different ways of color correcting, calibrating, exploring the Lumetri color, exploring curves, RGB Curves, hue saturation curves, and also progressing to using Lumetri Scopes in color correcting process. Okay, So we're going to look at different techniques, different ways of color, correct? In making clips, look correct. How to make how to perform cargo radian, including color grading on entire sequences, what you see on femmes, and using some scopes as well for color correcting. So without further ado, let's welcome you on this course in color correction and in Adobe Premiere Pro. I'm your host, smooth melodic, and thank you for joining me and varphi ado, let's get started. 2. Exercise Files: Okay, so let's get started it now, as part of the course, you'll have access to the exercise files. So if I have a look on my desktop, I've got to my desktop here, I've got his premier color correction calls. And we have a bunch of videos in here. And one image. If you want to, you can use your own content. Orange is just some content requires some work. So here we have some clips which are too dark or too bright, or they require more contrast. Ds1 clip which I doctored a little bit. So it's looks very bluish, which we're going to correct in here. And we'll get some clips which we're going to use for some color changes as well. Because you know what color correction is not just about what's making the color look right? It's about making changes as well. Like in this rain clip, we'll change the color of the coat, the jacket quickly and easily. Similarly with the one clip, we'll make some changes to make this clip look different in a way. Okay? So make sure you prepare some files. You can use these files which are provided for you. These are free to use. These come from free online libraries like Pixabay and pixels. Otherwise, you can use your own content. And let's get started. It doesn't matter which version of Premiere Pro you're using as long as one of the recent ones. So if it's premier 21 or 22, or even 20, That's okay. Besides, you want to have access to any other version from Adobe Creative Cloud desktop application anyway. But just so you know, you don't have to use the latest version. I'm using 2021 at the moment, 2022 has just come out, but at the moment still on 2021 version. Okay. So without further ado, let's get started. Color correction and color grading. 3. Project Set Up: So now we're continuing from the previous video. Let's get started. So let's go into premium. Let's make a new project. And I'm going to call this one color correcting. Okay. Choose the location where you want it to be. I'm going to put it into our folder on a desktop. Some segment here inside our color correction course folder. Okay, Washington and from here this is all good. So we'll just click OK. And once you make a new project, we're going to input some con. Let me just quickly move. Here we go. And we're going to import some content here. So it's going to make the project panel a bit bigger. And we're going to double-click here to input some content. And I'm going to import all the clips in here. So all of these plus the balloons clip as well, to bring him in here. Okay? And I'm also going to move my project panel. So it's actually this is okay and this is fine for what we're going to work when here. So, but all of these clips in here, which we're going to work with. And then we can decide what we want to deal with them. And we're going to setup as sequence. I'm going to use one sequence for all different types we're going to work with. I've seen the most of them at least will, should be about a similar solution. So let's have a look on the list view here. I'm just going to take it to maximize modes. So let's have a loop. Well, most of them are 1920 by 1080. There are some smaller ones. So what I'm going to do here is I'm going to make a new sequence, which is going to be 1280 by 720. Okay? So I can pick any clip or you're going to make a new sequence. And we want to use digital SLR, 720 P and 24 frames per second. Okay, we'll give it a name, aswell, color, car wreck thin, or color correction K. And then we ready to start color correction and color grading will be able to choose which clip one to work with. So we can just anything here. I think what we're going to start with is looking at clips which are too dark or too bright. And then we're going to look at some correcting Karla examples as well. And we'll be, we'll be looking through all different ways of doing it as well. So make sure you make a new sequence with the settings of your choice. So if you have all the videos which are say, full HD or even for K, you can make a new sequence which is going to be full HD or four, okay? You can just edit settings you want in here, okay? Just make sure you have a new sequence. And once you have a new sequence, in our next video, we're going to start adding some content here. And we'll have a look at the workflow on how are we going to color correct it. So you've got a setup done, and let's have a look on the next video. So I'm going to save it, save the project, keep it open, and I'll meet you in the next video. 4. Lumetri Basics: Welcome back. We are continuing from the previous video. We have a new sequence setup. We have a project set up as well. So ready to start, color correcting. The way we color correct has been streamlined and it all happens with the Lumetri Color panel and it's working to look at in here. So if you go to the Window menu, we've got the Lumetri Color panel, which will appear on the right-hand side of your screen. Top to the bottom. And if you have a look at that, we've got six sections here. Basic correction, creative curves, color wheels and match, HSL secondary and vignette. So if we add a clipped our timeline, I'm going to pick something that's too dark or too bright for now. Let's see. Like maybe this valley clip, somebody to drop it onto the timeline in here. That's okay. I want to keep existing settings of the sequence. That's fine. Okay. I've got some issues of the program panel which happens sometimes just so you can see what we're working with. I'm going to make this track dollar. And I'll zoom in a bit closer here. And just give me a second. I'm going to restart Premiere and then I'll be back in a second. 