Transcripts
1. 00 How To Color Grade Footage and Create LUTs In Premiere Pro CC PROMO: welcome to this course and had to color grade footage and create custom video. Let's my Name's Will and I've been a professional cinematographer for over 10 years and a content creator for over 15 years. I run an established video Russian company based out of Toronto and an online business where we trained. Over 150,000 people in a wide range of courses in this course will first start off by talking about what color correcting is. I'll give you an example of that, and then we'll move into actual color. Grady. From there we'll go over a few different techniques to get you started with fundamentals of color grading. Also introduce you to color scopes inside Premiere Pro. Now I've included several clips that you can download in this course, so make sure you do that if you want to follow along as I color grade and create the custom Lux throat. This mini course will cover a few different examples of color grading, using the clips that I've included in the course. Then, from there, I'll show you how to create the custom video Let's from scratch using the settings we made earlier in the course from the color grading settings. They're super easy to create. And by the end, of course, we'll know how to work with what files have it a color grader footage and make your footage stand a much better. Using these techniques and work flows, as you can see on screen color, grading your footage makes a big difference. And the majority, if not all, of Hollywood feature films have their footage. Color graded. All right, so within this mini course, those of the clips that will be working with on how to create custom video lutz and color grade your footage. Thanks for checking this course out, and I hope to see you in there.
2. 01 What is color correcting: All right, welcome to this mini course, and thanks for enrolling. Now I've included several clips in this course, so go ahead and download those and you can follow along with me as I color grade and create the lutz. These air the five clips that are included with the course. They have not been color corrected or grated. They're just straight from the camera, so we have to sunset clips. We have a daytime clip with some water and clouds in the background. Then we have a drone clip, which was shot in a flat log profile. And I'm sure you had a work with that type of clip in this course. And then we have another clip that was shot with wrong color temperature. Let's first start off with talking about what color correcting is so color. Correcting is essentially just correcting the footage. So if we look at the clip here that's called clip five wrong temperature. We'll see that this footage looks very blue, and that's because it was shot with the wrong color temperature in camera. So it's helping the Premiere Pro. I've created 10 80 p timeline and I have a footage folder so Let's drag in all our footage and let's go to the last clip here. We'll zoom in a bit. So this is the clip that says Clip five wrong temperature. So as you can see, the snow looks very blue. It does not look like it should. It should be perfectly white now. It would have been better to shoot this in camera properly using a daylight color balance, however, we still can use color correcting to make this clip look better than it is. So inside loom ITRI color under the basic tab, and if you don't have that open, it's under window Louis Tree color. There's an area under white balance called White Balance Selector, WB selector, and it has an eyedropper tool, so we can either adjust the temperature to bring more orange into the clip, which will make the snow look more white. Or we can undo that and select the white balance eyedropper tool and select the blue snow. If you think it's a little too strong, you can bring it back until you're happy. But essentially, that's what color correcting is your correcting footage to make it look like it should. Beyond that, you can adjust some skin tones that make them look a little better as well. So Ali skin here looks like it's a little bit red. So if we go down into the curves and then under the hue saturation curves on the Hugh verse saturation graph, we will isolate the Red Channel. So let's make a dot right here and will make a dot here. So all there will be selected then, either on this side or this side, which is essentially the middle of where the red is because we're trying to isolate and get rid of the red on her face will click around there and dragged down. Now there's still a little bit of red that we could remove, so it's make another dot and squared off. So let's make this a little bigger, and we'll cycle this on and off and you'll see what it's doing to her skin. So that made the footage look a little more natural. Or at least she doesn't look as cold. Now the snow looks nice and white, and over all the footage looks like it should. So that's what color correcting is, and in the next lesson will talk about color grading
3. 02 What is Color Grading: Welcome back in this lesson, we're gonna talk about what color grading is. So color grading is when you give your footage a style or a look similar to adding a filter to your footage or photo on Instagram, and you can get some really incredible cinematic dramatic results by color grading in this example. Here we have clip one, and I have one of my let's applied. And as you can see, it's very contrast. E. There's a lot of bright reds and oranges and yellows, and the sky looks like it's on fire. This creates a really dramatic feel to the footage and makes a big difference compared to the original. So when a second I'll turn off the effect and you'll see how dull the original one looks in comparison. So let's go over here, and I'll hit the effects and stare at this while I click it. So, as you can see, this footage looks really dull in comparison. There's no bright reds or oranges, the yellows pretty faint. There's some detail, so there's not really any silhouette happening. It's not very contrast E and turning it on. It just pops on the screen. It really looks very vibrant, and this clip might be pushed a little too far. Might be a little too contrast and saturated for most people is liking, so we can always roll that back a bit. But the point is, through color grading, you could make your footage look really, really great. Really dramatic, really cinematic.
