Transcripts
1. Class Introduction: Hi, my name is Jordy, but for you it's going to be master artists. In this class, I'm going to teach you everything you have to know about the foundation of color correction and color grading inside Adobe Premiere Pro. If you're like me, then you probably don't like long and boring classes well than you've came to the right place because this class is absolutely not going to be boring. As you can see, we are in my paintings gallery, which is fun and entertainment, like the class also should be, and also, I'm not going to bother you with long theory lessons. You are probably here because you want to start color correcting and color grading your shots. That's what we'll do incessantly. As up lesson one, we're already going to start creating results and throughout to class I'm going to give you small pieces of theory, while we are creating something. This will be a practical class, a new way of giving information to you guys over the internet. Something that I've learned from experience, from making hundreds of tutorials on YouTube. We have now over 1.8 million subscribers being among the top channels when it comes down to filmmaking and video editing tutorials. The same thing goes here and skills here as well. I value feedback a lot. That is why I always read through the discussions and through reviews that we get and for every feedback that I get, I try to adjust my classes to make sure that you get something unforgettable. Start color correcting like a pro by joining this class right now. By the way, if you are left with any other questions before, during or after the class then let me know in the discussion down below, because I will be always here for you. Now students put on your painter jackets and let's start this class.
2. Make your Videos Pop: Hi there. You must be the new students. Welcome to my class. My name is Jordy, I'm going to be your teacher, but for you it will be Master Artist. This is not going to be an ordinary class, no. I'm going to teach you everything about color correction, and color grading inside Adobe Premier Pro, which is in arts. Let's take your pencil. We're going to dive straight into it. You can take your mouse, it might be easier. In this video, I'm going to show you how to make your videos pop. I don't like long theory lessons, no. Art is about experience. We're going to dive straight into it, and do something. What I've got right here is a clip of a beautiful girl. That's right. I'm into romanticism a lot. What we're going to do is make this shot, this pop a bit more. For that we're going to have to call up the color correction tools. Now as of the Creative Cloud version of Premier Pro, all of the color grading and color correction tools can all be found back within the Lumetri Color Grading Panel. To color that one up, we can just head over to the menu on top select window and from there chose Lumetri Color. A side bar will open up. I'm using large disk right here with different tabs. We've got basic correction, creative, curves, color wheels, and match HSL secondary, vignettes. But that is all for later in this class. You are a beginner at this moment. Let's start with the basic correction tab. Since you've just arrived here and probably know nothing about art, we're going to skip the first settings as well, so don't mind input LUT yet, the temperature and tint sliders just yet, let's focus here on the tone. The tone is where your painting starts with. It hold the different levels in your shots. For example, we got exposure which will just simply increase the exposure, maker your shot brighter or make your shots less bright. It's that simple. By the way, whenever you change a setting in here, you can always double-click on your slider to reset that student default value. Next up, we got contrast. Increasing the contrast will add more contrasts. Basically, it will just separate the darker areas of your shots with the brighter areas of your shot. It will make your shadows deeper, and your brighter areas brighter. That is what contrast is all about. Now one thing that my students often forget is that contrast also add saturation to your shots. Saturation is basically how vivid your colors are. Let me just show that to you with the saturation slider here on the bottom. By increasing that, your colors will be more vivid. You can even decrease that to go all the way to black and white like in the old days when paint wasn't invented yet. Let me just reset that back. That also means if we're going to decrease the contrast, we will also lose colors. You can see that perfectly here in her scarf, that orange is no less saturated, so increasing that back will saturate that scarf a lot more. Let me reset that back ends. Let's have a look at the four controls that we have here down below. Now, here's the funny part; the highlights, the shadows, the whites, and the blacks are actually also kind of contrast controls. With these four things I can do the exact same thing as what contrast does, only if I will create my contrast using these four sliders. I actually have way more control over how I will create my contrast. To showcase that better, I've got a picture right here on my timeline as well. The very left side, we can find the absolute darkest blacks. There's a control for that, which is the blacks; the absolute blacks. Then we've got the shadows or more or the a little bit brighter blacks, those very deep gray areas. This right here are the shadows. Then we've got the mid tones, which lay beautifully in the middle. Then we've got the highlights, which are the bright areas, but not as bright as the brightest areas, which are the absolute whites. Usually the absolute whites are going to be those parts which are overexposed and the absolute blacks are those parts which are a little bit maybe underexposed. In going back to our shot of the beautiful girl right here, we can create contrast with these sliders as well. What I'm going to do is maybe first bring down the blacks a little bit, the absolute blacks. You can see that it is working here in the corner, the absolute darkest areas. Now I'm not going to push this too far because this will separate the blacks from the shadows way too far. You can see what is happening here. But wait guys, if you stand on the value of these sliders and drag it out from there, you can even go further than minus 100. Look at that. Now what occurs right now is something that we call banding. You will actually start to see the line between the absolute black areas and the rest or the shadows. This means that our blacks now are way too deep. We have to make sure that these things are imbalanced. Let me just reset the blacks again and let's just decrease that a tiny bit. Just a tiny bit, not too much. What you mostly want to do is work on the shadows. The shadows is an area where you still see a lot of detail in, like the tree here on the left side. Let me just decrease that and see how beautiful the shot now becomes. We're making those shadow areas a little bit more darker to add that contrast in there. The same thing goes for the highlights and the whites. If you want the girl to pop, I'm going to push on the highlights because her shot is bright, but not the absolute white. The absolute whites are usually in the sky. Let's just increase the highlights a tiny bit. As you can see, we are making her brighter. But any way, also the highlights can be found back in the skin tones. The highlights is a great slider to make your subject pop. Now when changing any of these sliders right here, an effect called Lumetri Color will automatically be applied to your clip, which can be found back in your effect controls. What I want to do here is just delete Lumetri effect, which will also reset everything in here. A shot like this which is very flat, as you can see here, we don't really have a deep contrast going on. We can perfectly see the sky. There's nothing overexposed, nothing underexposed. It's a very flat shot. Of course, an example like this, it is much better to just increase the contrast as it's easier to do. We've got so much room to play with. But what if you end up with a shot that already has lots of contrast by its source. Well, here's an example of that. This shot right now has way too much contrast. This is looking more video-ish and we want to create something that is more cinematic, which means soft highlights, soft shadows, but still we want to retain that contrast. Let me show you how that is done. The blacks are definitely okay. I want to keep them. I want to keep the contrast in the blacks. But I'd like to introduce a bit more detail, definitely here, in those bushes here, so what I can do is simply increase the shadows. I'm bringing up the exposure of the shadows. But I'm not touching the blacks, which means that we keep that deepness in the blacks. The same goes for her. Her skin, her blouse, it's starting to clip. It's starting to become overexposed. But I don't want to touch the sky in the back. I'm going to keep that bright, so let's decrease the highlights. As you can see, we are bringing back those details. We are making the shot softer, more cinematic, while retaining contrast. That is how to make your shots pop the right way. You're probably thinking, what is too much contrast? When do I have too less contrast? Well, that is for the next lesson where we're going to take a look at the Waveform tool. A measurement tool to measure your shot and see how much contrast we can add in there. That's right. You always have to measure. Maybe this green is too much, let's add a little bit of blue in there. You have to measure that before you can start on a chicken painting over there.
3. The Waveform Tool: This here is one of my greatest paintings. It's painted in France. [inaudible] I know my French is very good. It's from spending all of these years in France making masterpieces like these. Now you might think, Jordi, I mean master artist, how can you make such a great contrast in your paintings? Well, I've made this contrast, right here, using the waveform tools inside Adobe Premiere Pro. Let's have a look guys. Just like through Lumetri Color window, we can also find the waveform back from the menu window, and then right here, Lumetri Scopes. The scopes are our measurement tools. We can measure our video and do something with that. It's just like measuring the temperature, like you can guess how cold it is, but you can also measure the temperature and get an exact number from that. Now by default, you will see something within your Lumetri Scopes, but we are not interested in everything yet. So what you can do is just right-click anywhere in this window and just select the measurement tools that you need. For starters, I don't need the vectorscope. I'm just going to deselect that. This right here is the waveform. So make sure that if you right-click, that waveform is selected. Now, this here is the RGB waveform. You can also see that with the colors. You can enable that if you want to, but for now, let's just change the waveform type right here to only Luma, which is the exposure level. Something that we've seen previously with the highlights, the shadows, and all, that is the Luma. So you get the same graph, but now only in black and white, which might be easier. So what we're seeing right here in Lumetri Scope is a representation of the shot that we have here on the right side. If I play that shot, you also see the waveforms move, on bottom of the waveforms, we can find zero. This right here are the absolute black. Then on top, we can find 100, which are the absolute white in our shots, though luckily, we are not touching the absolute white and the absolute black, which is great because that means that this shot is not overexposed nor underexposed. When starting here on the left side of our shot, we got more darker tints. We've got the floor here on the bottom. There's also some vignetting right here. We've got the water, then we've got this tree, and get a little bit of sky here coming through those trees. When we're taking a look here at the waveforms, we can also finds here at 10 percent the darkest areas, which is perfectly right here at the water, the shadow over there. So it continues, and up here, around the 80 percent, these are probably the highlights from the sky. Now going further to the right side of our shot, and within the waveform, we can find, for example here, the horizon. The horizon lays more within the shadows, and the same thing goes for the rest of his shots here on the bottom. But on top, we can find the sky which is a lot brighter. Again, we can find that back within a waveform. Here, this big chunk here on the top is the sky. Then here in-between, and definitely here on the bottom right here, these are the shadows or the horizon, all of these bushes here right next to this pond. Then in the middle, we've got this girl. She is with her back to the camera, which means that we've got a very big shadow side of her. We can also see that's coming back right here. We still had a lot of brightness right here in the middle from the pond. But on the middle