5. Lumetri Basic Correction: Okay, I'm back. So this is the clip we're going to equip. And you need to make the project program panel a little bit big program monitor. So you can see this clip better. Here we go. Okay. So starting with the Lumetri Color and just a couple of things to explain here. Lumetri Color panel is what we're going to use for all our color correction and color grading. This is an effect which means you will be able to find it in the effects panel. So here on the video effects and color correction, you will find Lumetri color in here. The good news is you don't have to edit to your clip. The way it works is we have the clip selected as we have in here. When you start using Lumetri Color panel, the Lumetri color effect will be added to your clip automatically. But just so you know, you could actually add lumetri color effect to your clip as well at any time. Or you could have it stacked one on top of the other. It's just the notes here. Okay. So we've got a clip selected and Lumetri Color panel. We'll start with the first section, basic correction here. All of these sections have the tick boxes we can preview your before and after. So you can compare before and after. When you make changes, you can also reset the entire Lumetri color, okay? You can also tend effect on enough CV able to see before and after. So let's make some changes. So let's have a look at it so it doesn't correction here. Input LUT, just to start with this one here, for the top. We won't be using it here. But just explain what this does and how it works just so we can go from top to the bottom in the Lumetri Color. If you shoot video on a camera, which records video with a log, which gives you high dynamic range. A video which also looks quite flood by default. And there are different names for logs, is by different companies, like S log, f log and so on. What you can do then is you can apply an input lat lookup table created by the camera manufacturer. For this specific camera. You do get some by default, but these are for professional level cameras like Alexa cameras, cameras as well. Okay. And the phantom. However, you can download lots from camera manufacturer website. For example. You can record video. We'll follow up on mirrorless, Fuji X t4 or Sony Alpha-7 or Panasonic GH 5. And you can download from their websites the lots that you can use in here. And then you can just browse and select the Input LUT file which you have downloaded and edit here to apply it. We won't be using it because we have videos which are in mp4 MOV formats, and then just standard videos, okay? Okay. Now with the white balance, just before we have a look in the white balance, I'm going to skip it for a second. Excuse me. And I would want to work with the tone first. We could try auto to see what primi can do here. So let's see if we hit auto here. Actually does look better in a way. And let's see what's permitted here. It's lower the exposure a little bit. It's dark and the highlights a little bit. Images shadows much brighter, and the blacks a bit darker. Now I'm going to reset it because I want to handle it a little bit differently. So we definitely want the shadows to be lighter and possibly the highlights darker as well. So what I would do here is 10 the highlights down probably much more than premier did. Just so we get a nice dark sky and then make the shadows much light. I think in about 8088, what permitted was okay. We could also lower the exposure a little bit as well here just to make it a little bit darker, like maybe half a stop or so. And we can use the tick a box on the top here to see our before and after this was before. This is after. So it does look much better. It did loss a little bit of the contrast here. So we can add a bit more contrast just to make it a bit crispier. So if you have a look at before and after, we have a much better looking clip in here. With whites, the lightest pixels in the clip. We'll probably leave them as they are, but let's have a look if we make them dark and no, we don't want them to be lighter. Know. Here's a tip for you. As you're moving the sliders left and right. If you want to reset and a slider just double-click on it. And this will reset the slider for you to its default setting. This applies to any slider. Here in Lumetri Color. And I'm going to blacks the darkest pixels. You could make them darker or lighter. But I'm going to leave it as it is again, something double-click on it to keep it as it is in here. Then we have a situation where we can increase or decrease saturation of the clip. You can make it more colors, more saturated, more vivid, or less saturated, or even black and white when you desaturate. It actually looks quite nice. But I'm going to leave it as this. And now going back to white balance. Now, look at his clip. It seems to be a little bit cool, a little bit bluish. So we could increase the temperature to make it warmer. Making look more like a nice sunset. Because this looks like a sunrise. So we can make it a bit warmer. You can see it goes into the blue or orange colors. And as a tent for green or magenta. So you can add more green, more magenta. But I think this one is okay. So I'm gonna double-click the recently tint in here because I think it looks okay. Let's try one more clip or the same basic correction here. Somebody did one more clip to the timeline. This balloons clip. So drop it in here, move the play head where the clip is. A finger looks like it's begat. So I'm going to right-click on the clip and Set to Frame Size. Nothing looks okay. Okay. So now here, what I will do this clip is maybe increase the temperature exposure a little bit, and I'm going to click on the value this time and just use the up and down arrow keys to make it lighter or darker. I think one-stop would be enough. Definitely want more contrast. Quite a bit more. Maybe about five or six, or maybe even about 10. I would also want the blacks to be darker, stronger, not too much. Let's say about 1015 in here. I think the rest looks okay. Now