4. 03 Color Grading Part 1: all right. So now that you understand the difference between color correcting and color grading, let's go ahead and start color grading some of these clips so we don't need to worry about this clip will delete that one. And on the first clip, I'll delete the color. Let's so that it's back to normal. So if you're following along, you should now have four clips on screen. So it's highlight the first clip, and we'll go into luminary color up into basic and will start going through the settings in order to color grader footage. Effectively, you want to think about the style of your footage, how it looks and maybe what The story that's being told through your footage is in this case, we have alley in the foreground, holding up a camera, filming something she's already pretty contrast e and in the background there's a beautiful sunset happening, so let's just watch this. There's a slight camera move, it's shot in slow motion, so we'll go through all the settings and I'll try to make it similar to the lead I had applied in my example. So with lewinter color open under the basic correction tab, let's start playing around with some of these settings, so with the temperature will adjust that to be a little more orange that will bring out some of the sky. Then we'll leave the tent as is and will also leave the exposure as it is, because if we bring it up, will lose detail in the sky. And if we bring it down, then the clip will be under exposed. So next we have contrast with the contrast. Our goal is to make a silhouette here, so it's grabbed the contrast and put it to around 70%. Next, we have highlights. To keep it looking good will bring the highlights down to about 40 or so. Then with the shadows again, because we're trying to make a silhouette here, we'll bring the shadows down with the whites will drop it a bit. That's similar to the highlights, then with the black setting. If we lower it, you'll see that all the detail here will start to be perfectly black, and that's what we're going for. So it's lower that, and there we go. So we have a perfect silhouette right now for saturation will bump it up to but 1 10 or so . Then we'll go to the creative tab. Click on Adjustments for Vibrance will put that to about 10 or so saturation to but 1 10 as well. This is already looking pretty good, but we want to get more of a reddish tone. That's what I'm going for here. So let's go into the curves. Under the hue, Saturation curves will go into the huge oversaturation, similar to what we did with the color correcting to correct alleys face at the beginning of the course, we will try to isolate the oranges and reds and yellows in the sky to bring them up. So it's make a dot there. We'll make a dot there now, instead of going down like we did with allies. Face this time will go up because we're working with this guy, and if we cycle this effect, you can see what that's doing. Then, under the hue verse, you we'll just click in the middle and we'll bring it up slightly and you can see what this is doing. All right, so that's looking really, really good Now. Now, this clip is pushed pretty far, but if you did wanna ADM or saturation. You can do that under the loom over saturation graph, so it's click and drag, and you can see what that does. So I'm gonna undo that, cause that's a little too far for us. And by going through and adjusting all the settings that makes sense for that certain clip , you can get a really great results. So another one I like is the hue verse Louima. If we click and go down, you'll see it'll make it really red, so that might be a cool effect that you're going after. So let's go back to effect controls. Have a look now that your eyes are adjusted to this, how dark the foreground is and how red and orange and bright, very saturated the background is. So now we'll turn off the color grade and you'll see how much different this clip now looks from the original. So just within a few minutes, working within limiter color, adjusting some settings under the basic tab, the creative tab and under the curves hue saturation, you can make some really drastic changes to your footage through color grading. Now we could take this a step further into RGB curves This is a really popular graph that is often using color grading now because again, this is pushed pretty far already. I probably won't do anything with this, but they give you an idea of what it does. You can work with the RGB, the red, green, blue all on one graph. Or you can isolate just the Reds if you wanted just the greens or just the blues. So this is a really, really powerful graph as well.