apart, she's covering that pond. So I know that she is standing right here. Now the first time that you're seeing this, it might be a little bit overwhelming. So let me show this better to you with a picture. We've seen this before, these are the different levels that I was talking about. On all the way in the left side, the blacks, well, we can find that also back in the waveform, on zero. Like I said, the absolute blacks. Then the gray which is coming next to that, sit around 30 percent. Then we've got this bar here in the middle at around 50 percent brightness. Then the highlights, which are at around 75 percent, also usually, the skin tones should lay within that exposure. Finally, the absolute white, which is 100 percent. The reason why we're seeing everything in this beautiful staircase draft, is because every vertical parts has the exact same exposure. It's all the way black over the entire image. But now, when we take a look at the next image that I have right here, we can see that we've got a gradient over the black. So yes, it is absolute black on the very bottom, but not on the top. Again, we can see that's coming back within the waveform. It is being stretched out. It has multiple levels. Now, let's see how we can put this waveform into practice. So going back to our shots right here, I'm just going to increase the contrast of that. So let me just increased that. As you can see right here, the highlights and the shadows here on the bottom are being separated from each other. That is what contrast does. I'm going to decrease the blacks. As you can see here on the bottom, all of that information is being pulled down. The same thing will happen if it will move the whites. As you can see, everything in a tough part is being pushed up. There we go. Now when looking at the shot, you might think that is some great contrast, while in reality, it's not. So I can tell by the waveform. When looking at the waveform here on top, you can see that we've got this flat line which we didn't have before. This means that we are clipping the shot. We are overexposing, certain parts of the shots, which means that we are losing detail. In this sky, we first had a bunch of clouds, but those clouds are now gone. The detail of those clouds are overexposed, and the same thing goes for the black here on the bottom, such as her boots rights here. Those parts are underexposed. It's completely black. There's no detail in it anymore. That is something that we have to be careful for. So let me just reset Lumetri, which we can also do by the way here on the top right, by clicking on this reset effect button. There we go. So let's start again. All right. I'm going to decrease the blacks, but I'm looking at my waveform. I can only go this much because right here, I'm already touching the zero. Now, let's also start pulling the whites until we start reaching to 100. There we go. What we've done right now is utilizing the entire dynamic range of the shots. We are utilizing the entire space right here that we have in the waveform. This is the maximum contrast that we can add to our shot. If you still believe that your shot looks pretty flat, then we can start pulling the shadows away from the highlights. So let's do that, decrease the shadows. As I do that, you can see that this arc right here is moving down. These right here are my shadows. This here is my horizon in the back. So I can choose that which level that I want to set that. We are currently around 20 to 40 percent with that horizon, which I believe is pretty good. Next step are the highlights, which is a little bit in the sky, but also here in the pond, we'll get a little bit of skin tones here on her, and of course, her hair. So let's pull up these highlights. But of course, keep an eye out on the waveform as you do so. As I pull up the highlights, you can see here at around 70 to 80 percent, that is being pulled up, and moving it closer to the actual white. Be careful to not overdo that. We don't want to bring the highlights together within the whites. We still want to keep the levels apart. We've got the whites, the highlights, that mid tones, the shadows and the blacks. But yeah, this is starting to look great. Let's have a look at the before and after, which I can do with the FX button here on top, next to Lumetri Color. This is before, and this is after. I've added more contrast in my shot without over or underexposing anything, because I can look that backup in my waveform monitor. So this is one practice to utilize the waveform tool. See how much of the dynamic range of your shot you can take up. A second use of that waveform tool is also to make sure that your color correction, over all of your shots, are the same. Let me show what I mean by that'. I'm going to reset Lumetri again. For some reason, I'm going to choose that my whites have to be a little bit more dull. I don't want them to come over 80 percent. The same thing goes for my shadows or my blacks. Let's just pull them up over 10 percent. So this is my creative choice. I want to go for a flat style. I don't want my highlights to go over 80 percent, and I don't want my blacks to go under that 10 percent. Using the waveform tool, I know exactly where they are. I can use that as well for my next shot to always make sure that those levels are the same. That is it for the second lesson. You might be thinking, Jordi, I mean master artist, because you can't say Jordi, master artist, why are you always working with exposure levels and that colors, isn't it as a color correction course? Exactly. So that is why in the next lesson, we're going to work with the RGB curves, which stands for red, green, and blue.
4. RGB Curves: You have been doing a great job so far students and that is why I'm making a portrait, a view. By the end of this class, if you've done a good job and if you pass this class, I will put your portraits in my workshop. What do you think about that? Keep it in mind, students, that will be a real honor. As you can see, I'm currently mixing colors, that's right. Colors are the basis of arts and color correction inside Adobe Premier Pro. So far we've only been looking at the level controls from the basic correction tap. But now let's head over to the curves, in a more specific the RGB curves. Now within the curves we can find four selections, we got white, which is just all the colors together, then we've got red, green, and the blue channel. Let's start with the white, which is just the exposure. Basically, this is the same control as we had before. Throughout this class, you'll notice that there are many controls and options that do the same thing as other controls and options. Most of the time it's a personal preference. What would you like to work with the most? For example, with this curve right here, we can create a contrast. On the top left are the whites or the brights and on the bottom right, we can find the dark or the shadow. That means if we move this curve here to the shadows, you will actually decrease the exposure of our shots and the same thing goes if we move it up, we will increase the exposure. Now because we are taking the curve from the middle, we are changing this value here, the exposure, which we've seen previously. Let's go back to the curves and I'm going to reset this by just double-clicking in this, and now what I'm going to do is take the absolute blacks which lay here on the bottom of my curve and I'm going to make them even darker by pushing it to the right side. Look at that. We're going to do the same thing with my whites here all the way at the top and just bring that all the way to the left side and making that brighter. What I'm doing right now is the exactly the same as we've seen before in the basic correction. I have moved my blacks down and I have moved my whites up. It's exactly the same but why should we use these curves? Well, these curves actually gives you more freedom, more room to play with it. Let me just show you one example. The shadows lay somewhere right here a little bit up from the black. I'm going to pull that down and then I'm going to move to my highlights, which just lay a little bit down from the whites and to move that up. We are creating right now an S-curve and the S-curve is something super important to remember because many cinematographers, editors and colorists talk about that S-curve. The S-curve is essentially a beautiful way of adding contrast. Previously we've done the same thing. We've also been working on the shadows and the highlights instead of on the blacks and on the whites. Creating an S-curve like this will preserve your highlights. As you can see, we are not clipping anything in our waveform, the same thing goes here on the bottom. Now the great thing about the RGB curves is that we can create thousands of difference of S-curves. Let me show you what I mean by that. This time I'm going to reset this. I'm going to pull down from somewhere almost in the middle. These are not really my shadows anymore. They are, but they're more the brighter shadows. Now I'm going to take the darker highlights, which is somewhere right here. I'm creating a very tight S-curve and I might want to steer this a little bit so that the intersection right here comes right through the middle. There you go. This is a different kind of S-curve. I'm actually pushing the brighter areas and the darker areas more apart by creating such a curve. Experiment with this. Try to draw different curves to create difference contrasts. Now let's have a look at those colors in there. I'm going to reset my Luma curve and have a look at the colors. We've got, red, green, and blue. As you can see, all of them now are on the same level. They are on top of each other. To see better what's going on, I'm going to also right-click in my scopes and from there choose a different waveform type. I'm going to choose the RGB type. Basically we're seeing red, green, and blue on top of each other in this waveform. Where they meet each other, we actually see the color white because those three channels on top of each other is white. That is probably going to be her shirt. Of course, there's lots of green in there. There green is more prominence, which we can also see back in our waveform. As you can see here, the green sticks out, skin tones and her scarf will make the red channel more prominence. Something that I can do is bring down the white of only the red channel. Let me just do that. As you can see now, her scarf is losing red, but most importantly, her skin also is losing the red. That really something you want to do. Let me just reset that back. We can also make the overall red color more prominent like so, we can go to the green channel and bring the green channel over to the red channel. As you can see now, only blue is missing. If we bring blue as well to the same level as the rest, we get again a natural image, and this is the exact same thing that we're doing right now as solely moving the Luma curve up. Now where could this be useful? Well, let me show you guys a very simple trick to make your model pop a little bit more. I'm going to head over to the red channel because from here, I'm going to decrease the shadows to tiny bits. I'm going to take away the red from the shadows. Then for the highlights, which is the model, I'm going to bring back those reds and maybe even push a little bit further than normal. Look at that. If we check the before and after, we can also enable and disable the curves only, we can see what we've just done. With a super simple trick, we've made the green more blue by taking away the red from that and it's making the model more alive by adding a little bit more red. Red which we could also find back within the skin tones. A super simple trick to make your shots pop a lot more. Now, let me reset this because there is another very cool thing that we can do, which I call the Instagram filter effects. I'm going to create an S-curve again for the red, but this time you can exaggerate it a bit more, so a little bigger S-curve as before, like so. Then for the green, I'm going to do the exact same thing, also an S-curve, but it doesn't have to be the same shape as the red one. It's actually nice if they're not really exactly the same. That's it. We're going to leave the blue channel where it is. Because as you can see here, we've pulled down red and green in the shadows, blue will be more prominent, which we can also see happening in the shadows or the more darker areas. As for the highlights, which is the model and of course [inaudible] close, we have a more prominent red and green, which combined is actually more of a yellow tint. We can also see that coming back here in our RGB waveform, blue is not that prominent as the rest. Because of that, she has a more warmer tint. As humans we are attracted to warm colors such as yellow and orange and red, and this is purple and red. But why is that? What about the cold colors like blue? What's the difference between these things? Well, that is for the next lesson in which we're going to learn about the color, temperature and the tint, and its psychology behind it.
