Color Correction and Color Grading Basics in Adobe Premiere Pro | Hallease | Skillshare
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Color Correction and Color Grading Basics in Adobe Premiere Pro

teacher avatar Hallease, Digital Storyteller, Video Producer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      2:03

    • 2.

      Class Project

      2:11

    • 3.

      The Color Workspace & Workflow

      7:52

    • 4.

      Color Correction & Auto Color

      14:43

    • 5.

      Color Grading & Built-In Presets

      13:47

    • 6.

      Skintones

      10:38

    • 7.

      Creating LUTS & Presets

      7:56

    • 8.

      Masking

      9:38

    • 9.

      Exporting for MAC

      8:06

    • 10.

      Conclusion

      2:08

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About This Class

Color correction and color grading can be daunting, especially if you're new to filmmaking. There are so many different vectors and scopes that it can seem difficult to know where to begin. If you're at a point in your video career where you're ready to add more stylized looks to your footage and film projects then this is the class for you!

In this class, Hallease will walk you through the basics of color correction and color grading in Adobe Premiere Pro. First, she'll provide you with two types of video projects to work from. The first will be scenes from a narrative project that she produced. That's right, you'll be acting as a colorist for two scenes of a narrative project! She'll also provide you with two vlog scenes from a travel video she created on her channel. This will require you to flex a different colorist muscle. 

WHO IS THIS CLASS FOR? 

Using the footage she’s provided to download and follow along, she’ll walk you through the Premiere Pro interface for working with color. She’ll also give you an overview of color science and technology. This class is recommended for anyone who has a firm understanding of the Adobe Premiere Pro interface. If you do not, check out Hallease’s class on the basics of Premiere Pro! Whether you’re a budding filmmaker, seasoned content creator or someone who wants to use color to help enhance the stories you tell this class is for you!

 

In this class you’ll learn:

  • The Premiere Pro layout(s) for color correction and color grading
  • Optimal Adobe Premiere Pro settings for interpreting color in footage
  • How to interpret color using Lumetri Scopes and other Scopes in the color panel
  • The difference between flat, HLG (high logarithmic gamma footage), Log footage
  • The difference between color correction and color grading
  • Utilizing Hue and Saturation Curves to adjust skin tones
  • Using Adjustment Layers
  • The basics of color correction
  • My favorite Adobe Premiere Pro Presets
  • How to create your own presets and LUTS in Premiere Pro
  • Masking clips to create different color effects

 

WHAT YOU WILL NEED

For this class, you’ll need the latest version of Adobe Premiere Pro and an internet connection so you can download my sample footage and follow along with me as I work through the lessons. You'll also need to stay curious. Color correction and grading isn't an exact science - at least not to me. I want you to experiment and have fun with it. If you want to break the rules, then do that! 

Meet Your Teacher

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Hallease

Digital Storyteller, Video Producer

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I'm a digital storyteller, video producer, and YouTuber based in Texas. On my YouTube channel, I document my chaotic good life through documentary-style vlogs, tutorials, and reviews. I'm also the creative director of StumbleWell, my production company. We work with agencies/entities to tell their story through film and video while also creating original content.