5. 04 Color Grading Part 2: Now I'm gonna show you another way that we can color great our footage. Right now we have the color great being done right on the actual clip inside Luminary color . But if we want, we can do this another way that gets applied to many clips all at once. Let's go up to the project window and click so that it becomes highlighted. Then go to file new adjustment layer that will drag it down into our composition. We'll make it the same size is our footage, and then we'll click on the clip that has luminary color. Then we will turn it off so we still have it. But it's just not active. Then on the adjustment layer will right click and go to paste. So visually, this is the exact same thing as putting on the clip on Lee. It's being done on the adjustment layer, and because it's on the adjustment layer, we can make this a long as we want in spanning over as many clips is we want. And as you can see for the second clip, it has the same color grading as the 1st 1 So if we turn this off, that's a pretty cool, very effective way to color great clips by doing it on an adjustment layer, and doing it this way allows you to click on the clip and make further adjustments inside luminary color separate from your actual color grade, which is on your adjustment layer. Beyond that, what's really great about using an adjustment layer is because it's independent of the footage you could go to effect controls, and then you can work with the capacity to make it as strong as you'd like. You can even change the blending modes so that it affects your footage differently and again because it's spanning over all of the clips on the adjustment layer that happens to all of the footage. Now let's go to the third clip here, and you can see that this color grade does not really do a great job. The clouds just don't look right. There's some weird things happening in the bottom parts of the clouds, and it looks like the trees are very sharp and they're like cut out from the background, so this doesn't look very good. So with this scenario, because this clip is very different from this clip, we would cut the adjustment layer so that the great only happens on these two clips, and then we could make a separate color grade for the next clips. So with the adjustment layer selected, that's above this clip. Three up in effect, controls with Lumet Tree Color. Let's reset it, and then we can go into the limiter color panel and start color grating This clip. This clip looks pretty good, as is right at the camera, but I think we could make it look even a little better by adjusting some of the saturation , the blues and the overall tones of this. So let's go ahead and start color grading this clip. Let's make sure our adjustment layer selected above that clip we'll go to the temperature. We'll make it a little more blue. We can adjust the exposure a little bit, make a little more contrast, e bring down the highlights, bring up the shadows and see what the whites do. So I think pumping the whites a little bit looks good. Then with the blacks, you can see it only really effects right here. So I think we'll just leave that one at zero with the saturation will bump that to about 1 15 or so. We'll move on to the creative tab with Vibrance again will pump that to about 10 and saturation again to about 10 now within the basic correction tab. We could just pump the saturation here instead of doing it on the creative top as well. But I prefer to do it this way. Next we'll go into curves, and before we start adjusting anything on the graphs here within the hue, saturation curves, we'll have a look and analyze the footage to see what we're working with. So the blues air starting to come through would be nice to pump those a bit, and we're starting to get kind of an ugly yellow tone on the tree. So I'd like to reduce the yellows and bring up the blues a bit. And because there's some green in the background here, green over here and some green on the leaves, maybe we'll pump the green a bit as well. Under the huge oversaturation graph, let's make some points that isolate those colors that we just talked about. The yellow one will be roughly their to their The greens will be from here to here, and the blues will be from there to there. So now let's work with the yellows so within the yellow section will go to the middle. And as we're dragging down, you want to stare at where that yellow part is on your screen and we'll start adjusting its a taste until we get it to where we want. So it's click in the middle and dragged down. And as you can see that's already done. A really great job will just cycle at, so that looks a lot more natural now. Next will go to the greens, so we'll go between our green selection points and we'll move our Greenpoint over just a bit that we're working with all the green and then we'll bring it up. So it's isolate that. Let's have a look at the greens and they've become a little more rich and then with the blues. Because the majority of this clip is blue. This will make the biggest difference. And by doing that, as you can see, that made a really big difference in the footage. The blues air popping. Now there's a lot of blue in the sky. A lot of blue in the water and to rise. This is really vibrant, and it's looking like it's a really nice, beautiful day. Let's cycle that effect on and off and then continuing along under the loom over saturation . As mentioned before, this is where we can add some more saturation into the footage. Now it's already pretty saturated, so we probably don't want to go anymore. But just to show you, we'll double click to reset it. So it's not being active. We can make it look black and white or against more saturation, so I typically don't mess around with this one. And as I mentioned before under the RGB curves, if you wanted to, let's say pull back the blue or push up the blue. You could do that here. Or you could make a few points and just do the highlights of the blues. Or from there you could push up the greens or the reds. Besides that, you can do all of the RGB colors at once so you can make the footage little more contrast. E. This is known as an S curve because it's kind of doesn't and s. Then let's close up the curves tab and open up color wheels and match. This is similar to the old effect three way color corrector that used to be in Premiere Pro , but since then they've replaced with luminary color. So this is where you can work with the colors in the shadows, the mid tones and in the highlights independently. And this typically is really good for controlling skin tones because it moves very slowly and you can isolate very specific colors just within the mid tones, so I'll just double click that because I'm not gonna change any settings here.