5. White Balance and Tint: You're back. Yeah, listen up. I got this problem. You know the portrait that I was working on, I used the wrong color. You're green right now, and I'm trying to change the color, but I don't know how yet. I know even a master artists can make mistakes. That's why you can always learn new things. Let's hope that I can try and figure this out, how we can change the green color to something else using the lumetri. Until then, let's continue with the class. Let's have a look at this color wheel right here, which we're going to see more often throughout this class. On one side we can find orange colors, yellow, reddish, orange colors and on the opposite side of that, we can find the blue color, the tiles, the science. This range right here is called the color temperature. We can also find the color temperature back in our camera where we have to sets the color temperature in a kelvin value. Now, I'm not going to dive too much into those camera's settings because they got a different course about videography. But what I do want you to know is that light has a specific color. When going outside during an evening when the sun is very low, we get very orange colors from a sunsets. But when it's a cloudy day or during the nights, we talk about the blue colors. When looking at a fireplace that also has very orange colors, and when talking about these orange lights, we talk about the warm colors. On the opposite sides, we talk about colds colors and that's where the name temperature comes from. There we already get some philosophy behind the different colors. The color temperature is a natural color range, but we also have an artificial color range, which is mostly referred to as the tints. On one side, we can find the green colors and on the other side are to magentas. Green is something artificial like fluorescent lights, like a laboratory. These are colors that we usually don't see coming back unless there's a very good reason for it. Inside lumetri and we've seen that before under the basic correction tab, we can also find that temperature and tint slider control. When a shot is for example too warm like this, we can still live with that or when it is too cold, we can still accept that. But let me just reset this value. When a shot is starting to look green, it's starting to look ugly. That is because this is an artificial color. It's not natural, and the same thing goes for magenta, that is definitely something that we would like to avoid. Now, when you shot something with a wrong color or the temperature, we can fix that in here with these controls, we can make a shot warmer, for example. When the shot initially was too colds or when it is too green, we can add some magenta in there. Every camera has that, we're shooting this class right here on the red digital cinema camera and that sensor for some reason is picking up too much green. With every shoot that we do, we have to add a little bit of magenta into that. To make things easier we also have a white balance selector. The white balance means that we're going to pick a point that should be absolute white. No other color tint should be on that plane. Let me just state that color picker, and I'm going to select the white sweater of this girl, click and that's it. As you can see, lumetri has automatically fixed my shots. We now have a little bit more blue into the shot and also a little bit magenta, which I was expecting. Now, personally I'm not a huge fan of such a clean shot. You can also see that in my paintings, I always add a personal touch in there. That's also why I'm a master artists. I like a little bit of warm to my shot, so I'm just going to increase my temperature a tiny bit more like that, but it is a good start. If you're not sure what to do, you can start off with the white balance selector and it's already going to fix the tint for you and after that, you can steer a little bit extra with the white balance control. You could bump up the temperature like so. But that will create a new issue. As you can see, that orange warm color now sits in every tone of the shots, it sits in the shadows, in the mid tones, the highlights, it's everywhere. It's making your shot look flat and cheap. What you want to make sure is always that your black seemed to be black and your white seemed to be whites. Which is one of the main differences between a professional colorist and someone who has just started out with art classes. I'm going to reset this value right here, and I'm going to go to the color wheels and match tap. This tool right here is the most used to create a certain look, like the action look or romantic look. Romanticism, you can see that back a lots of my paintings or maybe you want to go for the sci-fi look. You can do that all with this tool right here, the color wheels and match. But that my dear students is for the next lesson.
6. The Color Wheels: You know, I've been giving art classes for over 500 years now. I've had people in my class such as Pablo Picasso. Leonardo Da Vinci was also one of my students, and Van Gogh , I miss you man. Look what became of those people. They are masters of Lumetri. Thanks to my lessons. Now you're in my class, just think about that. We're working again on the shot of the two beautiful girls and our idea is to make this shot warmer. In the previous lesson, we have seen that we can do that from the Basic Correction tab and then just increasing the temperature like so. But as you can see, everything now has that orange tint. So I'm going to reset this and go to Color Wheels & Match. From here, we can also push a certain color into the shots but we also have the choice where we would like to push that in, such as the Shadows, the Midtones or the Highlights. The mid tone is a great way to start if you want to get an overall color tint over your shots. So let's make this warmer using the color wheel. So let's push into the orange tint. Something like this would do. Now already our shot is going to get a different look than even when we would use the temperature Slider, and we can compare that with the second shot that I had in my timeline right here, from which we have changed to color temperature. We've pumped that up. Now look at the sweater that the girl is wearing, which should be white. With the color temperature increased, that shirt is now also orange, but with the color temperature increased using the Color Wheels, her shirt is still kind of white, which is because we've only added orange from the mid tones. Now in my opinion, the Midtones does act too much on the overall image. So what you can always do is add the opposite color, which is blue, into the shadows. Not too much, a tiny bits. Keep an eye out on shadows or black objects such as the sweater that the second girl is wearing. We're not aiming to make that black pure black. We want to make it seem like it's black. The same thing goes for the highlights. If you believe that her sweater should be even more white, well then add also the opposite color in there, which is cyan blue, like this. Now when we compare these two shirts next to each other, you can see very well the big difference between them. In here, those two shirts are both very orange. While in the first shots, these two appear to be more natural, while the overall look of the image is still warm. So the moral of the story, only use the Temperature Slider if you want to make a minor adjustments. For extreme adjustments like we're doing right here, try to use the Color Wheels for that as you can steer a lot more into the Shadows, the Midtones and to Highlight separately. All right, I'm going to reset the entire Lumetri effects right here on top and starts from a blank page. I want to show you the most popular color grading technique which is called the Teal and Orange look. It has been used in lots of action films such as The Transformers and many other Hollywood films because it just works. From your previous lesson, we've learned that warm and orange colors is something that we feel attracted to, and cold and blue colors, not so much. We think about the dark with blue colors, the nights, black, shadows, and when looking at the Color Wheels, we also have this shadows right here. So what we're going to do right now is push a little bit of blue or teal into the shadows. Let's do that. Don't mind the overall image just yet. Only focus here on the shirt of the girl on the left side. Just push in some teal in there, like so. Now for the Midtones, we're going to do the opposite. We're going to push that warm orange tint in there. Like I've mentioned before, are usually the skin tones. As we're doing that, you can see that we're pulling the image back straight,. It's not that blue anymore, it's becoming more natural again. But I also noticed that my blue is now gone. So I'm going to push in some more blue or teal into the shadows. With color grading, you'll always have to go back and forward to adjust one thing and then you adjust the other thing and look at your image and see what it does. Something like this would do. Finally, I'm going to add some more contrast in my shirts, which I can do with these Sliders. But before I do that, let's open up to Lumetric scopes again. Today I can see how much contrast that I can add in my shirts. I'm going to pull down the shadows from this Slider right here. This makes my shadows a lot deeper. Now basically, this right here is the same control as we can find back within the Basic Correction tab. However, the one from the Color Wheels, this Slider right here, is more the shadows and the blacks combined. So even though it's the same control and yes, it does the same thing, it's sometimes quicker to pull on that slider because it works just a little bit different and the same thing goes for your highlights in the Color Wheels. Pulling this one up is going to increase the whites and the highlights together a bit more. There we go. What we end up with right now is actually a very rich contrast image. That is because we've added blue into the shadows and orange into the Midtones, which are both opposite colors, but also two colors in contrast. Let's do a quick comparison. I'm going to go to my Effects Controls and locate Lumetri Color, which is the color grading effects that we've just created right here from Lumetri panel. I'm going to copy this by right-clicking and say "Copy". You can also use a short key suggests CTRL or COMMAND C to copy that effect. Then I'm going to move over to my second clip here in the timeline, and from that one, I'm going to delete the Lumetri color effects, and I will paste the Lumetri effect that I've just created previously. So now we end up with two of the exact same shots. However, from his second one, I'm going to reset the Color Wheels, for the Shadows and for the Midtones. So this means that they have the exact same contrast because I have not reset it to the exposure for the Shadows and the highlights, and even though this is a beautiful natural shot, now when looking back at the previous shot, this one just seems to have more contrast because we've added the opposite or the contrast colors in there. Now, here's a little bonus tip that I have for you students. If you go to your program monitors toolbar right here with all of the buttons, we can find a button that says "Comparison View". Clicking on that actually gives you a tool to compare two clips next to each other. There are different ways to compare this. For example, just have them side by side, we can have a vertical split screen or a horizontal split screen. Let's set them side by side for a moment. Here on the left we've got a play hats to control which image we want to see on the left side, and with just your normal play hats and the timeline, we can scrub further to which image or which shots we want to see on the right sides. Here you can see a beautiful difference between the two color corrected shots. So even though they have the exact same contrast, this one feels more rich in contrast because there is much more color difference going on in that shot. The blue and the shadows and the orange warm tints in the skin tones or the Midtones. We can also set it to split-screen to just see here what we're doing, and there we go. You have just created a masterpiece, something that you would like to put against your wall in your own little art gallery and you're probably thinking now, "Jordy, how come that all of your paintings are so beautiful?" Well, that is because on one day back in a summer of 1879, I once made such a great masterpiece, and I was so clever enough to save that as a preset so that I can use my masterpiece as a template for everything to come. That is something that I'm going to teach you in the next lesson.