the clip is a little bit warmer this time. But I think this was actually shot in in this warmer light. So it could be like early afternoon. But if we wanted to, we could call it down a bit by moving the temperature slider a bit to the left. Just to make it a bit more neutral. Say about minus 15, 17, something like that. So if you have a look at before and after, we have a much better looking clip. At the moment, we're just looking at the options available here, how the controls work, what they do. And we also adjusting the Carla and the tone by eye. But we are going to get more technical in later videos with some scopes. Okay? For now we're just trying to make them look better. These clips in here. And this seems to be working okay for now. Okay. All right, so this is the basic correction section in Lumetri Color. Let's keep it open, Let's save it. And the next video we're going to have a look at the Creative section. 6. Lumetri Creative: Continuing from the previous video. Now we're moving on from basic correction to Creative section. Now critics section is actually where you perform what we call a color grading. So let's talk a little bit about color correction and color grading. Color correction, like in the basic correction section, is when you correct the clips to make them look right, to make them look correctly. So you make them lighter, darker, more contrast, the less contrasty, and adjust the Carla and so on. Color grading, with, which is the Creative section here, is where you make the clips look in certain way. You change what they look like. Think Matrix, the green color overlay, that's color grading. Or Sin City. Or the last Mad Max, where the films are color graded to give them certain look. Or even think any horror films, were they very contrasty. A bluish blown out highlights, very dark contrast the shadows. Let's color grading. So for example, here, we could apply one of the looks on the Creative section here. On the top, you'll have some looks which simulates a different paper and different film like Fujian Fuji or Fujian Kodak and so on. So you could apply some of these here. And then you have a bunch of different color grading presets for simulating different effects. Like the blue ones are bleached ones which can be used for Horos, for example. Like blue steel. We have some warm ones for say, Western films like gold section here. Say goal to Western to make it warmer, more orangey, brownish color. Of course, we have metrics as well as some matrix grin at the summary, nice black and white ones as well as some noise. Okay, someone 1965 Lesson NWA HDR, if you want lighter, clip, less contrasting. Thus even SM NWA try x, which simulates using the Kodak film. If you're trying to apply the color grading effect and you're not sure which one to use. Excuse me. Here's what he can do. You can use these arrows on the sides of the previous clip to see what this clip is going to look like. So you can see what the effect is going to go to the clip before you apply it. So you're just looking for something new like so you can find something interesting. Actually, I'm going to duplicate this clip. So let me just set it to none. And I'm going to duplicate this clip, this one here. So we're going to copy it and then paste it at the end. Just to have another one here. So I'm going to copy and then paste it twice. And I'll make the second one look a little bit different. So I'm going to have a look at some presets here. And, and one of the things you should know about this preview window here is this preview window will show this clip is going to look like, but it's taking into consideration the original look of the clip. What this means is that when you apply the effect, it may look a little bit different. It may be light or dark, or more contrasty or less contrasty. Just something to be aware of. If you made some changes to the clip in the basic correction section. This may look a bit different. Okay? So let's say I want something. Maybe. So if you know that, and we can apply the effect by clicking on the preview window here. So you see this one looks a bit different. It's not as green as in the preview window. It's also lighter. Because we made some changes in the basic correction section here. Because I dropped the temperature bit, for example. Okay, so just something to be aware of. Also in here, you can adjust the intensity of the effect. Second, make it more intense, less intense. I'll leave it as it is. You can also add the faded film effect to make it look more like it was shot in a film or the actual phone. Okay, more faded. And then we can sharpen the clip. So it becomes very sharp or we can make it very soft, almost blurry if you're D-Sharp on it. And then we have vibrance and saturation, which you may know if psi from Photoshop, for example. Vibrance is more subtle than saturation. So for example, the saturation, we can make it very saturated. Or if we desaturated will make it black and white. With vibrance. Even if you've got two maximum, the effect won't be as strong. And if you take it all the way down to the left, a 1-p. black and white. There's still be some color left. The stool color here. Saturation will make all the colors more saturated. Vibrance will only make more saturated colors which are not highly saturated already. So for example, for glib like this one, thinks that tradition will be okay. But if you had some people closer, if you had some faces, some skin tones, vibrance would be a better choice because vibrance want to do much with people's skin tones. Okay? And then finally we have the shadow and highlights tins. We can add some color tint to shadows and highlights. So say shadows could be maybe cooler and the highlights could be warmer. Now when you make these changes, a couple of tips for you. I'm just dragging the crosshair at the moment. If you want it to move faster, you can use Shift K. So it moves much faster around. He's an additive for you. You can just simply click anywhere on this color wheel to change it. And you can also, there's probably too much. You can also adjust the tint balance, whether you want more of the highlight tint or more of the