6. 05 Secondary Color Correction: next we have the h s L secondary. This is the secondary color correction. And now, while this could be color correcting or color grading, it depends kind of what you're working on in order to do this correctly without messing up any of your other grading settings that we did previously. You want to do this on a secondary luminary color effect. So what I typically do is I select the limiter color once I've done the grade and then I copy it and then I pasted below. Then I reset the bottom one. And how Premiere Pro Works currently is the very bottom loom. ITRI color effect is the one that will show up in the luminary color panel. So even if you selected the top one here, you'd only be working on the bottom one. So keep that in mind. So since this is on the bottom, that's the one we're gonna be working on, and we've reset it. So now we're gonna go to the loom itri color into the hs l secondary. And then the idea for secondary color correction is by isolating certain parts of the clip and excluding other parts of the clip so that the parts that we have selected we can then color correct, hence the name secondary color correction because it happens after your color correction. So how it works is you have all of these settings up here that can be adjusted to isolate in selective certain parts of the footage to get started. It's always recommended to use the eyedropper tool and select the part of the clip that you want isolate. So, for us, for example, will just select the green here. What that did was select the green areas for all the green tones and color that was in that area that we selected then below all this stuff, we have color gray. If we turn that on, it will give you a visual representation of what we have selected. So the gray here is excluded from the selection, the parts, all the dots and everything. That's what will only be changed. So as you can see, there's some green in the leaves and there was a green down here. So what we want to do is try to isolate this as much as we can, so that we're only selecting the green spots, so we'll just these settings, so we'll adjust these settings to taste until we're happy with our selection. And then, under refine will adjust the blur that helps blend the secondary color correction in. Then we'll de select color gray and on the bottom here under correction. This is where we'll make the changes to the specific parts that we highlighted. So, for example, let's say we wanted to make this look more like it was the fall so we can push it more towards the orange. And doing this doesn't affect any of the other colors, so it's a really great way to isolate certain parts of her clip and adjust certain tones. And then you have a whole bunch of other settings down here as well, and these air similar to the basic tab. So keep in mind, this was done on a second luminary color effect, and the bottom one will represent your secondary color correction. So one thing I want to point out is we've done the secondary color correction on the adjustment layer now. Typically, you'd want to do the secondary color correction on your actual clip because it's highly unlikely that the settings you chose inside the H S L secondary here will be the same on multiple clips, so just keep that in mind. It's always best to do secondary color correction on the actual clip and then on the adjustment layer. That's where you can do your color grading. So on the adjustment layer, let's delete our secondary color correction. Then we'll move to the next clip.
7. 06 Color Grading Part 3: Welcome back to this next lesson in this one. We're gonna be working with footage that was shot very flat in a log format. And if you don't know what log footages air if you haven't worked with it before. Basically, log footage allows you to get a little extra dynamic range by keeping more of the highly detail in the shadow detail. And it also because we're shooting so flat allows you to color grade a lot more effectively . Most cameras these days attach a picture profile to the footage when filming, and that gets baked into the footage and you can't remove it after it's filmed. Each camera manufacturer will have their own picture profiles, which are essentially presets that you can select when filming, and most of them have just a regular one called Standard. And that's the most common one. Besides that, you have, like CTV and Cindy de, for example, in higher end cameras, you have the option to shoot in log, which is essentially no picture profile. So that's how this footage was shot. This was shot with the DJ I maverick to pro drone, and it allows you to shoot in what's called d log the D stands for D. J I, which is the drone manufacturer. Canon will have si log Sony will have s log and so on. So when it comes to log footage, you can do two things. You can just go to limit your color, for example, and go through all of the settings and color grade as we did with the other clips. Or more professionally, you can use what's called a corrective lut and typically that is provided by the manufacturer. And by applying a corrective, let it will bring it back to normal. However, it won't be baked into the footage, so you'll have a lot more leverage in terms of how far you can push the footage when your color grading. So if I go to my basic tab, we have an area here for input. Lut and I have a hope in saved here. But if you see Number seven is the d g i. D. Log M to wreck 709 this is DJs official correction. Let that will bring it from their flat profile, which is D log to wreck seven or nine, which means it will be brought back and corrected to normal. So I'll select that. And then now that we have the correction let applied, we can start going through the settings like we did before for the other clips and color grade this footage. I think the color and the tent looks good in this. So for exposure, I think this looks good. If anything, it's a little too hot. So under the highlights will drop that down under. The whites will bring that down a bit. We'll bring up the shadows and will make it a little more contrast. E. Under saturation will pump it to about 108 Then we'll go to the creative tab will bump up the vibrance and the saturation again. Then we'll go to the curves. We'll go into the greens and we can see if we could make the greens a little more nice. And I see a little bit of reds