7. LUT's and Looks: Once you clean out your pencils, your colors are gone. Luckily, with technology these days, such as Adobe Premiere Pro and Lumetri, we can save our colors for later use. There are a couple of ways we can do that. We've seen previously that whenever we adjust something from the Lumetri color window that a Lumetri color effect will be applied to the clip. Now this is an effect. This means that we can right-click on it and say "Save Preset". We can give that a name. For example, My Awesome Grading. Press "Okay". Then we can find this preset back within our Effects library. Presets. Right here it is. Let me just delete my Lumetri effects from clip number one. Now when I'm going to drag my preset onto this clip, that same Lumetri effect will now be applied to that clip. That is one way to save your specific look, but there's another way. We just call it saving it as a LUT. From the Lumetri panel on top, you can click these three lines, which is just the menu of the Lumetri panel and from there, we can export this as a.cube. We can also choose to export it as a.look, but a.look is very specific to Lumetri, which means that it is not universal, and it will not work everywhere, so we're just going to always choose for export to a.cube file. Let's do that. Browse to the folder where you would like to save this cube file. I actually have here in my project files a folder called LUT. I'm just going to save that in there. As you can see, I already have two cube files, which we'll get in to in a moment. Let's give this a name. Because this is a teal and orange look like we've seen in the previous lesson, let's also name it that way, Teal and Orange. Then just hit "Save". We have just created our own LUT. If you've been scouting the Internet, you will see everywhere where people are giving away their LUT packs or you can purchase LUT packs. Well, this is basically what a LUT is. Those people have curated a specific style and are now sharing them with the online world. Because we've saved it, I'm going to delete my Lumetri Color effect from this clip. There are two places where we can insert a LUT into Lumetri. The first one is from the Basic Correction tab. We got Input LUT right here. The second one is from the Creative tab where we have a Look input. In a moment, we're going to see the difference between these two. For now, I just want to show my LUT in action. Let's just go here, from the Creative tab, open at the drop-down menu and say "Browse". From there, we can browse through our custom LUT, which is here in the LUT folder, Teal and Orange.cube. Select it and hit "Open". There we go. That same look that we've created before is now being added from this little drop-down menu right here. The LUT will not change any settings because if we go to the Color Wheels & Match, you will see that these are still at default value. Everything is based into this one little file right here, which is called our Teal and Orange LUT. There are two different kinds of LUTs. On one side, we can find the creative LUT like we've been creating right now, the Teal and Orange look, which is a specific look and specific color tone. On the other side, we can find the more technical LUTs. These are usually camera-specific. In my timeline right here, I've got Clip number four, which is again a beautiful girl. But you can see that this shot looks very different than what we used to work with. It is super flat. This right here is called a log image, which is essentially just a very flat image. You get almost no colors and almost no contrast. But that has a very big upside because it means that we also have lots of detail. Right here in the shadows down below, because it is so flat, we have detail in there. The same goes for the sky behind the girl, which is very bright. But because it's so flat, we still have detail in it. Every camera brand has their own little flavor of log. Sony cameras have their famous S-Log. We've got S-Log2, S-Log3. Panasonic cameras have something called V-Log. Canon cameras have C-Log. What I'm working with here is a RED cinema camera. That RED has a RED-Log. We could start draining from scratch on this very flat image, but we could also choose to start working with a technical LUT, a LUT that was specifically made for these shots. Those technical LUTs can always be found on the official website. Just as an example, on Google, I've searched for the Sony S-Log to rec 709 LUT. I came on the official website and here on the bottom, you can see that we actually have the S-Log2 and S-Log3 Rec. 709 LUT, which we can download here for free. I don't want to go too deep in this technical stuff. The only thing that you have to remember is that Rec. 709 is a very commonly-used color space. Let's get back to Premiere Pro. This time, let's just go to the Basic Correction tab and choose for Input LUT. Click on the drop-down menu and choose "[Custom]" or "Browse". It doesn't really matter. From here, I'm going to locate my LUT folder. What I have right here is a Rec. 709 LUT. This one here is very specific to this shot to my camera, which is the RED digital cinema camera. Select that and hit "Open". There we go. What this LUT is going to do is just pull the contrast and the colors to that Rec. 709 color space, which makes the shot appear as a normal shot. There's no specific look going on it's just going to make sure that we get an as natural as possible shot. Now that we understand the difference between a Rec. 709 LUT and a creative look, what is the difference between the Input LUT right now and the Creative Look tab. Essentially, they do the exact same thing. But why are there two settings? Let me show you. Every tab right here sit in a specific order and there's a very good reason for that. When I add my LUT into the Basic Correction tab, my LUT has been applied first. Then after that, we can change the tone settings. Or we can also first change the Tone settings and then afterwards apply the LUT into the Creative tab. To demonstrate it better what's going on right here, I'm going to go back to my first clip here in the timeline. Let me just reset here on top the Lumetri effect so we can start from scratch. I'm going to go to my Basic Correction tab. From the Input LUT window, I'm going to go to Browse. This time I'm going to take this Cube file right here, which is a Hard Contrast LUT. By the way, guys, if you haven't read the class description yet, which you should always do before you start the class, you can actually download all of these LUTs and all of the video clips and project file and all from the Project tab or something here on Skillshare. From there you can find a download button. Let me just select the Hard Contrast.cube and hit "Open". We've got a huge contrast right now, but that is just for an example purpose. As you can see, the blouse of the girl and also in her face is completely blown out. It's overexposed. But in reality, the original clip is not overexposed. That means that the information is still there. This means that we could actually pull down the highlights. Let's try and do that. It doesn't do much. Let's try and pull down the whites as well. Let's try and pull the exposure down. It seems like we can't really fix this anymore. Look what's happening to her skin right here. Because we have applied that Hard Contrast LUT, first, we cannot really recover anything anymore from the source because the Hard Contrast has kind of changed its source. So let's do the opposite right now. I'm going to reset Lumetri again. This time, I'm going to go to my Creative tab. Go into my Look, say "[Custom]" and selected "Hard Contrast". It's going to do the exact same thing, but check this out. I'm going to go to my Basic Correction tab and this time decrease the exposure. I can also decrease the highlights. Look at that. I'm completely recovering the blown out highlights. That is because even though the LUTs in the Creative tab is clipping the exposure, it is not under source. I can still work before the LUT on the source and recover the image. That is what the big difference is between these two input fields, just the order of where you're going to apply your LUT. Later in this class, we're also going to fix certain color grading issues. In there, you'll also see that order is going to be very important. So we're going to see this more often throughout this class. Does that mean that we should never use the Input LUT from the Basic Correction tab? Essentially, yes, at least in my opinion. I barely use the Input LUT for this exact reason. However, when you would like to apply two LUTs to a clip, which will happen in more advanced color grading, then you either have to apply to Lumetri color effects, which we'll get into later, or you can use the Input LUT and at the same time also use the Look from the Creative tab. I'm going to reset my Lumetri color here again and go to my Basic Correction tab. In my Input LUT right here, you can see that I have installed a few custom LUTs. Let's have these LUTs just do something very minor. For example, this one right here. As you can see, it has just made the shot a little bit more flat. It's going to do a very minor adjustment. Because of that, I know that my shot will never be under or overexposed. It's just going to do a minor adjustment, like adding a little bit more roll-off or maybe changing the hue of the Rec. a tiny bit, and that's it. One last thing that I want to show you all is under the Creative tab, whenever you're going to choose a specific look, and by the way, you can find these all over the internet. If you were to search for LUTs free download or something, you will find specific LUTs. You can see all as well that I have also downloaded a few in here. Let's just pick out something like CineSpace, which we all have by default in the installation of Premiere, it's going to add a specific look to our shots. On the bottom right here, we can find an intensity slider, which means that we can make the intensity of that LUT harder or softer, something that we also don't get under the Basic Correction tab. We can also swap through the different LUTs that we have installed by clicking here in the preview window and see what we get. For example, I like this one a lot, then I can just click on it and it will be applied. I can increase the intensity of that LUT or decrease that again. You can see we get lots of more flexibility. On the bottom here, we even get some more options like adding Faded Film, which is going to make the shadows a little bit milky, that typical film look. We also get Sharpen. If you want to add more sharpness, to your shot, you can do that from here. Then we've got a Vibrance and Saturation control as well. But that my dear students is for the next lesson. Thanks for watching.
8. Saturation vs Vibrance: There's one thing that always bothers me while I'm painting. That is the saturation of the colors. They're always driving me nuts. That's why in this lesson, I want to have a look at vibrance and saturation and how we can manipulate that. Within lumetri we've got a few saturation sliders, such as here in the basic correction tab. You also have one here in the creative tab, but also a vibrance slider. We've also seen previously in this lesson, whenever we're going to add some more contrast in our shots, also, the colors will be more saturated, but how saturated are in those colors and what can we do with saturation? How far is too much saturation? What is too less situation? Well, for that, we're again going to work with a measurement tool, this time, the vectorscope. Right-click in your "Lumetri Scopes" window and choose "Vectorscope". There are two kinds of vectors scopes, the HLS and the YUV. We're always going to work with the YUV is that as the most broadly used and it also has a few extra options, so select that one. For now I'm also going to disable the waveform right here, as we don't need that. This here just represents the color wheel, like we've seen previously. To highlight in the middle represents the colors. The more day peak to a certain color values such as this one right here to the reds, the more saturated that color is. The reds can be found back in skin tones through her lips but definitely also here in her skirts. No, why did we increase the saturation slider, you'll also see that the highlights will be more pushed out outwards. Colors will be too saturated if they will go over these lines right here. In other words, your saturation is right for broadcast, for television. For most of us, that's probably not going to be the case as we are not working for television. However, it's always good to follow this rule because after all, too saturated colors don't really look nice unless you have a very good reason for that. Let's reset the saturation value back. We see that the colors now are more pushing towards reds, orange, yellow. But if we're going to shift the curves, for example, with a temperature slider, you will also see that that highlights will be pushed over to the other side. The same thing goes with a tint. Pushing it to magenta will push all highlight more here to the magenta sites and as well with the green. So far we've been looking at the entire image. But let's say now that we want to have to look at her blouse, how white is her blouse actually? Well, to do that, I'm going to head over to the "Effects Controls" and for my "Opacity" property right here, take the pen tool, click on that, and I'm going to draw a mask around her blouse, like so. Then go back to my "Lumetri Scopes", and right now I see that your blouse is a little bit too much yellow. Of course, too much, that depends. Previously, in this class have also talked about that I don't really like images that look too clean. If I would take the white balance selector and pick out her blouse here to be pure white. You can see here in a vectorscope at the highlight is being pushed to the inside. This means that lumetri will try to automatically make her blouse pure white, which in theory is correct. In my opinion, it's a bit too clean. Going back to your "Effects Controls" and just disabling the opacity for a moment. You can also disable your mask and so you can see the entire shots. Or of course, afterwards, you can delete your mask. Creating such masks is something that I do very often that way I understand better which saturation, which color, which level a certain area has in my shots. Again, something that we're going to see more throughout this class. Let's go back to the "Lumetri Scopes" because if we go down here in our "Creative" tab, you'll also find a vibrant slider. At first glance, the vibrant seems to do the same thing as saturation. Its increases the saturation of the color, so we're decreases that. Well, here's how the vibrance and saturation are different. What saturation will do is always push all of the colors more or saturates them less, with vibrance, it's going to try to level out the different colors. If the blue tone is not a saturated as the red tone in this example is going to try to push the blue tone first and then also start pushing the red tone to evenly spread the saturation and bring the saturation of the different colors closer together. Let me show that to you. As I increase the saturation right here, you can see that the shape of that highlights still remains the same. It's pushing out the colors, but now let me just reset the saturation and let me just increase the vibrance. As you can see here now, the shape is changing. We're getting more highlight towards the blue sites, reds and yellow and all is also being more saturated, but not as much as the blue. Very often when you think that some colors are already enough saturated, you can then increase the vibrance. For example, I think that her skirt is already enough saturated, but I do, would like to add colors to stand out a bit more then I can just simply increase the vibrance like so. Sometimes you could use both of them pulling down the overall saturation of all the colors at the same time and then increasing the vibrance to bring them back together like so. They're looking at the before and after. We can see that the shade is way more alive. It's more vivid, but I was having that red channeled be oversaturated, or pulling more on the other colors. That my dear students is the difference between saturation and vibrance. You'd be working now with the vectorscope later in this class, we're going to create masks more in our shots so that we can highlight specific areas and in the shots and manipulate those colors to something that we specifically want to. That just was a very complicated sentence. But things will go clear. No, things will get clear. Oh boy, things will get cleared. Furthermore, throughout this class, thanks for watching.