shadow tint. So I'm getting more this kind of yellowish color, orangey color, or more, this bluish color here. I'm going to give the tint balance on 0 here. So you can adjust certain color tint to shadows or the highlights independently k. And that's the tint here. And that's the, that's the Creative section here. Okay. There's one more tip I want to show you of creative with look, but I'm going to do it in the next video. So let's stay tuned on this one. 7. Lumetri Color Grading: Following up from the last video for the praise video with the creative. Just one more section 1, one more thing I want to show you here on the look, on the Creative section is a popular example. A good example for color grading easing looks is when you calibrate the entire film, like matrix for example, in green. So how do you calibrate the entire film? Because you don't want to apply it to every single clip. Okay? So let's imagine we have a number of clips in here in the timeline. So if I drop a few more, so say I'm going to draw this one as well. And a few more here. And this one, and that one. Okay, let's put all of these clips in the timeline here. And let's say you want to make them all look in certain way, like maybe black and white. But we're going to do is to create an adjustment layer. So I'm going to do File new. Actually, if I was going to do for the project panel, this one I normally do just make it a bit bigger or click on the new item icon. And adjustment layer, if you haven't use adjustment layers before, it just Millay is just a transparent clip. Because the clip, you can drop into your timeline. And because it's a clip, you can apply an effect to it. So I'll make a new adjustment layer. It's going to use the settings of your sequence by default. So click Okay. This is our adjustment layer clip. Well, drop it onto the timeline on V2 or V3. So on the top. And we'll make it span across the entire sequence. Just make this wider gain. So I'm making this adjustment layers span across the entire sequence here. And now with the adjustment layer selected, will apply a look and we just black and white because this will be easy to spot. So say S and Nuwa 1965. And now everything here will be black and white. And that's the way you collaborate. Entire films like matrix, like SimCity, like Mad Max and on and on and on. You have an adjustment layer on the top of your footage. And apply a look to your adjustment layer. Okay, So let's just another tip with the Creative section, and we're going to move on to curves in our next video. So let's save it. Let's keep it open. Stay tuned. And curves coming next. 8. Lumetri RGB Curves: Moving on to Lumetri curves in here, I'm just going to disable the adjustment layers. I'm going to hide the V2 tracks, the adjustment layer is gone. I'll keep these clips in here. I'm just going to make sure they all fit in. So if I forget, I'm going to scale, set them to frame size. Here we go. This one, I think it's a bit bigger as well. And I'll just once okay? And this one is check. This looks good, okay. With curves, there's a number of things you can do in here. First of all, you can use lumetri curves kind of as an alternative to basic correction. So we need to pick this dark eclipse, again, this valley clip. And I'm going to drop it onto the timeline. Maybe just so this is an order. I'm going to move these out of the way a little bit. And I'm going to use this Farley clip and drop it in here. This clip here. Okay? And just to double-check if set to frame size. Okay? So once again, we have this clip which is well too dark in general, the shadows could be lighter and the highlights could be darker as well. So this time, well, I'll just focus on the curves. If you've ever used a curves adjustment in Photoshop, this is pretty much the same. You can target the entire clip. And here, the top right corner is the whites, the lightest pixels. Bottom left corner is the blacks darkest pixels. So you got the blacks, shadows, midtones, highlights and whites. So in here, say we're on the lightest pixels to be darker or lighter. So I'm going to turn it down a bit, not too much. So probably, maybe make it the highlights a bit darker. There we go. But also want, Actually, let me just undo the last step controls that are commands that, and I went sort of point in the center. And I want the highlights to be a bit darker. And the shadows lighter. We go. So maybe something like that. So this is our before and after. Quite a nice effect in here. You can also target specific channels, red, green, and blue here. So for example, if I want to warm it up a little bit, I go to the blue channel and reduce the blues to add more yellow in. So I'm going to take the top right, that down a bit. Maybe bottom left as well, the right, just to make this clip a little bit warmer. So that's before. That's after. Okay. And you're not example for the RGB curves here, we had a clip which could do with some color correction, this one here. So in here, I'll use the blue channel. And I'm going to reduce the blues again, the entire blue. So top right corner. Get down maybe a bit for now. Similar bottom left corner inwards a little bit, maybe a little bit more. So if I do a little bit more here and a little bit more here as well. Now we have a much better looking clip. This is before, this is after, before and after. In the same way using the white, we could make this entire clip a little bit lighter, especially in the mid tones. Shadows are somewhere here. I'm going to bring it up to make it a bit lighter. Using RGB Curves instead of using basic correction as an example here. Okay, Let's see what else we've got in here. Of interest is kind of okay. But there's so much more you can do with, with the curves in here. So these are the RGB curves. In the next video, we're going to have a look at hue saturation curves. And we're going to have loads of fun in here. So let's keep it open. And I'll see you in the next video where we're going to look at Hue Saturation Curves. 