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Level: Beginner

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Transcripts

1. Introduction: Hello everyone. I'm Hallease, a digital storyteller and filmmaker and thank you so much for checking out my class color correction and color grading in Adobe Premiere Pro. Cinematography is one of my favorite aspects of production but a lot of times the beauty of the shot actually comes from the edit, or rather the color correction and color grading you do to it. Although I'd love to, we can't all afford to work with a colorist. I don't know about you all. I don't know what kind of life you all live, but I can't afford a colorist, not yet. We're going to do it ourselves together. Through this class we'll work in Premiere Pro to color correct and color grade some of my favorite creative projects and I'll teach you some of that the tried and true tricks I've learned over the years for balancing skin tones and fixing mistakes I made while filming. We've all been there. We all make mistakes. I would recommend this class to anyone who already has an understanding of the Premiere Pro interface and how to edit videos and is looking to up their creative skills. Maybe you're an aspiring filmmaker or a new filmmaker who's moving into post-production on your first project. If so, congratulations. I'd also recommend this class to content creators who are ready to express more in their videos and also want to utilize color to establish their personal brand and style. Then finally, I would also recommend this to in-house editors for different companies, organizations as well. If you're new to Premiere Pro and don't have a firm understanding of the interface, I would recommend you take my intro to Premiere Pro class first before coming back here and taking this class. For this class though, you'll need the latest version of Adobe Premiere Pro, as well as an Internet connection to download my footage and follow along with me as I move through the lessons. You don't have to download my footage if you don't want to, but I definitely think it'll help enhance the learning experience if you do so if you've got the space on your computer, give it a download. Again, I'm Hallease. I'm so excited for you to take this class with me. Thank you so much for entrusting me with your time. I really appreciate it and let's get into this. 2. Class Project: Okie dokie, welcome back. I'm Hallease. You're you. Together we are vibrant, colorful beings. Let's talk about this class project. For your class project, I'm going to give you a scene or two. You'll just have to download the footage and see. From my comedy web series, this could have been an email. You're going to color correct and color grade it. You're going to be my colorist on my show. Now, the show already exists on my YouTube channel so at the end of the class, if you want to go see my version of it and compare it to yours, feel free. I'll link to the show in the resources sheet, but it's also very searchable, so you can just search it if you want. Have fun with it though. We colored the show very simply, but I want you to explore your colorful side with this, really make it your own. I'm also going to give you a vlog from my YouTube channel. Again, that isn't color corrected or color graded. I'll reference both throughout the class using each to reinforce the different lessons. Again, I highly recommend you download them so you can follow along as I go. Empty out some space on your computer, it's worth it. Speaking of that, let's briefly go over the organization of the class. First, we'll go over the interface and all the tools in Premiere Pro we'll be using. I'll talk about the Color workspace and all the ways that Premiere Pro interprets color. There will be a ton of nuggets in the interface lesson, so it might be a smidge longer than the rest of the lessons, but I encourage you, please stick through it because FAQs for days, I'm answering them in that section. Then we'll move into color correction basics. I'll explain how to read your Lumetri Scopes then we'll move into color grading, the artsy Farsi, the fun stuff. I'll also show you how I fix some mistakes in post as much as I can. My favorite features in Premiere Pro for bringing out different skin tones. Finally, I'll show you my favorite presets in Premiere Pro and how to create your own presets and lets, which can be really useful for establishing your own look and feel as a filmmaker, content creator, or again, if you work in-house for an organization. If you haven't downloaded the footage yet, go ahead and do that and I'll see you in the next lesson. 3. The Color Workspace & Workflow: Hello everyone and welcome to the first lesson. We're not going to waste any time and jump right into things. Make sure you have the latest version of Adobe Premiere Pro downloaded and go ahead and open the project file that I sent you. When you open your project, if anything is offline, just navigate to it and re-link everything. I'll show you how to do that really quick. All you're going to do is highlight all of the footage, right-click and then go to Link Media. When you do that, a new window will appear. Make sure you have filename and file extension checked and also make sure that you have re-link others automatically. As you can see, it didn't even let me search for everything, it just re-linked everything automatically for me. But just to make sure that you can do this for yourself as well, when I click on everything and go to Link Media, I'll hit Locate and all you need to do now is navigate to wherever you have downloaded the full folder that I provided for you, and follow the path to get to where that first file is. Again right now, I have to display only exact matches, which will help the relinking process move a lot faster. If I took this away, you would see everything that I've provided for you in the assets folder. But when you hit Display exact matches, it only shows the file that corresponds exactly and then hit Okay. From there, because I hit Relink others automatically, it just did everything. Again, if for some reason your stuff is offline, that's how you link everything back up. To ensure that we're all working from the same layout of Premiere Pro, let's hit up to the right hand corner and go to the Color workspace. I'm going to double-click on it. As you can see, that changes the entire layout of Premiere Pro to focus on color correction and color grading. If for some reason yours does not look like mine, just double-tap on color and that'll make sure to default it back to your original color layout. I want to make sure that we're all looking at the same thing as we move through these lessons. Another way you can change the workspace as well is by coming up here to the top right hand corner and hitting Workspace. You can see all the other workspaces that are provided. Generally though, I usually just focus on changing my color workspaces directly from the top bar. The first thing you'll notice is the Lumetri panel, which is on the right side of the screen over here. This is where you'll start to manipulate the color of your footage by messing with different parameters and values. Throughout this class, we'll be using the Lumetri panel a lot. If you're a photo manipulator, photoshop or lightroom with, some of these values should look familiar to you, especially in the basic color correction section, which is open for me right now. Moving on to the left side of the screen, you'll see the Lumetri Scopes panel. Yours might have different scopes than mine, which is perfectly fine. The way to adjust them to match is by right-clicking on the Lumetri Scope panel. I usually like to have the vector scopes up, the parade, RGB and the waveform. All of that will make sense as we continue to move through the lessons, but go ahead and have those checked now so that way you can see what we're working with and that we're all looking at the same scopes. Lumetri Scopes are important because they depict the literal data value of color and how it is represented in the frame. I'll show you what I mean. Go to one of the web series scenes and let it play for a moment and notice how the waveforms begin to adjust in real-time during playback. I'll pick a scene. Let's go here. Thanks. When you did something [inaudible]. Now go to one of the vlogs scenes and do the same thing, play it back for a little while and see how the graphs and values change in your Lumetri Scopes panel. This is the data you'll use to color correct and color grade your footage through the lessons. To recap, the Lumetri panel is where you change the parameters and the Lumetri Scopes are there to show you how those changes are interpreted. Now that we know the layout, I want to show you a few ways that premiere interprets color. This section will be helpful if you're someone who's starting to mess around with High Logarithmic Gamma footage or high dynamic range footage, save from your iPhone, smartphone or a higher-quality camera. The first way premiere interprets color is through its color management settings, which are located in the project settings. I'm going to go up to file project settings and hit General. Here at the very bottom, you'll see color management represented and HDR Graphics White Nit is what I want you to focus on. Right now I have mindset on 300 so I can get the full range of footage that I captured. Without getting too inside baseball on colored technology, HLG stands for High Logarithmic Gamma, essentially providing more dynamic range for how much you can alter the footage. To show you what I mean, I'm going to now change mine to 100. You can see what happens to my HLG footage. You see now it's exponentially brighter. Now, don't be concerned, all the data is still there that I shot. All the dynamic range is still there as well. I can go in and bring the exposure back down if I want to. Say I click here and I just want to bring the exposure back