9. Color Correction vs Color Grading: As an artist, it is super important to always stay hydrated. Let's get started. In this lesson, I'm going to show you guys the difference between color correction and color grading. What I have right here is under beautiful shot of a beautiful girl. But the shot itself is actually not that beautiful. It needs to be corrected first, that is what color correction means. Let's do that quickly because by now we know how to do that. Well, looking at the waveform in the laboratory scopes, we know that this shot is a little bit too overexposed. I'm going to decrease the exposure like so. Now, because the highlights and to whites are smushed together, which I can also see right here, I'm going to separate them a bit more, creating a bit more contrast between them. That's why I'm going to pool here on the whites like so, just pull them up like that. Next, I'm also going to decrease the shadows, add a little bit more overall contrast and see they still have some room here down below with my shadows. I'm also going to pull down the blacks. You don't always have to take the entire range going from 0-100, because if you do then you're losing detail. I'm going to stick to just underneath 10 percent and right here just above the 90 percent, and then comes to color temperature. We can say it right off the bat that this shot is way too cold. There's too much blue in this shot. Like we have previously seen we are not going to touch the temperature slider because if we do, you will see that we're just pushing orange into the overall shots. The temperature slider is good for minor adjustments, but not for extreme adjustments like this. Let me just reset that again and we're going to hop over to the color wheels over here. Because in here we can add only orange into the midtone. Let's do that. Let's push a little bit of orange into the mid tones and try to look at the shot while we're doing this to make it warmer like so. As I'm doing this, I do also find out that my shadow seem to be a bits to warm as well. I'm going to push in the opposite color, blue, which is a tiny bit like so and that's it we have now color corrected this shot. Looking at the before and after here, it looks a lot better of course. With color correction you're not going to add a specific emotion or color tone into your shots. Now you're just going to correct it so that it looks natural, a certain basis from which you can start. Sometimes you only want to have that, a color correction, where everything looks natural, usually news items and stuff like that just have a color correction. But when you're going to make film, you would add a specific emotion, a certain feeling in your colors as well and then we speak about a color grading. Now, there are two ways that you can add a color grading onto your shots. The first one is by just continue to work in geometric. We've done our color correction right now and now I choose to go back to my basic direction tab, because for my color grading, I might want to have a more dels shot. I'm going to decrease the exposure even more like so and I like to have a bigger contrast like this. For my color wheels, I'm going to choose to add a little bit of green into the shadows because maybe I'm creating this horror film. Here is now my color grading. This is my personal flavor that I've added in to the shots. But what I did do now is I broke my color correction because I've worked further on my correction. It's always a bad thing. It's one way to work but know that you are breaking your correction. Here's what I'm going to do. I'm going to press Control Z a couple of times to undo my action and go back to my just color corrected shots. Inside the effects controls panel you can see that a yellow metric color effect has been added to that clip. On a top right here, we have a drop-down menu. If you click on it, we've got a few options. We can say add a newly metric color effect, rename it or delete, clear in other words. For starters, I'm going to rename the occurrence of the metric color effects and I'm going to name it, color correction, hit Okay. You can see also here in your effects controls that this name has been added to this effects and now I'm going to see it from that same drop-down menu at blue metric color effects. As you can see here in your affects controls, a newly metric color has been added. Also this I'm going to rename first before I star. Always make sure that you have an organized workspace. This here is going to be to color grading. Like we've seen previously with the input lots and to look right here, the order of effects is very important. The same thing goes here. We are first going to apply the color correction, and then we're going to apply the color grading. At all time you can switch between these two from the drop-down menu here on top and then selecting color correction or color grading. Within this color grading effect, we can start from scratch again, as you can see, all the controls here have been reset it. Now let's create a certain look. Let's go again for that green into the shadows, maybe make those shadows a lit bit deeper like so. I'm going to add a little bit the opposite site magenta and to skin tones, just to keep them natural. Daylight is get into the curves tap, maybe offset the red channel and the shadows like so. But I'm going to add them again into the highlights. I'm creating this cool look so you can do whatever you want in here. Maybe decrease the saturation but then bringing up the vibrant, just a tiny bit more, there we go. This is something that I like. This is my personal touch to it and when playing the cloth my colors come to life even more. Now the great thing about this workflow, having your color correction and scholar greeting separately is that we can go back to the effects controls and disable the color grading for a moment, to go back into the color correction here for the drop-down menu like so, and tweak that a bit further if needed. We can always go back and make changes. Something that we can't do if we're going to do to color correction and color grading and top or inside, outside the chatter. Another great use is when you're going to work with multiple clips like you're probably doing. Right here I've got clip number one as well, I'm going to drag that into my timeline like so. Now this clip is already looking natural. I don't have to do another color correction on it. I can simply go to clip number eight, my previous one. Take the color grading effect, hit Control C or Command C for the Mac users to copy that effects. Then go to clip number one here and paste that into the effects controls. There we go. Now we also get that same grading over to my second shot and that my dear students is a difference between color correction and color grading and also, we've seen a little bit of a workflow now. In the next lesson we are going to take a look at the color psychology and emotions behind each different color. It's going to be really interesting. Stay hydrated.
10. The Philosophy behind Color Grading: Sometimes, I like to just walk through my gallery, and think about how great of an artist that I am. Every painting has a certain emotion, a certain look and feeling. Look at these chickens, for example. It's beautiful. Those are my color gradings. But how do you choose which kind of color grading that you add to your videos? Which emotion do you have to go for? Well, that is something called color philosophy, or color psychology, like others name it. Anyways, which kind of colors do we mix? How do we make a grading? Let's have a look how we can do that, shall we? I've got two different clips in my timeline. One of them are these beautiful girls walking through a field, very dreamy, and then this shots right here, which is more coming from an action film. This is a hunter and he has now find his enemy, which is going to fight. Let's go back to that first clip. Once I add a color grading to these shots, that's just matches with the shot, that also tells a story. Because that is what color grading is all about. A certain tone, a certainty motion that adds to your story. Now, what I like to do is just start describing either this shot or the film that I'm working on. So here we just have two beautiful girls walking through a field. You've got a sunset and it is very dreamy. They're wearing bright clothes. It's very warm, it's inviting. I like to lay in the grass right here and see these girls passing by. A very nice summer day. So what I'm going to do is head straight to my color wheels and match. From the mid-tones, I'm just going to pump in lots of orange. The reason that I'm doing this is because orange are warm color. Something that we feel attracted to like we've seen previously in this class. It's also going to enhance that sunset a lot more in the backgrounds. As for the shadows, I'm going to add a little bit of the opposite in the wheel, tiny bit of blue. Not too much, just a tiny bit. And the reason for that is because I want to neutralize those shadows a bit more. I want to add a little bit of difference between the shadows and the mid-tones. I don't want everything to be orange. A good colorist will always make sure that there is dynamic in the shots. Now I don't want the shadows to appear blue. Absolutely not. They can be very warm, as well, because that is a tone that I want to go for, but not as much as the mid tones, which are the girls and the fields. Looking here at my Lumetri scope, I also don't want to go below that 10 percent. I see that I have a tiny bit of space, so I might want to go into the basic correction tab, and maybe just increase that contrast a tiny bit, like so. But I don't want to go below the 10 percent, because I want to keep that a little bit washed out. It's a bit more dreamy. As for the saturation, I'm going to pull that down because I don't want these colors to scream that much. I want this to be soft, gentle, warm, something that we feel attracted to. I want to lay in that field right now if I look at these colors. So what I've done right now is a very basic color grading that actually fits with this scene. This is something that we could work with. It fits. Looking at the before and after, you can see what a huge difference we got. Now let's have a look at the second shot in our timeline, where this guy here is going to fight his enemy. Just as an example, I'm going to select my previous clip here, and from the effects controls, copy that Lumetri effect and paste that on this shot right here. So now we've got the same grading, but in my opinion, this doesn't fit at all. We're creating a romantic, warm, dreamy look over something that should be hard, action. It should be a little bit more filthy. So just reset that Lumetri effect and describe your scene. What is this about? It is definitely cold. They're going to fight. There's going to be blood and it's going to be very hard, something that we don't feel attracted to. So let's start the color grading right now. Let's bring up the Lumetri scopes first, and I'm going to dive into the color wheels and match. For the mid-tones, this time, I'm going to pull in a little bit of blue in there. I'm going to make the overall scene look very cold. Then for his shadows, we could also pull blue in there. But like I previously mentioned, a good colorist will always make sure to add more dynamic in the shots by having different color tones. So if I would make this blue as well, then everything will start to become blue and you get just one color tone. So I'm going to do something different. I don't want the shadows to be warm. Absolutely not. So I'm not going to pull in the opposite color, but I am going to work with some of the artificial colors, magenta or green. This time, green would fit a lot better. Green sit more within that sci-fi look. It's very ugly. Green is ugly. It's artificial. So pull in some green into the shadows. Next step comes to contrast. I want this to be hard. A hard contrast because this is going to be a hard scene, as well. So this time, I might want to go much more beyond that 10 percent here and maybe lean a bit more towards set zero percent. So I'm going to go to my basic correction tab and just increase the contrast to start with like so. The absolute blacks can be a lot deeper, so let's pull that down, as well. The same thing goes for the whites here. I still got some room, so I'm going to increase that, as well, up to the 100 percent. Finally, I'm going to go back to my color wheels and match and also pull down the shadows from here. This slider right here is going to take up a larger range. So it's going to pull the exposure of the entire shot a little bit more down, make this darker. So this is starting to look more like an action film right now. Then finally, I want the saturation to scream a bit more, make it a little bit more vivid. So go to your creative tab, and instead of adding saturation because we already see that we've got lots of that in the red tones, the yellow tone, etc. That's why I'm going to increase the vibrance, and add a little bit more saturation into those blue and green tones. So there we go. This is something that could actually work. This could be a color grading for an action film. Let's have a look at the before and after. Look. What a big difference. Now with color correction, we can tell more whether something has been corrected well or not so good. With color grading, it's going to be harder. Grading is a very artistic process. It's something very personal. So that's why it's very hard to say to you, guys, this is how your grading should be done. Because every shot, every project, every film is different and everyone's opinion is also different about the arts of color grading. But with this simple technique by just describing your shot, what's going on, which kind of feeling that you get with the shots or with your film, and then bring that over to your grading right here is something that could help creating your own color philosophy. Color grading is all about experience. In the beginning, I want you to experiment. Just do something. Try to play around with these colors. See what you can do with Lumetri. And after you gain more experience, which could take years of practice, you will find out which color tones work better than others. One of the biggest mistakes that I often see coming back is that the color grading just doesn't fit with the scene, where people are going to add an action or horror color grading to a shot like this. That is of course, wrong. So think about the feeling that goes on, or the emotion in your shots and then apply a color grading to that, that fits with that. We've learned about the cold colors. We've learned about the warm colors. We've learned about deep contrast, soft contrast, and what that does. Also about saturation, how much the saturation have to be? More saturation means your shot is going to scream more, less saturation means that your shot is going to be a little bit calmer. So try to describe your project, as well, just like that and practice a lot and you'll be a fine artist just like me, one day, many years of practice. Because I am a master. I've got 500 years of experience.