9. Lumetri Saturation Curves: In the last video, we were looking at RGB curves to make the looks, the eclipse look better, lighter, darker, with less or more of certain color. Now we're going to have a look at hue saturation curves. That's where the fun begins. The first we have Hue vs Saturation. So what we can do here is we can pick a color, the hue, and make it more or less saturated. Now for this example, for OEM, for the next few, and we're going to use this clip CO2 wall. I believe I have somewhere here or this one here. So this clip selected in Hue vs Saturation. We have eyedropper where we can sample the color. I'll make maybe this color more saturated. So I'm going to click the sample that color. And some in common you're going to see on these curves, AC always get three dots, three circles. If you can't see them altogether, use this slider at the bottom. Because this is like a circle wheel which rounds around. Okay, it's, this is 360. The dot in the center is the color you've sampled. The ones on the sides, defining the range of your selection. So now we can use this circle to make this color more saturated or less saturated. So I'm going to increase saturation of this color quite a bit. I'm going to exaggerate a little bit with these curves so you can see it better. So this color here, this is before and after. It's actually changing this as well because this seems to be the same color. You can sample another color if you want to second sample, maybe this green. And now if I slide it, this is the color of some boot and 0 make it more saturated or less saturated. Okay? You can also expand the range. You can move these points left and right on any of these curves. If you add a point somewhere which you don't want. So if I click here, say accidentally, you can remove it by clicking on this point, holding Control key on Windows or Command Kinematic to remove the point. This will be the same for these points here as well. Okay. So let's just pick another clip. Maybe this one, I'll somebody color of the jacket. And we'll make it more such a rate to more vivid color or less saturated. Maybe just a little bit more saturated. Okay. One more tip for you which may help as you moving these points up and down to increase or decrease saturation. In this case. You can also hold the Shift key down to make it move in a straight line. Doesn't go left and right. Okay? Otherwise we've got the Shift key, you can move it left and right as well. So I'm going to keep it in here. Okay? Now here's another one, Hue vs Hue. This is where the real fun begins. Because we've hue versus hue. You sample the color and you change the color to another color. Now this will be a perfect example. I'm going to sample the color of this jacket. And I'll change the color of the jacket to add the front, Karla, just line at pretty much any color you want really, you just sample the color you like. That's before, that's after. Going back to this clip, we'll sample the Carla, say maybe this red and we'll change the color to something different. Maybe blue for a change. So you can have any color you want. Or here's another example. We have a clip in our project panel. Put hospital for, I drop it in on a timeline here at the end. This is big. So I'm going to set to frame size. And Hue vs Hue. Oops, oops, oops. And Hue vs Hue here. Oh, somebody car lasts of the bed in for example. And change the law of the bird in to say grin. It seems like our need to extend the range as well. So maybe a bit more to this side. Here we go. So all the parts of the bed in a changing from blue to green. Just like that. All right, so here versus hue, color. As a scholar, you pick one color and change it another color. Next we have Hue vs Luma. You choose the color and you make it lighter or darker. So say going back here, I'll choose maybe these grains and I want to make them darker. Well, this slide, and I want this to be lighter or darker, maybe something like that in this case. The rest is less exciting. Luma versus saturation. You pick a brightness level and you make it light, more or less saturated. Second pick, say maybe these darker area and make it more saturated or less saturated. Since working with the lightness values. Okay? And then we have saturation versus saturation, where you pick certain saturation levels and you make them more or less saturated. So say if I sample here on this yellow colors is going to pick all the same saturation levels. And we can make them more or less saturated. So in this case, it's making not just these yellows more saturated, but also these blues as well. Maybe I can take it down a bit. There we go. So this is how you can use the saturation curves here, the hue saturation curves. We can sample different elements in the Eclipse and make them look different. 10. Lumetri Color Wheels: So this was the hue saturation curves. So I'm going to collapse it. And then we're going to have a look at the color wheel, so much in here. Now what we can do here is we have this feature called color much with comparison view. We can take an adjustment from one clip and apply it to the other clip. Now should example, with Ceballos clip, which I will drop on the timeline, say here. And I'll have another one. Something, say similar in a way, maybe this one the rain, and I'll drop it there. So these two clips here. So first on this clip we'll make some changes using basic correction, especially when it comes to color. So I'm going to make this clip say much warmer, are much cooler in here. So make it the very core, very blue. And also so I'm somewhat adjustments here. So maybe exposure down a bit. Much more contrast. I'll mix some extreme changes so you can better see it on the individual. And highlights very bright shadows, very dark. Kind of making a look scarier like in Horace. Okay. And okay, so something like that for example. Okay. Now going down to Color Wheels and Match will click Comparison View. And you have like a split-screen in your program. Monitor. Here. On the left is your reference. On the right is the current. On the left is where the adjustments will be taken from. Current is where they're going to be applied to omega1 machines I want to make, forgot to creative. And I'm going to apply a look as well to make it say maybe matrix screen. And now back to Color Wheels and