down. I can, the information is still there. It's just how premiere decides to interpret the color based on the changes that I've made. If you've shot using HDR on your phone, for example and brought it into Premiere and it looked incredibly blown out but when you're shooting it on your phone, it looked fine, this is why you just need to change your color management settings. Let me go ahead and change this back to what I prefer. I'm going to put my exposure back to zero. Again, it looks blown out. I'm going to come to project settings, general and put this back to 300, which is generally what I like to have my settings on because I usually shoot HLG footage. The second way that Premiere Pro interprets color is through the sequence settings. You can get to those by going to sequence settings. That'll bring up a new window for you. About midway through the box, you'll see the working color space is Rec 709, which is the standard format for anything you would create that goes straight to the Internet. Remember, Adobe Premiere Pro is a professional editing software. They have a few different working color spaces that you can choose, which would matter if you're trying to export or work in certain footage types for different medias and different means. If you want to geek out on the different color spaces and their importance, I'll put some continued read links in the resources sheet. But for now, just know that Rec 709 is pretty much the industry standard for anything you're doing going to social media platforms or just living on the Internet in some capacity. My one final thing I want to throw in, if you are using a Mac, makes sure to head up to the top of your screen and go to your display settings and make sure that you have turned off night shift and true tone. Because that will tend to alter what your screen looks like and add more orange hues or blue hues depending on the time of day. It won't be an accurate depiction to your eye of what you're doing, even though again, the data doesn't lie. You have your Lumetri Color Scopes to guide you. It's better if you can look at it on a screen that is not altered in any way. Now that we've explored the color workspace and discussed how Premiere Pro interprets color through various settings, let's start color correcting some footage. I'll see you in the next lesson. 4. Color Correction & Auto Color: Hello and welcome back, I'm sure the last lesson was a little dull, but setting up Premiere for color is important. Now we're going to color correct one of the scenes from my web series. Before we begin, a few things to note though, when comparing my web series footage to my vlog footage, you probably notice that the web series footage is a lot flatter and desaturate it. That's because it's filmed in LOG, specifically S-Log because I use Sony cameras to film, but every major camera brand has their version of LOG, C-Log for Canon, etc, LOG footage is flatter and desaturated. That way you can get even more dynamic range and control of the color. When you shoot in this format, it is specifically meant to be color corrected and graded, whereas the vlog footage, it's HOG so you can more or less leave it if you want to. Go ahead and color it, but you can leave it. What is color correction? Color correction is the act of correcting the color of footage, so it looks more or less neutral and natural to the naked eye. Generally, there is nothing stylistic about color correcting, it's purely making it look normal. Let's do that, with web series scene 1 open, I want you to now look back at our Lumetri Scopes here on the left, and I'll explain some important values to you. We all can't afford expensive color-calibrated monitors, so that's why we use the scopes, your eyes can lie to you about color, but remember, data doesn't lie. The two things I want you to remember is zero and 100 over here on the left side of every scope. Right here, zero and 100 and then in our RGB Parade, zero and 100. Keep those in mind. If your graph shows anything hitting at 100, that's pure white and blown out. Essentially there's no data there, because the exposure is too high. Conversely, if anything is hitting zero, that means it's pure black, which means it's so dark that there's no data in that pixel anymore. When you're color correcting, that's where you live in the in-between here I'll show you what I mean. Let's take this shot that I have on Evelyn right now and let's have it hit 100 and have it hits zero. With the shot highlighted in my sequence, I'm now going to go to my Lumetri Color panel on the right side, and I'm going to bump the exposure up as high as I can go, and as you can see, the higher I go, everything is starting to hit 100. But even so, even though I turn the exposure all the way up, we're still actually getting a little bit of color information. You can see we can still get this character's hair a little bit as well, and we're still getting a little bit of Evelyn's pigment as well. That shows you the dynamic range of this S-Log footage, but overall, we can tell this is not good. [LAUGHTER] Don't submit this please. Unless you have a very strong stylistic decision you've made, then go ahead and do that. Now, let's conversely, do it on the other end, all the way down, and you can see it actually never hits zero. Again, testament to LOG footage, as you can see it's not completely gone, we haven't lost all the information. There's still some pixels enough to see that that shirt is white, so on and so forth. That's the value of S-Log footage, you have so much range that you can play with in the frame, and that's why usually most professional films, TV shows, etc, they're shot in some LOG so that way they can have full dynamic range to manipulate the color a lot. Everyone color corrects and does their order a little differently. It's honestly your preference and taste, and as you work more in the Lumetri Color panel, you will start to decide which things you want to do first. But generally I go in this order, contrast exposure, whites, blacks, and then from there I like to tweak my highlights and my shadows. I like to start with contrast because this is LOG footage, so there's usually very little contrast, and then the next thing I usually do is I bump up the saturation and this will all make sense in a second. Again, we're about to color correct this. Now, rather than color correcting each clip individually, I usually work from an adjustment layer, so that way I'm not copying and pasting over and over to individual clips and essentially reinventing the wheel every single time. It also helps me to not lose my place in the process as well or accidentally put multiple Lumetri panel settings on the same clip, which is possible in this program. To create an adjustment layer, you just go down to the bottom, all the way to the bottom here to the little New Item icon, click on it and then hit "Adjustment Layer". Once the Adjustment Layer window opens, whatever sequence is active, it usually will take the width and height of that sequence and also the time-based and pixel aspect ratio, so generally you don't need to change any of this just hit "Okay". You'll see now we have a new adjustment layer in our project folder. I'm going to rename this adjustment layer, just so I don't get confused I'm going to rename this to be [NOISE] color correction. To rename it all I did was double-click on it to activate that and then typed in what I want, hit "Enter" again. Now again, I like working from adjustment layers because that way everything I do will now affect everything that is below the adjustment layer. All an adjustment layer is, is essentially a blank empty clip that you can manipulate and do things to you and everything that is below it will be affected. With my adjustment layer highlighted, important, my adjustment layer is highlighted, now I'm going to start color correcting this entire scene, because it's more or less shot in this office. We might have to make some minor adjustments to these first shot since they are in more of an open space, but starting from this third shot, it's all in the same space, it should all more or less be the same color correction and color grading. I'm going to pick a section yeah, where one of the main characters is already sitting and we're going from there. I like to start with saturation and contrast because in general, with S-Log footage, it's so flat as you can see, all the data is right here in the middle that I really want to just bring that out more. I'm going ahead and do 150, which as you can see then now we're starting to get a little bit more color in Evelyn's skin tone, that's the actress who's sitting there. Then the next thing I'm going is I'm going to really bump up my contrast. You can see what contrast is doing, it's basically expanding the color of the frame. I'm going to keep it at 30. Now I'm going to start messing around with the rest of these settings. Something I will mention in this class is that you'll notice I haven't really done anything with the white balance. That's because for me, I already know that all of this is more or less white balanced correctly, because we did some things in camera. But for example say, you have some footage and you want to make sure it's white balanced correctly, something I always recommend that people do is have a color picker with them and hold it up to the frame. I would hold this up to the frame, which we have done I just didn't provide those scenes for you, but we did that for this footage and what you would do then is hit this color picker and find what where the white is and click on it. Now, I just did that because I know this office is more less white in the background, but I know it's not exactly right and so you can see it added a little bit more of an orange hint and an orange tint to the footage and it went a little green. Again, that's because that wall is not actually the correct level of white and gray that camera's want. You can buy one of