11. Animate Colors and Tones: So far, your portrait painting is going very well. There's only one problem, it seems to be a little bit green. But no problem, I can fix that, but not now. I'm still trying to figure out how. Until then, let's have a look at a different issue that we're running into here. We're going to have to animate our color correction. Right here, I've got that clip in my timeline which we've color graded in the previous lesson, and although the color grading looks great because of the sunlight, we get a flare into the camera, and that is lifting up the shadows. But when this person right here is behind the tree, we don't get that flare, and of course, this person is now also under-exposed. So we get two different exposure levels within one shot, that means that we also have to animate our color correction. We can also see that back here in our wave form, that we've got lots of information here sticking on the bottom. This here is all underexposed, which is clearly this street right here and also the actor. In our vectorscope, we could also see a difference. When the shadow is underexposed, we got lot's of information here leaning towards the blue cyan side. But in the second part of the shots, you can see that more of the highlight now leans towards the red, yellow, and green sides. In order to make these first parts match better with the second part of the shots, we're going to have to animate both the exposure levels, as well as the colors. Let's head over to the effects controls rights here. Now, if you're familiar with Adobe Premiere Pro already, then any meeting will go very easy for you because essentially, it's the same as with any other effects. I'm going to go to my Effects Control so as to locate that lumetri color effect. From here, I'm going to open up the Color Wheels & Match, but also the Basic Correction. Because in those two settings, we have made some changes, and right in here we can find all the same controls that we also get with an elementary panel. You can also choose to do your color grading from here if you like so. As you can see, every property in here has the stopwatch, which means that we can animate that value. All right. Let's expand the Timeline View for that clip, which you can do by clicking here on this little triangle on top, there you go. We're going to make a little bit more room like so, and what I always want to have are my Lumetri Scopes while I am going to animate. So let's go to Lumetri Scopes right here. I'm just going to drag this window for a moment here to my project panel like so. Now we should get a nice view of all the tools that we need. Let's locate here, in the clips timeline, where the second part of the shot is taking place, which is right here. At this point, I'm going to create key frames for the current position and think about the controls which we are going to have to change. The blacks are very deep, so I'm going to create a stopwatch for the contrast, as well for the blacks right here. I'm going to scroll down and also create a key frame for my color wheels. There we go, here on top. Then let's go back in time, right as the sun is behind a tree. Now we can just change our color grading, but make sure that you only change those values of which we freed at that key frame for. Now, if you're unsure about certain values, you can always go back here and create multiple key frames starting points like so. You don't have to use them of course. Let's now go back to where the sunlight is behind the tree, like so. What I'm going to do here is for starters, increase the blacks, and we are getting some detail back in the shadows, which is great. I'm also taking a look here at my wave form. While I'm doing that, I'm going to scroll down because I know that I've also pumped down my shadows from here. Let's bring that a little bit up and take it loose from that zero percent. I might want to bring back down my blacks, we can hit the zero percent. We just want to make sure that it doesn't stick on it, something like this would do. We have to understand that the actors sit within the shadow, so that actor should be dark. We cannot make him very bright. If something sits in the shadow, it should be dark. This is already starting to look better in terms of exposure. The next thing that I want to change, is get rid of a little bit of blue within the shadow. So from the shadows control here, from the Color Wheels & Match, I'm just going to push a little bit more towards the red side, and the same thing goes here for the mid-tone. Which is get a little bit of blue outside of that shot, like so. Now, let's have a look. Let's play the clip and see how the animation works out. Isn't that awesome? We don't even notice that there's the animation going on. But there is, there's a huge difference. Here is the first part of that clip. Let me just increase the program monitor for a moment so that we can see that better, and then we animate our color grading to the second part as the flare comes in. It is that easy. This trick is also used very often when you walk with the camera from an outdoor scene to an indoor scene, where you actually go from daylight to warm tungsten lighting in sight, and your camera doesn't have that automatic white balance control set on. If your camera was set to an outdoor or white balance, then your shots will look way too orange when you get inside. So you're going to have to put in a little bit of blue as your camera man walks to the indoor. Every other property within elementary effect has such a stopwatch, which means that we can animate it. We have already been seeing lots of controls from the elementary panel, such as the basic correction tab, the Color Wheels & Match, even the creative tab. But there are still lots of functions within the elementary panel that we haven't touched yet. So in the next lesson, we are going to take a look at the U and saturation curves.
12. The Hue/Saturation Curves: Look, I did it! I finally figured out how I can change the green color. Check it out. See, this is more like it, this looks a lot more like you. You're not green? No, you're blue. Okay. There's still work to do, but we're coming close. That is a good thing. Let me show you guys now inside Adobe Premiere Pro and of course, inside lumetri, how we can alter and change colors just like my portrait, which are clip selected in the timeline. I'm going to head over to the curves staff. We've been in here before when we had a look at the RGB curves but now I'm just going to collapse this and expand the Hue Saturation Curves. With these curves, we can every time select a specific hue or a certain luma value, which we'll get into later. For now, let's focus on the hue. We're going to select a hue or a color, and then for this hue we're going to change its saturation. As an example, let's take this color picker here on the right side and select the girl's skirt. There you go, the red has been selected. We get three points. The middle one is the selection, which means that we can now change its saturation. We can pull it up and increase the saturation of that shirt. You can see that it gets a lot more vivid. Also here in the vector scope, you can see that the red channel is speaking more but you can also decrease that, even making it all the way black and white, completely taking out the color and this is actually very interesting to know. Let me just undo my action because we can also take the utter points here and pull that saturation all the way down which leaves us with only the red channel. For those of you have seen the film Sin City, this is what they've done. It is a film completely black and white only for the color red, which was still prominent. At all time, you can also double-click to reset that, of course, and you can also treat manual selections if you like. For example, I'm going to create a point right here and a point right there and everything in-between of that hue, I can pull up or I can pull down, make it less saturated. I can also create multiple points in there and create a curve just like I once. Let me just going to reset that back. Let's have a look at the next one, which is hue versus hue. We're going to first select a specific hue or a color. Let's take that skirt again and now we can change the color of that skirt. Take the middle point and move it up. For example, give that girl now a purple skirt. Now red is something that comes very close to skin tones and lips, for example so be careful in making exaggerated adjustments in there. Let me just zoom in right here, 150 percent on the girl's face here. You can see what it's doing to her lips. If I'm going to change the hue of that. It's also getting green and magenta as I changed hue. That's why you can also steer your middle point a little bit more to the left or to the right side. As you can see, moving it to the left side will not select your lips anymore. But the red will still be selected here from her skirt, which is now nicely purple. All right, let's reset that again and let's have a look at the next setting, which is now hue versus luma, which means we're going to select a hue and then change its luma from it. Again, take the color picker or you can also make a manual selection if you like. Let's pick her skirt again and now from here we can increase the brightness of her skirt or maybe decrease the brightness. This is actually a technique to make certain colors a bit deeper. For example, this is actually a lot better now with her skirt being a bit deeper red look at it before and the after. I think the after looks a little bit better. Another very interesting tool and finally are the last two. Right here we're not going to select a color, but we're going to select, first of all, a luma. On the right side of this curve, we can find the brighter areas and on the left side are the darker areas. Either we decrease the saturation from the middle point like this, we're actually selecting everything from our wave form above the 50 percent. We're just saying decrease that saturation. Of course this doesn't look so good and we can actually see later on in this class a really good use of the luma versus saturation curve. All right I'll just reset that back and let's have a look at the last one which is saturation versus saturation. On the left side, we can find the less saturated areas and on the right side, the more saturated areas. As an example, I'm going to pull down into less saturated areas and look at that in our vector scope. You can beautifully see the circle right here, which we've taken away. These are the less saturated areas. Doing the opposite, we're going to take away the more saturated areas. Now we also get this beautiful circle here in the vector scope because we know the more this highlight peaks outwards, the more saturated those areas are. Now this is a great way to bring all of your saturation levels closer together as we can see in the vector scope. This way we don't have any colors really peaking out and this is actually a great thing to do when you want to get that monotone feeling in your shots. Maybe you're making this psychological film where people are sent to a camp and all those people have to wear gray outfits and everyone is the same. Nobody can have emotions or there can't be any colors and while you still want to shoot in color, this kind of brings the saturation levels all together. We're all the same in group. Now think back about the color philosophy lesson. Just explain your film, the project that you're working on and see how you can use these technical tools to tell your emotion, your feeling and those are the hue and saturation curves and how we can use them inside the metric. In the next lesson we are going to go back to the more technical stuff and we're going to correct a bad shot and note that, we've already done that, but we're going to go to the next level. I'm going to show you more tools within the metric and how we can really make a bad shot look perfect.