in the green, so we'll bring those back a bit. All right now, moving to the hue saturation curves, the saturation of the colors looks pretty good, so we'll leave. That is that we can adjust the hue, for example, by selecting the green areas we could make it look as we talked about before, more like it's fall. But for now, we'll leave it like that, Okay, and then this is a way that you can work with the footage whenever you have clouds and kind of a bright sky to bring back some of the information and make it look a little better than how we have it right now. Let's isolate just the blue areas and then let's adjust this down. I'll exaggerate it quite a bit and you'll see that it does not look very good. So we only want to do this just a bit. And then at this stage, if we did want to add in just a bit of blue, let's go to Basic under highlights spring that all the way down. There's a lot more information in the highlights then and then with the temperature will make it a little more blue, so that really helped with this. But we added a lot of blue into the greens, so we'll just go back to the to the Hugh verse. Hugh. We will select the greens and we'll changes to whatever color we want, and then we'll pump the saturation of the greens. All right, so that's looking pretty good. And to show you the difference of what we've done without the correction, let we'll scope to none. That's what this looks like, so it's still possible to color Great your foot. Did you just have to push it a lot more to get it to where you want to be? In most scenarios, that's not really the best idea or best approach. When you're boosting things that high, it can introduce unwanted noise into your footage, and and that's something you want to try to avoid.
8. 07 Using Color Grading Scopes: in this lesson, I'll give you an introduction into the color grading scopes. I'm not gonna go in depth at all, as this is more of a beginner's course. But I wanted to introduce into them because as you get better at color grinning, they can become very helpful. So within Premiere Pro, let's go up to window and we'll turn on limit tree scopes that will reveal this panel window. So another we have the loom ITRI scopes panel window open. You see four graphs here and depending on how many of these you have selected, you may Seymour or less. So I have four open right now, which is the vector scope while s in the UAE UV. Besides that, we have the parade and the way for now, As we're moving the footage, you'll see that things in these graphs are changing. And that's because the colors in our footage as it moves are all changing. So I don't normally work with the HLS, so we'll turn that off. I normally just work with the vector scope, the way form and the parade. So the first graph we have is the vector scope, and around it you'll notice that there are different colors and that this white blotch spot here is more towards the greens and it's a bit into the yellows and blues, and it's not really at all into the reds or, you know, magenta color. So without even looking at the footage, this vector scope give us a great idea of what we're working with in terms of the color. So there's a lot of green, a little bit of yellow tones that are mixed in with the green and same with the blues. So this could be helpful if you're working with skin tones. Because as you're changing things, for example, if we do this all the way to the orange, you can see that now. This has shifted all the way closer to the red, but it's almost all the way into the orange, and as you can see, our footage is very, very orange down. And then if we did it all the way to the blue and brought the tent all the way to the green , you can see that the footage is almost entirely green. Even the blue has a lot of green spill in it. Now we have nothing in the yellow orangey areas and nothing in the blue areas. Well, it's entirely green, so this one is helpful. If you're working with skin tones, for example, we know that skin tones are always gonna be locking the green. That's why they use green screens, and they're going to be falling more towards the yellows and the reds moving to the next graph. We have the wave form now. If we right, click it and go to the way form type. We can see that there's RGB, Louima and a few other options, so the most common ones are RGB and Louima. This represents the luminant of your red, green and blue channels within your footage. If we switch it to Louima, then this represents the brightness or the luminous of your footage. Going from 0 to 100. You can get footage that is above it and below, but typically you want to stick within 100 0 as that is known as broadcast standards. And if you have content that's going to make it to broadcast, you really want to pay attention to all of these luminous levels. Otherwise it might get rejected, and then we have the third graf that I use, which is the parade, and this is very similar to what we see under the RGB way form graph only. Instead of having the RGB displayed altogether, they have it on separate channels throughout the graph. So we have the red, green and blue because each color is isolated. This parade graph makes it very easy to match clips. So, for example, let's duplicate this clip, and I did that just by holding option and then clicking and dragging. Then, on this clip, we will make the temperature a lot more orange to 43. So another the same clip. Only one clip is more blue, and one clip is more orange. So if we compare these two clips, you'll see that the blue green in red are kind of lined up pretty much beside each other. The blue in the bottom part, though, is really low, so if we go to this clip, you'll see that the greenest higher the red is pretty low in the blue appear is really high . So in order to match those clips, we can do so using this very handy graph. And our goal is to make the graph from this clip look more like this clip. So the blues are high and the red is low. So if we go here and move the orange, you'll see what happens on the graph. So using these three graphs allow you to dial and skin tone. A lot better allows you to see your luminous levels to make sure you're within broadcast standards and to match clips. Now, this is just a very basic way of doing this. There are many other examples where these graphs can come in handy, but that should give you a head start, so it's closed that.