Match. So on the left we wanted the clip, which is our current here. So you can do it really quickly and easily because you need to find this clip in your timeline, and this is your timeline. Now here's a quick and easy way to check the position of your play head. Minus two minutes, 10 seconds, 20 frames, and type it here to 10, 12. There we go. That's the clip. Now on the current is where your play head is, which I'm going to move here. And now in the color wheels and much inside Lumetri Color panel, we'll click Apply much. We're going to apply the much to this clip. Now because we're using a color image feature on this clip where we just apply the changes in basic correction. You won't find anything here. So the changes we made in basic collection or we're not be here. No. There'll be found in color wheels and match. The midtones, the highlights, the shadows, and how much of the change has been applied in here, okay? If you go to creative, nothing here either. So just so you know, you won't find it in basic correction creative, you only find it in the color wheels and match. That's how you know that say someone may have used color wheels and much feature. Okay, and here, this can be useful if you have many clips from the same video which appear in your sequence. And you want to make them all look the same way. Okay? And that's basically how it works. And once you're done, if you want to exit the column much, you just click Compose on View button again to exit. It's like a toggle on and off switch. And you back to a normal view in here. And that's our color wheels and match. 11. Lumetri Secondary: Next on our list, so to say is the HSL secondary. We can pick any clip want to work with it. And here we can apply some secondary color corrections. So you sample the car law. And it can make some color change, color correction here. Okay? So for example, if I drag this clip but the original one onto the timeline here, I'll use the eyedropper to sample the color of the jacket, which samples certain hue, sudden Carla, certain saturation levels and certain illuminance levels in here. And then we could make some color correction here. So we can make it a bit cooler. For example. Or a bit more magenta, reddish like is becoming more orange, said one. I can see mine isn't changing the entire coat to see what's actually been selected here. You can take color gray, design, a change in a small part. So what is the item with the plus sign to add more sampling points here. And here swell. Or we could adjust the hue. It's not doing much. Maybe the saturation here and the lightness levels, That's butt. Here we go. If I go back here, There's just a couple of more elements left. So I'm going to use the agile with the plus sign and sample there. And maybe one more here. And that's before. And after performing secondary hue saturation lightness correction in here. You can also adjust the temperature and the tint. Contrast sharpen and saturation here. So you can make it even a warmer and add a tint to change the Carla. Okay. That's more contrast or less contrast to the color, to the color in here. Sharpen more or remove the sharpness to make it kind of blurry in a way. And saturation. More saturation or less saturation. Okay. So there's the secondary color correction here. I just have a secondary. We can sample the color, a key color, and then apply some color correction to it. Color changes to it. Let's save it. Let's keep it open because we have one more section, Lumetri color here. The vignette, which is coming next. 12. Adding a Vignette: Welcome back for the last section of our Lumetri Color, the vignette section. You may have come across vineyards before in Photoshop, for example, in camera, specifically, vignettes are very popular on, for example, horror films where you have dark corners, individual clip. So for example here, if want to make it look scarier, I'm just going to disable edges of a secondary here. It goes back to the default. We're going to add a lead at a lot of vignette, darken the corners. And we can move them each point as well, closer to the sun, farther away from the sun there. So I'll move it a bit closer. And you can just around this, make it less around it, more rounded, going to keep it as it is actually. And then 50 would be the softer transition between the vignette and the rest of the clip here. So it can make it very sharp on the edges. All nice and soft in here, which we're going to give it a default here. So this will be our before and after. High. If you're in a situation like here where I applied some vignette and I've darken the corners, but I want to do it even more. What is something you can do about it, which I'm going to show you in just a moment, okay? For now, I'm just going to do one more with the vignette. So say maybe this value one, this one here. Again. We could lighten the corners, but I want to darken them and move the meet point. Close, actually much closer in this case here. And then adjust the roundness, maybe something like that. So this will be our before and after here. Also wanted to mention that when you use color wheels and match, this will not copy across the vignette is just for colorway is just for color. We us, you know, the color match we did on their own one of the previous videos. This will just match the color, not the vignette, just so you know. Okay. So that's basically how you can add a vignette to your clips. And in the next video I'm going to show you how we can deal with example like here, what I want to have even more vignette. I'll show you that on the next video. So let's keep it open. And next video I'll show you a tip. 13. Adding Multiple Vignettes: Speaking of the vignette which we just added here, you kind of know what to do. Okay, because I did mentioned earlier. Now what I want to do here is I want to have a more pronounced vignette on this clip. I want to call us to be even darker and maybe a bit closer to the center. But we're giving it out all the way to minimum already. Minus three stops. Can't go any further than that. So what you can do, something I mentioned earlier at the start of this course, you can stack effects. So I've