13. Color Correcting Bad Footage: During this class, you've already seen how to fix a bad shot. In this lesson, we're going to take it a little step further and while we're going to correct a bad looking shot, we're going to pay attention to skin tones. What I've got right here is again, a shot that doesn't look good right at the back we know that there's way too much green in there. What did we can do is go to our basic correction tab and add some more of magenta into this shot to neutralize it. This is already better as we can see the highlights tend to get magenta as well and we get these weird stains in this girl's face. We have to add way too much magenta into our shot. There is a better way to do that. Going into the color wheels and match. While we were adding magenta to the shot, we can make a guess of how much magenta we should add and also which kind of magenta we want to add in there. Or we can also solo out the skin tones and to deal with correction specifically on that, let me just reset this right here. I'm going to go to my effects controls and from the opacity, I'm going to take my pen tool. We've seen as before as well. From here I'm just going to draw a shape over her forehead like that. We are selecting a piece of skin tone. Let me go to my elementary scopes. As we can see in the vector scope, the colors of the skin tones are leaning way too much towards the yellow and even a little bit towards the green sides. Skin tones should always lay on this line right here. Again, unless we have a very good reason why we shouldn't. Let's go to the color wheel for the mid tones and let's start pushing magenta into there. As you can see, that line right now is moving around. This is too much magenta. This right here is perfect. We are on that line right now. Go back to your effects controls and disable the opacity for a moment. Look at that. We've got perfect skin tone. Like we've seen previously in this class, you should always steer back a little bit in your shadows. Add a little bit of green back into there. That is because we don't want the overall shot to have the same tints. There we go, looking at the before and after now this shot looks great. It's color is corrected perfectly. Even though if you don't have a good calibrated monitor using the elementary scopes you can always make sure that your skin tones are on point. All right, let's have a look at the second shot that I have in my timeline right here as well. By default, I'm just going to disable the elementary color effects for a moment. This shot is natural, it's good. It was well exposed. The white balance is good, everything is correct. But I have created this teal and orange color grading onto it, which we can see here coming back and the color wheels and match their still blue in the shadows and lots of orange in the mid tones. While you are doing such a color grading, you are shifting or changing colors. Also here, make sure to go to your effects controls from the opacity take the pen tool and select a piece of skin tone. After that, go back to your elementary scope and check where those skin tones are at. Currently they're way to the right. From the mid tones, I'm going to pull this a little bit back to the green side, to the yellow side and make sure that my skin tone is laid on that line right here. Now we can disable the opacity back and the skin tone should be perfect. Right now we've got a color grading that both shift the colors but also made sure that we still retain those natural skin tones. Super Important guys and that my dear students is how we can fix bad shots, but also color grading issues. In the next lesson, we're going to build a little bit further on those color grading issues and see how we can work with a secondary color correction.
14. Secondary Corrections: Hi, you're back. Welcome to the class. I dropped my brush. Anyways, let's continue here. What I've gotten on my timeline is a shot of again, the beautiful girl, because I'm very much into romanticism and I've created this teal and orange look on edge. You can see that here in my color reveals and match. But something that I have also been telling you guys is that you should make sure that your blacks are always black and your whites are always whites. That's why I want to go back to my curves and for my hue and saturation curves, I'm going to scroll all the way down. Because right here, I actually have a tool from which I can select the shadows and to draw all of the colors from there making the blacks black again and not blue. They can be blue in the shadows, but not in the the blacks. Now, what I'm going to do this here is select the last 5 percent or something. You will notice that nothing really much is happening and that is because of the order of effects like we've seen previously as well. We are first taking away saturation from the blacks and then we're going to add blue in there. That's really good. We first need to add blue to the shadows and to the blacks, and then take away the colors from it. I'm going to go back to my curves here and just reset what I've just done, because what I have to do is now actually create a second lumetri color effects, from the drop-down menu here on top. I'm going to rename this second effect to Blue Fix, press "Okay". In my effects control, so you can now see that we got two lumetri effects. The first one, is my teal orange grading, and the second one, which is being applied on top of that is the blue fix. From here now, I can go to my curves, luma versus saturation, select here the darks and pull that down like so. Make sure to always have some gradation between that and right now, this is working. Just to show that better, I'm going to zoom in onto her jacket here and just see the before and after. We still remain that blue in the shadows that teal and orange look, but the absolute blacks definitely, you can see that here well in her boots here, which are absolute black. We are removing that ugly bluish glow in there, which shouldn't be in the blacks. Keep this in mind whenever you are going to push a certain color or hue into the shadows. Now, there is also a second way to fix this issue, and that is through an HSL secondary correction. For that, we don't need two lumetri effects. I'm just going to delete the second one and go back to my first lumetri color effect. I'm just going to collapse here the hue and saturation curves, because I want to see the HSL secondary tab right here. There are two steps in here. First of all, we are going to have to select something and there are three things that we can select; the hue, which is the color, the saturation, how much something is saturated or not, and finally, the lightness or brightness of the area that you want to select. For example, we can work only on the lightness and you just drag the selection a little bit open like that. The top one will increase the selection area or decrease it and the bottom one will make sure that we are feathering our selection to have a little bit more gradation in our selection. Next up, I'm going to move this to the left side to make sure that we're selecting the blacks, the darks like so. Maybe decrease that selection a tiny bit more, but make sure that we are feathering these enough like that. We're now telling from here, select all of the darks, the real blacks. But which blacks? That's something that we haven't defined yet. We also need to set the other two values. Well in this case, we can say all the saturation and all of the colors and look at that, right now we are actually seeing a selection. Whenever you are changing something in here, we aren't seeing our mask. You can also enable your masks from here and that way you can only see what your selection looks like and from here, I actually noticed that my lightness selection can be a little bit less like so. But maybe I do want to increase my feather tiny bit more. Looking good. Once you've got your selection in place, we can go to the refine tab. Right in here, we can denoise our selection. You can see that we got lots of individual pixels here by increasing that denoise slider. You can see that it merges more together, and the same thing goes for blur. You can also increase that to really get rid of those pixels. Once you are happy with your selection, we can deselect the mask again, of course. We have made our selection, we can now look at the correction and these are controls that we are all familiar with. The temperature, tint, contrast, sharpness, saturation, etc. We can also choose to work on three color wheels for the shadows, the mid tones and the highlights. Again, something that we know how to work with. But for now, that's not going to be necessary. We are only interested in the saturation slider. We can just decrease the saturation from here, making those shadows or those black, black again, but still remain that blue hue in the shadows. At all time you can of course, change your selection even after you've made your correction. Maybe select a little bit less of the shadows like this and looking at it before and after now, you can see that it looks a lot better. The blacks are not washed out anymore. Another technique that you could have done is actually push the opposite color into the blacks. I'll just show you that, I'm going to reset the saturation value and for my color wheel, just push in the opposite, which is orange Into the blacks, just like this. That way they also seem to appear more black, but this is of course, a lot harder to do, but it will neutralize those shadows as well, before and after. Look at that. The reason why this technique does work on the same lumetri effect is because the HSL secondary comes after the color wheels and match. If it would come before, it would also not work. That is why I like to fix such color grading issues more with HSL secondary. In my timeline, I've got a second clip because I want to show you something else. I'm going to go back to my HSL secondary and what I want to do is select the skin tones of this girl so that I can make her pop a bit more. I also want to add sharpness to this video, but I don't want to add sharpness to the blondes background, only to her face because we are looking at her face. That should be sharp, that should be popping out and it should be warm. From my HSL secondary, we are going to make our selection again first. What you can also do is take the color picker again, to select the skin tones and you start from there. As you can see, it will automatically create a selection. The hue, that's the color of the skin tones, the saturation level. This is how saturated the skin is and this is where the lightness level is at for her skin tones. I'm going to enable my mask right here to see how my selection actually looks. I can see that I can increase those values a bit more. What I'm going to do is just shuffle my hue little bit to the left and to the right and see if I can make a better selection. Maybe the hue is already good. Let's try now with the saturation. That's it, pretty well too. Maybe I can increase that just a tiny bit more. There we go. Then finally, let's have a look at the lightness. Here, I see that the selection could have been done better. I'm just going to increase that more and try to get as much as possible from the skin tones. Now, because she also has blondes here that will also be selected partially. We can never really get around that. You just try to get as much skin tone in here as possible. Maybe let's try to change the hue a little bit. Look at that. That way we are selecting less of her hair and more of her skin tones, looking great. Like always make sure to denoise that a tiny bit and blur your selection. Once you're done, deselect the mask. Right now we can go ahead and make the hock out of her, which is pretty funny but verbally something that you don't want to work with. Let me just reset that. One thing that I was saying was that I'd like to add more sharpness to her. Let me just increase that. Also I'm going to add a bit more contrast to her face, which will make her pop a little bit better. I'll see it before and after. Look at that, maybe make her face a little bit more warmer by just dragging on that temperature slider and what we can also do is go into the three-way color wheels, and from there decrease the shadows even more to add some more deeper blacks into her face. Definitely, her eyes will pop out way more because of that. We can fine tune that even more if you like so. Maybe increase the brightness of the highlights a bit more and let's have a look at the before and after. As you can see before, her skin tones look pretty dirt but because of this change, she is now much more saturated, much more alive. Let's play this back and see how that looks. Gorgeous. The moral of this story, girls stop using make-up, use lumetri, it's much better for your skin. Trust me. I'm a professional.