these if you want, but honestly, getting a white piece of paper and a black piece of paper, holding it up to the camera just as good. Don't overthink it, in the resources sheet, I will also give you an option that's color card, so it's got the white, gray and black for you and incredibly inexpensive and it's like $12, not crazy. Don't break the bank on that. Anyway I'm going to go ahead and put these back to zero because again, I already know that the white balance more or less is correct on this. We started with saturation and contrast. Now, this is when I usually start to get into exposure. Just bringing everything up in general and so you'll notice how exposure is shifting everything that was more or less at 50 and above, just shifting it up more. We're going to stay there. Then from there, I usually like to start messing with my whites and my blacks and I really want there to be some more black in this because and see what that's too much contrast, but I don't hate that. I think we're looking pretty good I want to bring the highlights down a little bit. That way I can bring the contrast up. Again I'm not doing anything too crazy and as you can see, there we go and then my shadows, that was what I was struggling with. Like we're losing so much information. As you can see, I tend to bounce around a lot. But that's just because I know the order that I start in and then I start moving around. As you inevitably color correct and color grade more things, you'll start to learn what order feels good to you. I know some people that start exposure first, then whites, then blacks, then contrast. Then I know others you can bounce around like me. It really just depends on your style so get in there, have fun with it, try it out and also mess around with these in general, just to see what they do. I feel pretty good about what I'm seeing here I think it looks close enough to being natural. We're starting to get into personal preference. I would say my natural, I like to have it a bit more saturated than this, but for the sake of the lesson, this feels pretty good. Again, yours might not look exactly like mine and that's fine and that's because, like everyone interprets color differently, our eyes are all different. Don't be afraid, have fun with it. We have essentially color corrected this scene. Now even if I scrub over to my other actress, that looks pretty good on here, but her blazer was pretty red and so we're getting that, we're getting some good color from her. This just looks pretty natural and neutral. I'm happy with it. Now that I showed you how to color correct the long way, if you will, of actually going through and changing things yourself, I want to show you this nifty tool within Premiere Pro called Auto Color. To mess with it, let's head over actually to one of the vlogs scenes. In the web series scene you'll notice we used an adjustment layer because everything in that moment was shot in the same space, lit the same way, balance the same way, etc. Working smarter, not harder. In the vlog, I'm all over the place. Here we're not going to work from an adjustment layer, we're actually just going to work directly on the clip. With the clip highlighted, let's go ahead and hit auto. You'll see that auto color is actually this auto button at the top of the basic correction in the Lumetri Color panel. What it's going to do is with the power of Adobe Sensei, which is Adobe's AI, it'll take a best guess at just auto coloring me. Here we go. Again, I shot this HLG, so it shouldn't need much work. But as you can see, it went ahead and did a best guess based on what it saw in the frame. You can actually mess with this intensity slider to bring it up and down further. When you do that, you can see how much it changes. That is zero adding nothing. It usually starts at 50 and then you can expand it further. I really like starting off with auto color because again, it's a great starting point. I would not recommend you just auto coloring and keep moving. But it does a pretty good job of just taking a best guess of the frame, giving you a starting point and going from there. Definitely try it out with the vlog scenes. But for the web series, it's probably not going to work too well. Because again, this was shot in slog and so it does a pretty good job of understanding and interpreting log footage, but it works a lot better when you shoot on just common standard profiles that don't have too much logarithmic dynamic range. I'm actually going to do a couple more minor changes based on what I see in the waveform. I already know for my HLG footage, which is how I shot this. I usually like to have it at 01:15 and you'll notice once I change something, auto, I can't change the intensity anymore because now it needs to reset and know the information in the frame. From here now, it's just me. I'm just going to make some minor adjustment like I like contrast, see, I'm starting to do things that I prefer. I really love my blacks to show up, and I really like my whites to be pretty bright. There we go. Now you see though, I let auto color go. I made some minor tweaks boom, I liked the shot. Here's where we started and here's where we are. It's great. Now that I've shown you the basics of color correcting, go ahead and start color correcting the second web series scene I provided for you and the vlogs scenes too, you can either work from adjustment layers or color correct directly on the clip is whatever you want. Once you're done, don't forget to save your work, Command S or Control S if you're on a PC and I'll see you in the next lesson where we'll be moving on to the color grading. I'll see you over there. 5. Color Grading & Built-In Presets: Hopefully, you got everything to a good spot from the last lesson and now you're ready to move on to color grading because that's what we're doing in this lesson. Color grading is when you start to add a stylistic look to your footage based on your artistic intent. For example in The Matrix, everything is green whenever Neo is in the matrix space. But when he's in the real world, the colors are more natural and bluer. There are countless other examples but next time you're watching a movie, a TV show, notice the overall color and style of the work. Another example is The White Lotus, Season 1. It's very orange, almost painfully so. That's a color grade stylistic decision. Knowing that, what color grade would you give the show? It's a workplace comedy but we do have these glitches happening at certain moments when Vanessa is overwhelmed by this epic boss. Let's give the whole piece a stylistic look and then push it even further with the glitches. The first thing I'm going to do is I'm actually going to create a new adjustment layer, and this will be my color grade adjustment. Again, we're going to come down here at the bottom, hit "Adjustment Layer". Again, all the settings are going to match whatever sequence is active and then we're going to hit "Okay". Then I'm going to change this one out to be my color grade. Then I'm also actually going to change the color to use. That way, when I bring it into my timeline, it just looks different; it's just very obvious what is what. I'm super organized. If you watch my intro to Premier Pro class, then you know, organization, I'm obsessed. You have to be if you want to be a good editor. Label, let's make it something crazy like magenta, super bright. Actually that's too close. Let's change it. Let's make it brown. There, very different. You'll see now how I've layered it in its own track on top of the color correction. It goes color correction first, then your color grade. With this selected, let's go into the curves. Now, in a later lesson, I'm also going to show you how you can use curves to enhance skin tones and balance skin tones. But again, this is our color grade, so we're going to mess around with curves when we do this. This top curve is the overall RGB. Again, remember we have our RGB Parade, red, green, blue here on the left side. If you click, you can start to overall make changes to the look and feel of the footage. Now, what I just did is an S curve. It's an incredibly simple curve that I think a lot of color correction, color grading starts off with on the baseline. Taking the highlights and boosting them up and then taking the shadows and bringing them down. You'll notice how this starts to add a really epic contrast to the overall piece. Now, with this, you can tell we're starting to really bring up our highlights a lot. But maybe we want it to be dark and moody. We can always drop it down more. Again, the world is your oyster because now we're in color grading, we're not in color correcting. Really anything goes, maybe we want to make this space a bit more sterile, like it's lifeless, like it's terrible to be in this office. I can then switch to my blue and mess with my blues specifically. Maybe I bring the blues up specifically higher in the highlight. Now that starts to give it this whole interesting tone and it gives it this blue undertone to the entire look. I'll turn it off so you can see what I mean. I'll turn it off here. Here's where we started. This was our color correction. Now here's where we're at. It's feeling more blue, more sterile, maybe if we up the green a little bit too. You'll notice how when I drop it down, I'm removing green from the image. Or I can push it up and add green to the image. You'll notice I'm doing, there we go, super minor tweaks. Again, let's see what it looks like off. Here's where we started. Here's where we're at now. Let's play a little bit and see what we feel. When we cut to her now, we're losing some stuff. She's not blown out. As you can see, we're not hitting 100 yet, so we haven't actually lost any data. But I would say she's a little blenched. This is when we would start to make specific changes. Maybe we would cut right here and what I did there was I just cut the clip and so now I can make separate changes to this one. Maybe we