9. 08 Creating LUTs: Okay, so now that we understand how to color correct footage, color grade footage, color grade log footage and work with the Loom ITRI scopes, it's now time to export your color grades as Lutz in order to save them to be used as presets in the future. All right, it's very simple. Let's go to our first clip again. So on our adjustment layer that has the luminary color with all our settings, we go into luminary color and up here where the three lines are We left click and you'll see that there's options for export. A dot look in an export dot cube. Certain programs will only accept certain formats, so for us, we'll just stick with the dot cube. So let's click on Export dot Cube that will open up this window here. And this is where we can name our Lut. So I would highly recommend coming up with descriptive names for each let because it could get very confusing as you're creating a lot of lutz to remember which one is which. So for this one dramatic sunset silhouette or contrast e lut, So we call this one will to identify that it's mine and then we'll name it. Contrast Sunset one well hit safe and it's a simple is that you've just created your first light. So let's go to the next one. Here and again, we have our limit. Your color turned on and we've selected the right layer. We go to Luminary Color Export Cube, and this one is a bright day. So will name this one bright day blue sky and the reason I need to blue skies because we bumped up the blue well hit save. Then we'll continue here. So this is the one that we corrected from the log footage. So under Lumet, Tree will go into Export Cube and we'll just do the same thing and we'll call this one log green forest and save that and we'll delete that one because we do not need it. So now we have successfully created three lutz, and in order to use them, let's delete this clip. Make another duplicates that's exactly the same, and on this clip will go into effect. Controls will. We'll click on them a tree color and then remove it and then within limits tree color. We'll go to the creative tab under the word says, Look will go to browse and we'll navigate to wear re exported our lutz and we'll click on the one that is for this type of footage. This is our log footage that has a lot of green in its that will choose log green forest well hit open. And then, just like that, it's exactly the same as are other clip only. This one doesn't have any settings on it because everything is baked into a preset Lut. So let's are really great in that regard. They're just so quick there, presets that you can load into your footage and you can build them up. Over time, you can purchase them from other people, and they're just really valuable toe have. And once you understand the workflow there really beneficial to your editing. Once again, under the creative tab, you have intensity. So if you wanted to reduce the intensity you can or push it further. You have that option, and one more thing. Instead of having to go to browse and navigate to the folder every single time you want to choose your lutz instead, you can have them show up here, so, in order to do that. Let's close down, Premier. Let's select the three less than we created and rightly go to copy and let's navigate to our Premiere Pro folder on the Mac. It'll be within. Applications will go into the folder called Lumet Tree and then Lutz and then inside Creative. And what we'll do is we'll right click and paste them here, you to continue, and then we have them in that folder. Now, second to that, if you use media encoder to export or after effects, you're going to want to put these in those folders as well. So let's go back. Go into after effects. Support files loom ITRI. Let's creative and then you'll pace them there, and you'll also paste them into media encoder. Once they're in there, you can open a premier again, and then once it starts back up from here on out, you'll have those three. Let's right here easily selectable Now if you want those at the very top, so I don't have to scroll all the way down just at a number at the beginning, and that'll make them default to showing up at the top. So it's a handy little tip Okay, so this brings us to the end of our course on creating custom video. Let's inside Premiere pro and how to color grade your footage. As mentioned. Color grading is a way to make your footage look a little more stylized, more dramatic, more cinematic and is a great way to enhance your footage. Okay, so I hope you enjoyed this course. If you want to learn more for me, I run a YouTube channel called Ali and Will and we release a lot of video tutorials on cinematography and video editing that you could learn from so head on over to YouTube, Ali and will if you're interested in that. And thanks again from rolling, we'll see you next time.
Will Bartlett, Video Creator & Entrepreneur