reached the maximum on the vignette here. Here's what it can do. Keep the clip selected. Go to Effect Controls panel. And you'll see the Lumetri color here. Which is by the way, another way you can adjust it. So if I go down to vignette, for example, here, I've got all the same settings for the vignette. This even sliders underneath as well. Okay? But the main thing I want to show you here is if I collapse Lumetri color, I'm going to add another one. So from the Effects panel or I need to know it because actually I want to drug actually effects lumetri color. I will drag it and drop it onto the clip. And now going back to Effect Controls, I've got a second Lumetri Color. And under second one, I'll add even more vignette here. We can add another one. So going back to Effects panel, another Lumetri color, the third one, and even darker. There we go. So now for go to Effect Controls panel, I've got three Lumetri color effects on this clip. These three here, they all have the minimum amount for the vignette minus three stops. So the moment this clip has minus 9 stops vignette on it here. And that's how you can apply even stronger effect. If you reached the limits of the effect on the clip, you can apply Lumetri color effect multiple times on the same clip. That's just a tip for you with multiple vignettes on the clip. 14. Waveform Lumetri Scopes: Okay, So we have been doing some colocation to color gradient here, but so far we've been doing it just by, I would have been just making the clips look better by adjusting the clips, making them lighter, darker, more contrast, the less contrasty and so on. But if want to get more technical and I want to do a proper correction in a way so we don't have to worry about sins and our monotone because, you know, monitor saddled, calibrated. We're going to look at some scopes in stat in here. We'll still continue using Lumetri Color panel and was going to add a clip again. So let's say I'm going to the same clip, so had the valley clip and then balloons. So if I go to the end here, I will drop the valley clip the original on a timeline, say. And also CFA zoom out a little bit. So does the valley clip and maybe also the balloons clip here. And say this clip here. So I've got these three clips in here and just put it so you can see all of them. The clips in here, studying the valley clip. Let me just collapse this. Now this time we're going to get more technical by using scopes. So under Window menu, you'll find Lumetri Scopes panel, okay, which now appears in the top left corner of your screen. So should be. Here we go. Now that's what you should see by default. Now because we're relying on scopes. This time. In this case here, we could make our Lumetri Scopes panel, a big program panel could be smaller, that's okay. And we can make a timeline smaller as well, okay? By default, if you look towards the bottom right corner, the Lumetri Scopes panel, by default, premiere wall clump or the signal, limit the signal to a debit, which is fine in this case because these clips are 8-bit NOA and befores and movies. But you could also clumps in Nautilus 10-bit. We can go with float, which will give you up to 32-bit information here, okay? You can also disable clumping signal, which may show us some more information about love and below this histogram here, but I'm going to leave it at a desk, okay? If you're given a spanner icon, now you're going to see you with that. What we're looking at here right now is the waveform, the RGB wave from here. Okay? Now, what if this wave form, we're actually going to focus on Lama away from. So if you click on the spanner icon and go to waveform type and switch for RGB to luma. This will give us just the lightness information about this clip in here. Right? Now, as you look on this, on the scope, on the left-hand side, we've got 0, the bottom 100 and top was 0 is pure black, and 100 is pure white. Ideally, in most situations, you want the clip to fall entirely within this region between 0. Well, we get an on this clip here is some whites are being clipped. They'd been crushed because you get a straight line here on the top. All of, I think is just touching a 100 in may not be going across a 100 K. So this one looks not too bad. For look on the balloons. There's hasn't got an a whites and hasn't got any blocks either. Gay was really clever about the scopes. All of the scopes, or most of them at least, is when you have a video clip, black SUV's hair. As you play the clip, this this will update. If the clip is changing. This doesn't change much, but you can see it changing a little bit, okay. Also in the scope from left to right. This is your clip from left to right. So the lightest pixels here is this sky. These darkest pixels will be across the entire clip. So maybe this will be but example here, or maybe that's one. All right. So this guy is across the entire frame, so it's all the way from left to right. Okay, let me try this clip. This one here. Okay? So we've got some lighter pixels. These here are the spaces between the trees, the sky. This compared to this guy is darker. So there's this part in here, okay? And then you've got these bits of sky in here again. Okay? So now we're going to rely on lumetri scope as we adjust the clip. So if I go to Lumetri Color panel, Basic Correction, and this will actually looks okay. All the shadows could be lifted a little bit, so increase the shadows to lift them up a little bit. And the highlights could be a bit darker. And then the blacks could be a little bit darker. But just a little bit because I don't want them to go past a hasZero. So this is a little bit too much. Let's try a little bit less. Maybe about two, maybe. Maybe something like that. Where if the balloons here, I guess the exposure could go up. We go. But wanted to stay just under a 100. Okay, now the blacks tend to be darker. So we'll drop this. Here. We go up to about that. Okay, I will get a much better looking clip in here. Hey, wave hour. What luma away from. Okay, now we're going to look at some other scopes. So in the next video we're going to look at some color scopes. 