bring down the highlight for her. This is where you start to get specific for each cut and scene and you can start to really tweak the overall design. But overall, I think this is okay for what we're trying to do. I think it's pretty good because then we can start to mess with the reds. We can make it to where every time it cuts to her, it's just a little more red. It just enhances that red blazer she's wearing and just enhances rage that much more. Again, you can do whatever you want. With this, the color grade is a beast of your own making for sure. Let's calm down the red and have everything more or less where we want it. I want to enhance the glitches, these. Those glitches that happen, I actually want those to maybe be just different, just weird. All I did was cut right where the glitches start. There are these three shots right here, let me zoom in for y'all. I'm hitting "Plus" on my keyboard to zoom in. These three shots right here are the glitches. All I'm doing is I'm going to where they start and they end and I'm creating a cut. That would be Command K on a Mac, Control K on a PC to create a cut. I'm just matching. I have snapping turned on which is the S key on your keyboard to turn on and off snapping and I'm just creating cuts now where each of these clips are. For this first one, let's make it rage, [LAUGHTER], red rage, and I also want it to be a weird red. Then we playback, weird. Then for this one, since it's the color grade, I also want this one to have no saturation. All I did was come up to the top here, turn the saturation completely off. Then with this one, for the last one, I want it to be intense color. What I'm going to do is I'm going to expand this curve to be just insane. There we go. Then I'm going to reset it. There we go. I'm going to expand this curve to be insane. Just really doing epic contrast to the whole thing and then let's see what we got. Was that a glitch or was that a glitch? You know what I'm saying? Congratulations. You have now done a basic color correction and color grade on a scene from my web series. Again, keep tweaking, playing around, having fun with it. Now though, I want to show you some of the presets for color grading that are built into Premier. As you saw, I came into the RGB curves and started playing around with how those curves are represented across those three colors and then just overall with the exposure. But there's a lot of presets just built into Premier in the creative tab. Now I'm going to take everything that I did here and just remove it and reset my color grade to be nothing else. This is what we had for our color grade. I'm going to go into the effects controls of our color grade and just remove what I've done. We're back to our color-corrected state. There's nothing on our color grade anymore. Let's check out some of my favorite presets. Again, these are all located in the creative tab of the Lumetri Color panel. This is really cool because instead of having to try to create a stylistic decision from scratch which was what I just showed you that I did, you can actually use a lot of the different looks that are available here in the creative panel. Some of my favorites that I think are worth checking out is one, Gold Rush. This is essentially the teal and orange which if you watch any major motion picture from forever, most of them will have some variation of teal and orange happening. You can see the blues are brought out and the orange is brought out. You can also mess with the intensity of how epic any of these presets are. For example, with this, I would probably drop it down to maybe 40 percent. You can also up the vibrance a bit more. There's more things you can adjust and play with to your heart's content to really get a super stylistic look. All I did just now was bring the intensity of Gold Rush down to 40. I added a little bit of vibrance and then also uped the saturation just a little bit. Let's see what this looks like. Yeah, and as you can see, it really brought out the warmth of her skin tone as well. It just like really warmed her up, brightened her up, gave us a lot more depth of what's going on in the background as well. A really nice, easy, simple color grade. Here's with off, on. You can see that's that one. Another one that I tend to enjoy a lot for my vlogs actually when I'm creating content online is Clean Fuji B. On here, it's going to look a little weird. But if I come to our single clip here that we edited in one of the vlog clips, if I come here and add it, you can see why I like it. Fujifilm in the past has been known for adding a green grain to their footage. I really like using it because it really enhances all of the green and foliage. In fact, this class that you're watching me on, my color grade on it is probably a variation of Clean Fuji B because I've got some plants here in the background and I just love how it brings out the undertones of my skin tone as well. I really like it. It's subtle. You see how subtle this is, turning it off and on. But it's just a nice little finishing touch. Another one that I really enjoy using, we'll hop back into the show. But another one I really enjoy using, is this even a color grade if it's called Neutral Start? But I really enjoy using Neutral Start because it enhances everything and brings out the saturations of skin tones and colors, etc. But it just does it in a very neutral way. I really enjoy starting off with this, and again, dropping it down to maybe like 40 percent just to see what it does and I really like it. Now, there is a ton more presets built into here and you can really start to develop your own look and feel and style. Maybe you have your color correction, Then you like to use Clean Fuji B at 30 percent with some film fade and this and that. You can start to really build out a look and style for yourself. Take some time and explore all of these. The monochrome settings are interesting as well. Another one that I think is really cool, Blue Intensity. Boom, there we go. Just what I had done earlier, Blue Intensity plopped it on and just did it really quick. I didn't necessarily have to know exactly what to mess around with here in the curves to achieve the look I wanted to achieve. Definitely, don't sleep on the creative presets that are built into Premier Pro. There's so much in here that you can mess with and really start to create your own look and feel of your footage. We're going to keep this on Gold Rush because I just really love Gold Rush. It's one of my faves. With all of that, we've successfully color corrected and color graded a scene. We've got our two layers here and that's it. We're moving through these lessons. It's not as complicated as you think. That being said though, feel free to keep tweaking your grade to your heart's content and when you're ready in the next lesson, I'm going to show you how I adjust even more in the curves to bring out skin tones and all the vibrant hues we all have. I'll see you over there. 6. Skintones: We've done our color correction and our color grade, now I want to show you how I approach skin tones. This is technically extension of color grading and is slightly advanced, but I think this is so cool because it'll really help you pop against your background regardless of what skin tone you are. Generally when I'm starting to do things with skin tone tweaks, this is where I actually will put on the clip itself. That's just how I like to do it. Again, you can also make another adjustment layer and have that adjustment layer be called skin tones and only do your skin tone adjustments there. Whatever keeps you organized so you know where everything is happening, is the name of the game. Just remember that. Evelyn is right here and you'll notice again, I have this clip specifically highlighted. Now what I want to do is I want to go into our curves. Remember, in the last lesson with color grading, I started showing you a little bit about the RGB curves, but I only stayed up here at the top, the overall curve you can mess with. I did not come down here to the next section, which is the hue and saturation curves. Now, this can start to look a little epic and confusing, but here's the thing we're going to focus on. We're just going to focus on two. We're going to focus on hue vs saturation here at the top, and then we're going to focus on hue vs luma. Basically we're going to isolate aspects of Evelyn skin tone and enhance it. You'll see this color line just like with our scopes. This is another representation of color, but this one is going to represent what colors we pick with our eyedropper. Go ahead and take the eyedropper and find a good spot of Evelyn's face and click there. This is hue vs saturation. That's what we're working with. Hue is another word for just the colors. Then saturation, how much we enhance that color specifically. Think of this graph as just that. The higher up that you take it, the more it enhances those colors, the more you bring it down, the more it desaturates those colors. If I bring it up, and what I usually like to do with this is I usually like to add some extra dots and I'm just clicking, these are just almost like key frames, but I'm just clicking and just adding more, I'm actually going to bring it a little further out because I want to make sure we're getting all of Evelyn's melanin there. There we go. You'll see it's a subtle difference. It is really making vibrant Evelyn's hue specifically. Now if I take it away, boom, that's what we had before. That's where we're at now. We just gave her so much more life in the frame for this clip specifically. That's cool. Now, the more we raise it, the more it saturates Evelyn. We can go pretty high and really bring out her vibrancy in her skin tone if we want to. I think that's a bit jarring, so I'm going to bring it back down and then conversely, since this is hue vs saturation, if we bring it down, we lose everything that is in that color space, we lose it in the frame. You'll notice how not only did she become a bit desaturated, but even a bit of the background, we're losing color in the mug, we're losing color in her watch. We lose a lot. That is hue vs saturation. It can be a really great tool to hone in on someone's skin tone and just saturate it and make it look that much more rich and vibrant. Conversely, another thing I like to do is the hue vs luma. With hue vs luma, when we pick a color on here, what we're now doing is we're saying how much light do we want in that color. You'll see what I mean in a second. I love to use this on myself personally because my cinematography style, sometimes I feel like sometimes I'll have my lights a little too bright or too close to my face and so I'll have it just really hitting harshly at one section, my face, especially if I don't have high-quality lights potentially, it can really just be super bright on one side. Obviously you want to fix that in cinematography. But if you make that mistake or if that's how you like to film, then here's how you can calm that down. We can see that the light is hitting right at Evelyn's side here. We're getting a little bit of fall off. Her brightest part of her face is here, her darkest part of her face is over here because the light shining across her face. What I want to do is I want to just balance it out and almost give her a matte across her whole face. That's where hue vs luma comes in, the second one. I'm going to take my eyedropper and I'm going to click the brightest side of her face, which to me I think is really her cheek area. Yes, and so you see the difference. We're in this area and we're scooting over just a little bit. It's not exactly lined up. The colors are a little bit brighter, which makes sense, and I'm just going to bring it down, a little with this one, a little goes a long way. I'm actually going to enhance just this side. I'm not going to enhance the other side because I can tell it's leaking into my saturation that I've done. I'm only going to do one side. Again, you see if we go too far, too much, [LAUGHTER] we lose it, and it looks clownish, it looks weird. But if we just stay right here, turn it off, that's what it was off, on. You see we've just given her a nice matte across her whole face now. Now, this is something that's specific actually to my color correction and color grading style. I do this on myself a lot to just balance my overall skin tones. I'll do this on other subjects for my production company. If I'm doing documentary interviews and things like that, I'll really go in and just really try to bring out the warmth and the vibrance of people's skin tones because I just really like that. That's my style. But I really do think this is a great trick for anyone regardless of your skin tone and regardless of what project you're doing. Because in the same way that I'm using it to create a matte finish, you can also use it to create more of a stuart finish to somebody. Again, it's color grading, so it is all about your style, your preferences, your look and feel. But take this trick with you and keep on going. That's what we did for Evelyn and I like it. I feel like we get a really good sense of her overall vibrance. I feel like she looks how she looks when I see her in person, which I really like. Let's do the same thing for the HR director as well, Kelsey. Let's find a great shot of Kelsey, which we have, who plays our HR director. There we go. Let's do the same thing for her. Hue vs saturation, I'm going to click and I'm going to try to find a spot that I can tell it's accurately picking up where Kelsey is. It's in the same wheelhouse as Evelyn. Let's see what it does. I'm going to bring it up. Are we getting her? I think it is a little off. Let's bring it over. Let's see here. Oh, yes. Very subtle, but you'll notice we gave Kelsey some more life there. She was looking a little flushed and now, boom, she's warm, more vibrant, which again, she's technically the villain of the show, so maybe we want that, maybe we do want her to not look vibrant and happy. Again, it's your prerogative, do what you want. [LAUGHTER] But for now I'm just showing you how it works on Kelsey. That looks pretty good. Yeah, we gave her just more warmth to the skin. Then I don't even know if I want to do hue vs luma on her, but let's just see because it's a little shiny here but I'm okay with it, honestly. Oh, now, actually that is matting her out a little bit, which I like. You'll notice how when I did this, we dipped into the color of her blazer. We've got to not go that deep. Then, we've also got to decide to even like this. We're getting more of her lips actually, which is nice. I don't hate that, we're getting more enhancement of her overall lip color, which is cool. Then when we take this away, yeah, we warm her up a bit more. That's how we can do the same thing on Kelsey. What I would now do is I would go through and every shot that's of Kelsey, I would then put that on there. Every shot that's on Evelyn, I'd take her specific skin tones and put that on her. That's how we get to have our actors or our subject have a really nice skin tone throughout the project. Again, this is a fun thing that I like to mess around with with everyone. I feel like it works with everyone and most people usually like the way they look when they see the final product. I hope this helps. If you're a content creator, play around with this on yourself in your next video, and if you're an in-house editor, trying to up your skills, see if you can enhance people in your next corporate documentary project by using this. As you now saw, there is a myriad of other curves you can play with. Take some time now and play around with them. Do just that. Mess around with the hue vs hue, mess around with the luma versus saturation. See what happens. Don't be afraid to experiment. That's why I gave you this project. That way you're not wearing about ruining your own thing, mess around with mine, have fun with it. In the next lesson, I'm going to show you how you can take your unique looks that you'll inevitably develop and save them for later. That way you're not wasting time reinventing the wheel every time you color correct and color grade. I'll see you in the next lesson. 7. Creating LUTS & Presets: Welcome back, in this lesson I'm going to show you how to create LUTs and presets from your color grade and save them for later so you can start to develop your own personal style and maybe a brand look and feel. For example, someone I follow on social media is Birdspapaya and if you look at her content on Instagram, no matter what it is, it's always a little pink. Now, she's probably not going in every time and dialing that in manually, no, more than likely she probably uses a template. I'm going to show you two ways to build a template for yourself to reference. We'll create a lot or a look up table and a preset, they each have different benefits. Let's start with creating a LUT first, let's say I created a unique color grade for my footage and I know I'm always going to use that look because it's my signature look now and I know for a fact I'm always going to use it as my color grade after I've color corrected, I just know that this is the look. Let's go ahead and design something like that, let's just design something crazy so you can really see the difference and we're going to put it on our color grade layer, we're going to open that backup. Because we did a lot of other things, it looks a little crazy, I'm just going to turn that off. We have a gold rush on right now in our color grade, let's bump it up to 100. We're just going to really make something crazy, add some faded film. Let's also mess with some curvatures, even more, let's just really make it crazy time USA here, I hate that, it's a weird interesting mat look. Let's also do some Hue vs Hue, let's make the jacket the wrong color, just something crazy so you'll know it when you see it kind of thing. Let's say that this crazy style is the Holly's look now. We can now create a look up table or a LUT from everything we've done in this Lumetri panel, in our color grade adjustment layer that we built. The way to do that is you'll go to the hamburger menu right here, and you'll hit export cube. When you do that, a new export window will open up. When I create LUTs or pre-sets, I generally actually save them to my Creative Cloud account so that way they are easy to find and I know where they are. I have a templates folder in there and as you can see, I have a LUTs folder as well, and in there I have as you can see all sorts of stuff, LUTs I've bought etc. Let's call this one crazy green class so that way we know and then we're going to hit Save. We did all of that crazy stuff. Now what I'm going to do is I'm actually going to go to the Effects Controls and I'm going to now delete this. I'm going to delete the Lumetri color, everything we've done I'm going to delete it and we're now back to our color correction, nothing is now added when we look. Now, we saved that LUT or look up table and we can now just add that on top of our footage. What we would do is we can go to creative, and then go to look, and go to Browse. From there we're going to go to wherever I saved that template, here it is right here, crazy green class, and we're going to hit open. Everything we had done for that is now just there and this is really cool because again, this saves you time. Now the thing about LUTs or look up tables is it becomes a little difficult to edit them after the fact, so generally what you do with a LUT is you have it and then you can adjust the intensity of said LUT. But in regards to going through and actually going into the curves and changing what I've done, it becomes very difficult, so that's the struggle with LUTs compared to presets. Presets, you can actually go in and adjust everything you've done again. We're going to command Z, control Z a lot, it got us back to removing that LUT we created and now just having all the