15. RGB Parade: Continuing from the previous video here. So we're making, we're making some adjustments to make the clips look better in terms of being a lighter or darker, or more contrasty or less contrasty. Now let's have a look at a color, especially on this clip here. We know it looks a bit odd. It's seems to be too blue or maybe magenta. So foreign to find out what colors and write and how to adjust it. Back in Lumetri Scopes, we're going to use an RGB Parade. So from the spanner icon or just parade RGB, this will give you the color information for all three channels, red, green, and blue. In here. Looking at this RGB Parade here, you can see the blues are much higher than the rest. Reds and greens are the same, but the blues are way too high. Again, in most cases, because there'll be some situations where this would be an exception, but in most cases, you want them all to be the same, red, green, and blue. But obviously if you have someone wherein say, right, jumpin and they cover most of the screen, there'll be more rats than the rest of the course. So in here, I'm going to use RGB curves. I'll target the blue channel. I can see the blues in general, way too high. So I'm going to drag the winds down and the blacks as well. So whites and the blacks are soil. So in this case, when doesn't rely on our eyes anymore, we're just using scope for that. Just trying to make these even. And the whites as well as the pit too high. So be somewhere here. What about the mid-tones? Let's see, just as treasured them in a very similar way. So we'll get something like that. That's our before and after. And we get the same amount of pics source information in the red, green, and blue channels all together. Okay. This is the RGB Parade for correcting color. Okay? I think this was the main clip for color correction here and the rest look okay, but you can always have a look under balloons just to check. So the balance here, we have a little bit less blue. The clip is a bit warmer. Can tell when you look at the claim that clip is a bit more yellowish. But I think this mostly it deals with the color of the light in here. It looks like a late afternoon where the Carla of this light is a bit warmer. But if you wanted to adjust it, again, looking at the RGB Parade, the lightest pixels. This will be our sky. Could do with more blue. And at the bottom of this looks okay. So, so if I add a point in the middle and just add a little ball, so on the blue channel here or at a point in the middle, on the midtones. And then add a bit more blue in highlights just to lift it up a bit too high to somewhere here. I guess the mid-tones could go up a little bit as well. Maybe somewhere like that. Okay. So now we get different lookin I wouldn't say better looking but different looking clip. But it's a more balanced clip right now, with red, green, and blue being equally balanced. Okay, and that's the RGB Parade around. Just remember you can use any tool in Lumetri color. The main point here is to use the RGB Parade as a reference when making color correction. 16. Vectorscope: This one must cope. I wanted to show a few now because I'm Ryan. Other space here. I'm going to close the RGB Parade here. And one, the scope I want to show you here is the vector scope. Yuv. What vector scope does is it shows information about eye color. So looking at these clip here, selected, this a little bit more yellow or red than say, blue, green, or cyan. If you look on the out towards the outside edges of this vector scope and got red, green and blue, and cyan, magenta and yellow. Okay, All Our primary or secondary RGB and CMYK colors. And this vector scope seems to be moving more towards yellow, red. He has, this clip is a little bit warmer, okay, on this one here, it's pretty much roughly in the middle. What vectors Cobb will also show you here is the saturation levels of the clip. The farther away from the sun into this moves, the more saturated the clip is going to be. So this one isn't very saturated. This one is more saturated. Typically, you want a situational levels to be about a quarter to a third of this line. So definitely within this region here, within this hexagon isn't, I'm not sure what you want it to be a win here. So for example, just to show you, if I go to Basic Correction or the clip selected and increase saturation, these will go bigger, longer. If we're just saturation, this will get shorter. And when you get to complete desaturation where the clip becomes black and white is just like block in here like a dot. Okay? So we have this clip here. If I researched situation, threaten level seemed to be okay, could maybe increase saturation just a tad. On this clip here. This one is okay. We could do maybe a little bit more saturation, not to March. And on this clip here, this isn't saturated, but there's not much to do with situation here. We could increase that, but doesn't do much, even forgot to maximum. I guess this would be okay. But this guy gets to yellowish in here, so I'm going to keep it down a bit. We just attached in here. Okay? So this is our vector scope. There's one more thing I want to mention about the Vatican Vector Scope here. This line, this eye line here is what's called a flesh tone line. So whenever you have any people in your clips, this cope is always going to be on this line, and this applies to any person of any skin color. This will always be here. Okay. So these are these three scopes I wanted to share with you. In here, we had our luma waveform, RGB Parade, and our y u, v vector scope as well. We have different tools for doing a color correction in on your clips. 17. Outro: Okay, welcome back. Once again. I hope you enjoyed following with me and doing this course here on color correction and collaborating in Adobe Premiere Pro. I hope you enjoyed it. Thank you for joining me. Thank you for watching YFP. Any questions, let me know. And I hope you've learned something new. I hope I was helpful and teach new to learn new tricks and your tips. And I wish you a great journey exploring color correction calibrating using Adobe Premiere Pro. And thank you for joining me and hopefully see on some other causes. Thank you for joining me. Bye bye for now. Bye.