data, I just undid a lot until we got back to where we were. Now I want to actually create a preset because let's say eventually, I like this and this is my starting point for my color grade but I know I'm always going to go in and want to actually make very specific tweaks, not just in the intensity but overall maybe bring down the green or bring up the green or just whatever the thing is. To save a preset, which is not the same as a LUT by the way, we will go back up to the top here at Lumetri Color, and then we will go Save Preset. This is going to bring up a new Save Preset window and again, let's call this color grade green class. With the type we're going to just say scale so that way it always covers the entire frame of whatever we're working with. If you want to put any notes around this is just more like data for yourself, go ahead, feel free. But I'm going to just leave it, I think it's fine. Then we're going to hit, okay. You'll notice nothing really changed, where did our preset go? Where did it save? It saved in the Effects, so if you go to your Effects tab and if for some reason your Effects tab is not there, head up to window at the top and then highlight effects, you'll see presets are here. Once again, we're going to get rid of everything we did with this, going to hit Backspace to delete it, everything we did. We're going to now go to Preset, there is our color grade green class. I'm just going to click and drag this onto it and let go and boom, it's there again. But now, you'll notice when I go to look, it has now inserted all of those parameters that I had built to create that preset. Now if I want to go in and make further adjustments, I can. That's the difference between a look up table and a preset, a preset literally changes all the values for you to what you had set the preset to so that way you can go in and have very detailed control of everything whereas a LUT or a look up table, it's just a blanket cover look that you can increase the intensity of or decrease the intensity of. But generally you're going to have that as your base and then whatever you do on top of it is whatever you do on top of it. There are pros and cons to each of them, I personally tend to use LUTs more than presets actually just because I've fine tuned my LUTs, I know how I film, that I don't actually need to go in and have all of these parameters added on, it's more or less going to be what I want. But if you're someone who really wants full control all the time, then getting a preset set to where you like and using presets instead is definitely the way to go. As you move through color correcting and color grading my footage, if there are looks that you really like and want to remember for future projects, go ahead and either create a LUT or a preset from them, so you don't have to keep reinventing the wheel every time you work in a project. In the next lesson, I'm going to show you how to mask clips so you can color correct and balance one section at a time. I'll see you over there. 8. Masking: Let's hop right into this. In this lesson, I'm going to show you how to use basic masks on a clip to color correct and color grade certain sections. I'm going to show you two different ways to utilize masks in Premiere Pro. That way you can isolate your Lumetri color to one section of an image. I'll show you how to do it directly onto a clip and then also, I'll show you how to just duplicate that clip and isolate the things you want by utilizing the crop effect. Let's hop into the vlog sequence and come to this clip specifically. This is a clip of me talking about my day in Mexico City. You'll notice I'm pretty underexposed here. This is a vlog, so I didn't bring any lights with me or anything but if we try to adjust the exposure to be good for me, the background gets blown out and I'll show you what I mean. Coming here, we quickly start losing the background if we actually start to expose for me which isn't good. At least for me, I don't like it. We're going to create a mask around me and adjust my color only, then we'll adjust the background. You'll notice that I am pretty underexposed and this is actually something that cinematographers will do if the lighting is not ideal, but they know that they have a little bit of dynamic range within the footage to play with. They'll underexpose, so that way more or less there's no missing information from the brightest scene and hopefully not too much missing information from the darkest scene. In this case, it's me. I'm very underexposed but we're getting all of the background pretty well. The way I would go about color correcting and color grading this is, I'd duplicate the clip and I have two clips on top of each other. For something like this, I don't usually use an adjustment layer. I'm going to go ahead and color correct on the clip itself, but I'm going to duplicate it. To duplicate a clip, you can always just hit Command C, Control C, Command V, Control V to just create a new clip. Drop it on top of the other, like so. Cool. But the shortcut for that, by the way if you want is hold down option on anything that's highlighted and then just drag away from it. It creates a duplicate. Keyboard shortcuts, name of the game. Now with the top layer, what I'm going to do is I'm going to go into my effects right here and I'm going to take this effect and just add it to the top layer. Now there's crop up here and then I'm going to just crop in. That way I can see it. I'm going to turn this layer off. There we go. I'm just going to crop in. The goal here is to crop in so I can only more or less see me. The thing I always like to do with this is feather. That way it's not too crazy what I've done because you'll see in a second, if we don't feather, then it's just like harsh line of what's happening and you don't want that. I've created my crop really simple and now I'm going to do what I would normally do. I'm going to go into the basic color correction. Let's go ahead and turn back on the bottom layer which has no crop or anything on it. But I'm going to make sure the top layer is highlighted where my crop is and then I'm going to just bump me up and I'm going to turn on the Lumetri color scope so I can see what I'm doing because the data doesn't lie. I'm now just going to only color correct for me and you'll see, let me play it a little bit, so our colors are matching. There we go. It's like, why are we getting the data there? Now we go. I'm bringing up the overall exposure up, but I'm bringing the whites down. That way we don't get too much of that blown outness in the back so it's not too obvious that I've actually masked out part of the shot. Turning it off, this is our original shot and now there we go. Super simple, super basic fix. But now it's good to go and what I would then do is I would then do my overall color correction for this shot. I would then bring in my color correction adjustment layer and from here, now I would do anything I wanted to do to the whole frame. Or if I just wanted to do minor tweaks to just the background, I would then go in on the bottom clip and do those minor tweaks. Maybe see what the background have. Bring that up a little bit too. Don't want to do it too much. We are losing a lot of information. We're losing information because of this. All of this up top, that is what's being represented here in the frame. But you see me, I'm right here. I'm good. I'm in a good spot with the frame. Since the subject of this shot is, mwah, that's okay. I think that's perfectly fine. Overall, that is a really quick and easy way how to mask. That was one way to do it, where you just copy the clip up, do what you want to do, create a crop on top and then do what you need to do to the bottom layer. That's one way to go about it. Another way you can go about it is by keeping a single clip like this but having multiple Lumetri color effects in your Effects Controls tab. I personally don't usually do it this way because for me it starts to get confusing but let's give it a go. In our Lumetri color, right now with our clip selected, I have it highlighted. I'm going to just go ahead and switch over to my scope so I can see what's going on. I'm going to go ahead and expose for me. Again, I'm represented all down here. All of this right here is me. You can see the red of my sweater is right there. I'm going to go ahead and expose for me and I think that's pretty good. You'll see when we go to our effects controls, there it is. That's the exposure we've done for me. If I take it away, there it is. Now, we can create a mask of just what we've done. All we have to do now is hit this shape or we can draw a mask as well. If you've worked in Adobe products before, masking should be pretty familiar to you. But I'm going to go with the square just because I like it. You'll see now our exposure completely changed. It has now relegated the Lumetri scope changes we did to just what is inside that mask. From here, I'm just going to now adjust the mask to more or less just be around me. I want to add more to it I can. You'll notice how I'm going all the way off of the frame. That way it covers the whole thing and then we can play through this. My hands can go out of the mask but the way to get around that is, we're going to feather it a lot. Again, feathering with this stuff is your friend. We're going to go to our mask feather here and just boom, look at that, really feather it out. Let's click away. Now you see in more or less, there we go. We have now corrected this shot to seem as if it's more or less exposed correctly throughout the whole thing. Then once again now, we would take our color corrector or color grade and on top of this now make overall changes maybe that we want to make, so maybe overall, we want to bring the exposure up, overall we want to up the contrast, but we're always starting from the base layer of what we created using our mask of our Lumetri color. This can be really helpful especially if you are a vlogger or if you're someone who's running gunning or a documentary filmmaker, for example. You can't always have a really lovely, nicely lit setup. Sometimes you got to running gun, you got to follow the story. Here's how you can begin to make those adjustments in Premiere Pro to balance things out when you inevitably have to change things around. Masking like this, even if it's just primitively, can have a big effect on your color correction and grade. Maybe you want to make someone appeared dead or desaturated, you can mask them just like you would in, say, Photoshop and make an adjustment layer to it. Now there's no right or wrong way to do this. I wanted to show you two different ways to go about it though because depending on the type of shot, a mask might work better or doubling the clip over in your timeline and cropping it might work better. Either way, now you know both. You're welcome. In the next lesson, I'm going to show you a fix for a common frustration when exporting from a Mac in Premiere Pro. PC users, feel free to skip over. I'll see you in the conclusion if you wish, but Mac users, stick around I'll see you in the next lesson. 9. Exporting for MAC: Are the PC users gone? They are? Good. I'm just kidding. If anything, they're the ones who are winning because they don't have to deal with this aspect of exporting from a Mac. Good for you all PC users if you stuck around for this lesson. If you've been working in Premiere Pro and color corrected and graded a project in the software and you're using a Mac, you've probably noticed that sometimes your export doesn't quite look the same as it does while you're in the program. I'm going to tell you why. Macs actually export natively at a different Gamma than literally everyone else. [LAUGHTER] It's frustrating, but it's true. To bypass that different Gamma export, I always add a final lot during my export. This light is available for download through Adobe directly and was actually designed by their lead product engineer. I've provided the light in the resources sheet where you can go and download it, and I have also included it in the download files as well. Again, make sure to check it out. Again, this is a Mac issue and not necessarily a Premiere Pro issue. For Rec 709 when you're exporting it, the standard generally across the industry is to have your Gamma be set to 2.4. But for some reason, Macs have their Gamma set when exporting for Rec 709 to be at 1.79, something like that. Basically, they don't match. When you export, you'll probably have noticed that whatever you export, your color correction and color grade is a little lighter, but also slightly desaturated. I'm going to go through again and do a quick color correction, color grade of this buckshot. I actually want to register the shot. There we go. I'm going to up my exposure. I already know I want to up my saturation on this because I know how I shot it. I want to drop my blacks a little bit. I really enjoy high contrast on this stuff. Up my highlights a little bit too because it's dark. There we go. These are crickets, and you can actually eat them. Isn't that crazy? They taste really good, by the way, you'll see in the vlog, they taste good. In and out, this clip only. Just here. Let's throw a creative. Let's do all my old reliable on there. Let's do our gold rush, UTR because I love it. I love gold rush, I just enjoy it. Anyway, we've color-corrected color graded this clip. Let's go and export it. Command M, Control M on a PC will bring up our export window or you can just click the Export button at the top. Then I'm just going to save this to the desktop so we can see what I'm talking about. We're going to call this Color Correction_NOGAMMA, desktop. Then I'm going to save it to how I would probably export it to YouTube because this was a YouTube video. We're going to go 2160. All that great stuff. Here's our shot. I'm not even going to send it to media encoder queue, I'm just going to let it export because it's a pretty quick shot. Here's our shot. Now, here is how it looks, and you can see there's a difference. It's not nearly as saturated. It's a little lighter, just overall. That's again because the way Macs export and how they interpret Gamma is different than the standard. Premiere Pro is using the Gamma standard that is more or less used across the board, across everything except for Mac products for some reason. The way we circumvent this is we take that Gamma compensation cube that has been provided by Adobe and add this as our last result on top of everything we export. This is only relevant if you're on a Mac. If you're on a PC, you shouldn't have to do this. Everything you do in Premiere Pro should more or less be represented in how you export. But again, I will provide these files for you to be able to download in the resources sheet, and then also I will make sure to include the direct link so that we can just add them to your creative cloud files. You can just copy the files over to your creative cloud account if you have one. But what we're going to use is the QT Gamma Compensation Cube 1. I already have it saved in my creative cloud files. Again, I'm just going to go to the export window, Command M, Control M. Now, we're going to call this one Color Correction_WITH GAMMA. Again, keeping it YouTube 4K because that's where this would go. Then any effects I'm going to add the LUT. The QT Gamma compensation cube that Adobe has provided is a LUT, just like we learned about in our presets and LUTs lesson. This is what I do at the end of every video I've color-corrected, color-graded, gotten everything look how I want it to look, everything looks good. I come into the export window and I do this, I add this final look on top of everything. I'm going to navigate to it. I keep this LUT already in my creative cloud account under LUTs. I have a whole bunch of different LUTs, I've bought from people, different organizations, etc. I already just have it and I always have it, and then I'm going to hit "Open". Remember this is now compensating for the different Gamma that Macs are using. When you see it here, it's going to look way oversaturated from what we did. Don't freak out, that's how it's supposed to look. Now I'm going to hit "Export". Perfect. Now let's see what it looks like with the Gamma and without the Gamma. Here's the version with the Gamma, pretty close to what we originally had. Here's the version without the Gamma, and I'll put them next to each other so you can now see the differences. Here's our original, what we wanted, here is with the Gamma compensation cube a lot closer to what we actually intended for this shot. Then here it is without the Gamma compensation cube. The Mac exporting at that different Gamma level, and it being desaturated and a bit brighter than what we originally wanted. For Mac users, this is annoying, but we got to talk to Mac to be with the rest of the industry. [LAUGHTER] But that's just how it goes. Again, this is the last thing I do for any project I'm working on, just to make sure that what I truly intended for my footage, for my film, for my project to be, it is. Make sure to check out the Gamma compensation cube, add it to your workflow so that way you are ready to go and you don't find yourself annoyed and upset at Premier because it's not Premier's fault. Like I said, it's frustrating for Macs and having to add this final layer, this final step to your export. But now you don't have to try to overcompensate and try to do it yourself when you're color correcting and color grading, there is a very simple LUT you can just throw on your footage at the very end, the last step, and it will more or less be what you originally intended. With that, we're pretty much done. I will see you in the wrap-up, but thank you so much. I hope you enjoy this class. 10. Conclusion: Oh my goodness, somehow some way you've made it to the end of my class. Let's recap everything we've done, shall we? I provided you with two different scenes from my web series this could have been an email and some scenes from my Mexico City vlog. We walked through the color workspace in Premier Pro, and I gave you an overview of a few ways Premier Pro interprets color information. I then walked you through the Lumetri Scopes panel and how to change and understand the different scopes before moving into color-correcting a scene from the show. I showed you the Auto Color feature and how it can shorten the amount of work you have to do, and also my favorite built-in presets in Premier Pro. Finally, I showed you my secret for enhancing skin tones using curves, creating your own Lutz, and presets to save you time as you begin to create your own look and feel. Finally, how to create masks. For my Mac users, I gave you a lot to correct your gamma on export, you're welcome. With all of that, you now have a basic knowledge of color correction and color grading and can now begin to work in Premier Pro on your own creative projects. If you're an in-house editor, I hope I've given you tools to lighten your workload because I know how hard it can be. If you're a filmmaker or content creator, I hope this is the first step for you to discover your own creative style. Remember, I want to see your edits. Share your projects in the community. They can be the scenes I provided or your own projects. Be sure to include some before and after stills as well so we can see where you started. Feel free to share your projects on social and tag me @HALLEASE.MP4 on Instagram and @HALLEASE on YouTube and TikTok. I love seeing what you create over there too and if you want to see what I do outside of teaching here on this platform, check me out on YouTube. Over there, I'm always documenting my creative journey, telling stories, interviewing other creators, and much more. Again, I am Hallease endeavoring to persevere as always. Thank you so much for entrusting me with your time. I do not take that for granted and I will see you when I see you.