15. Masking and Tracking: Have I told you yet how proud I am? Look at it, we're almost through the entire class. You've learned the entire foundation about color correction, and color grading, and all the technical tools of Lumetri. Oh, except for one thing. I haven't really talked about vignettes on the bottom. You know what? That is some self-study material over there. Experiment with vignette and see what that does. Really it's not that complicated. I'll explain it quickly. Look at that. It creates a vignette. What I want to do with this shot is enhance the sky, and we could do that with the HSL Secondary by creating a selection of the sky. But I'm afraid that's going to be really hard to do because we've got lots of a white [inaudible] here, we got a tiny bit of saturated blue, and that's it. Lots of these colors are coming back in this pond as well, the same thing for these trees. We're going to do this with a different technique. We're going to do this with a mask. Let's head over to the effects controls, and from here you can see that I already have one Lumetri color effect applied that is because I've done some basic corrections on it. I'm going to create a second Lumetri effect, like this, and I'm going to rename that to Sky Enhancements. Press "Okay". Within the effects controls we can now see the two Lumetri effects. From the one on the bottom, the sky enhancement Lumetri color, I'm going to click here on the pen tool. You can also take one of the rectangle or circle presets if you like, so I usually like to work with the pen tool. With that, I'm just going to make my view a little bit smaller, 25 percent. I'm just going to draw a very rough shape, a mask over the sky just like that. Basically, what we're doing with this is creating a mask within that Lumetri effect. Any change that we're going to make now with that Lumetri to sky enhancement, will only be applied within that field, as you can see. Of course, we don't want to make sure that the mask is going to be visible, and that is why we'd also go into feather it a bunch. This way the colors will overflow into the rest. Let's now reset that back here because a green sky is not something that we like. A sky should be blue so that's why I might want to add a bit more contrast into that sky, make it more alive, or even increase the saturation. Look how beautiful that sky is now becoming. Seeing the before and the after, the sky is way more alive however, the rest of the shot still looks natural, like it was. Using this masking technique, we can pinpoint certain areas and only do a color correction on that area. But what now if we've got something moving, like this girl here, for example. I want to draw a mask around her face and only do a color correction on her face. I have been trying to use the HSL Secondary, but it's so hard to only select her skin tones. The HSL is selecting as well other parts of the shot. I'm going to have to create a mask around her face. At the moment, I've got no Lumetri effect yet applied on that clip, so I'm just going to do anything within Lumetri. You can always reset it afterwards, which will automatically apply the Lumetri color effect to it. Right now, I am going to choose to take that ellipse mask preset, and I'm going to drag that over to the girl's face. I might want to shrink that a little bit so that it fits around her face. Looking good. Of course, by default, the mask will not follow her. It's just sticking at the same point. What we're going to do is track that mask on her movements. There's an automatic tool which can be found underneath the mask, properties here mask paths. We can just start playing the mask forward. But before you do, make sure to first click on the tracking methods, and make sure your, that's preview is enabled. When that is enabled, and you're going to hit play, you will see in real-time, how good or how not so good the mask is following. If you notice that the mask is going wild, then hit stop, and adjust your mask, and then hit play again. You always want to make sure that your mask keeps following your subjects. But usually, things like faces go pretty well, and it's done. As you can see, the mask path has been automatically animated using keyframes, and the mask is beautifully following the beautiful girl. It's right now, just like before, we can start making changes now to her face. Maybe we want her to pop out a bit more, increased exposure, adding a bit more contrast into her face which will also automatically increase the saturation, like we've seen in the beginning of this class. It's going to make her eyes a bit deeper, which looks great. Of course, when clicking away so that we don't see the mask's path, we can clearly see that there's a mask going on. That is why again, we are going to feather this from the mask properties of bunch, something like that would do. Right now, we cannot see that there is a mask on her face but when playing this back, we do see that she's popping out great, and her skin tones are just so much more vivid. Let's have a look at the before and after. Before, after. Now when you are going to increase the feather of your mask, it's going to shrink inwards. If you believe that your mask should have been bigger, you can always increase the mask expansion. There we go. Now it's taking up a little bit more of that area around that mask. If you like, you can keep on creating masks like these. Let me just add another Lumetri effect in here, and I'm going to rename this to The Sky. I'm going to collapse the previous Lumetri effect, and from here, create a mask for a sky Lumetri color effect and to just go and to create this triangle here, but first, zoom out my clip a little bit. There we go. For this corner here, I'm just going to make that a little bit darker. That way, the viewer is being more attracted to the brighter subject in the middle. Also, move to add a little bit of blue into there. This looks perfect. Of course, like always, increase that feather, a little bit more dramatic this way. Let me just set that back to fit, and play the clip. Look how awesome this shot is turning out. With masks, we can select a specific area and change the colors and the exposure levels within. We can also let it move together with the talent or any other moving object, and make that subject pop out. Thank you so much for watching. We've actually gone through everything now. This is the basis, the foundation of color grading, and color correction inside Adobe Premiere Pro. But there is probably one more question that you're left with, and that is, Jordy, how do we deal with an entire project? How do we color grade that? You've until now, only been working on single clips. Well, no worries. I got that covered as well in my final lesson where I'm going to talk about the color correction and color grading workflow on an entire project.
16. A Color Correction/Grading Workflow: Take a look at this painting, it's a great example. I did not started out with the trees or this little house right here, no, I actually started out on this painting with the blue sky. I know you probably didn't saw that coming, but it is my workflow. It's a workflow which made this painting come to life. That is something that I wish to teach you today in this lesson, The Workflow. I've got a bunch of clips here in my timeline, all different shots, even a lock shot in there, also a very greeny shot. Every shot is going to need a different treatment. Although, I want to create a grading as well and bringing everything to a same look and feeling. Now a workflow is something very personal, there is not one workflow to rule them all. What I'm going to do, is just show you an example of how I work. There's also a workflow that I believe is very efficient and fast, however, over time, you'll probably develop your own workflow. Take this as just an example, one of the dozens of workflows that you could use. The first thing that I'm going to do is a color correction like we've seen previously in this class as well. Starting off with the first shot and let me open up the lumetri scope as well. You always want to have this open while you're color correcting or grading. I'm just going to do something very quick here at some contrast like this, and let's try not to go over the 90 percent here. I do want to increase my highlights a tiny bits, but I'm not going to go over that 90 percent. That is a rule that I'm going to work with from now on. Looking good, let's head over to the next one. Now this clip right here has been used three times in our edits. It's the same shot as you can see here. Clip 5. Also hear Clip 5, Clip 5, but we've just taken different parts out of Clip 5. There are two approaches now. One would be where we are going to correct this shot. Let's just quickly do something that's at some contrast, I'll go down to effects controls and copy my lumetri color effects and paste it here on the other two, like so and like so. But whenever I want to make an adjustment now I have to go back to either one of these clips, make my adjustment and a color correction. Then copy that same lumetri color effect. Again, go to the next one here, delete that old lumetri color effects based on new one in there, go to the last one, delete that and paste a new one in there as well. That is a ton of work and there's a workflow that could make this a lot easier. I'm just going to delete every single lumetri effect from those three clips. Whenever we're going to do a color correction, the lumetri effect will be applied on the clip We talk about it at the clip level, but we can also apply it on source level. In other words, we're going to work on the master and we can switch between the clip and the master with a tap here on top, clicking here on Master, we are now on the source of the clip. Make sure you first click on Master, and then we're going to do our color correction, and as you can see, the lumetri color effect has now been applied to the master clip. In the timeline, and we can find this little red line right here under the Fix button, which indicates that we have effects applied on the master. Because of that and the other clips, also that same lumetri effect is now plight as you can see. Right now it doesn't matter on which clip that you're working because we are working on the master. Let's further do color correctness. I'm going to go to my lumetri scopes in the meantime as well, decreased the exposure as we don't want to come over that 90 percent, I'm going to increase the shadows, tiny bits. Because the subject is a little bit underexposed. One restriction is whenever you're going to change a certain value, you won't see that life happening in your program monitor. You have to let go your mouse and then it will update that so it doesn't color grade as easy as on clipped level, of course. I'm happy with this. Let's continue now to the next clip here. This is a lock shots and we're going to have to apply that direct 709 LUT to it. Since it's a technical LUT, we could add it to the input from the basic correction tap. But like you've seen previously, it's always better to add. It's truly creative tap. Let's do it from here, browse, select LUT, and right here we've got direct 709 LUT, going back to my lumetri scopes, I'm just going to check whether everything sits here under the 90 percent. Let's go back to the basic correction tap, decreased exposure a tiny bits, and maybe bring down to blacks as well. There we go. The next one is old ready color corrected from the master. Let's hop over to the next one, the green shot, and we know what we have to do right here. Going into the color wheels and match, I'm going to add some magenta back in that shot, the opposite of green and because we want to make sure that my skin tones are correct from the effects controls, I'm going to take the Pen tool under the opacity and to draw a mask over her forehead, and now we can see here in lumetri scopes, we should aim the Midtones correction. A little bit more magenta in there. This is looking great. I already know that for the shadows, I can add a little bit of green bag in there, maybe steered back a little bit with the mid tones so that the highlights stays here on this line, and I think this is going to look good. Now, let's focus on the levels go into basic correction tap. Or we could also work maybe with the level controls of the color wheels. Let's pull the shadows down a tiny bits and also the highlights so that we won't go over that 90 percent. This is looking good. The next one is graded as well on the master, and then finally this one right here, also from the basic correction tap start by pushing down the exposure a bit, add some more contrast in there. Maybe that was too much exposure that I took down. This is looking good. A little bit more contrast from the shadows and little bit more contrast from the blacks that we are reaching that zero percent, which we can do, but we're not going to cross the 90 percent. Right now, all of these shots should be corrected now and they should have somehow the same look. This one does seem to have a bit too much saturation in my opinion. We can also see that coming back here into vector scope, it is speaking a lot more outwards as with the utter shots. The same thing goes with this one. Let's start with the first one. Just decreased the saturation a tiny bit. This is looking good. This one here then as well. Tiny bit back. Now, these shots should match a lot better. Of course, I am going fast over this because we've already seen this throughout this class. You could go more in detail with every clip by changing specific colors with the curves or with the HLS secondary, etc. But that is not what this class is about. This is about workflow. We've now done the color correction. Now, let's see how we can apply to color grading onto that. The color grading couldn't be done in two ways. Or we can add a new lumetri effects to every single clip. We could also go to the project panel right here, click on the new item button down below, and from there choose Adjustment Layer, click on it, a pop-up box will appear, just press OK, and that will add a new clip in your project panel. Drag this Adjustment Layer on top of your edits and trim that clip so that this as long as your edits, there's Adjustment Layer is a nothing layer. It won't do anything, it won't show anything, but we can't apply effects onto it. With that Adjustment Layer selected, I can actually now go into the lumetri, and let's say that I want everything darker, what I can then simply do is just decreased the exposure. Not only my first clip will be changed in exposure, but also all the rest as we can see. This is perfect. Let me just reset your exposure. Let's go into Creative tap, and from the Look right here, I'm going to click on Browse and I'm going to select my teal and orange LUT which we have created previously in this class, select it and hit Open. Right now, this teal and orange look is being applied to everything in a timeline, and do notice that we are getting is very hard contrast. What I'm going to do here is go into my basic correction tap and maybe increase the blacks a tiny bit or to shadows to bring back those details the way that I like to color correct or grade, it's always to make sure that I can go easily back to my grading or correction and adjust what I need. If I have to start copying and pasting and deleting lumetri effects, that means that I'm not working in an efficient workflow, an efficient workflow for me is where I can go back and change things easily. Working with this Adjustment Layer, means that I can also grade fast. I've applied a color grading over my entire edit super fast. This does mean that we've got the same settings going on for every single clip. That means that this clip might look good while another clip might not look as goods. My next step that I will do is go back into every individual clip and just check what I can do on that clip itself to make it match better with the rest in function of that grading that we have right now. The first one is looking okay, let's head over to the next one and right here I find that this shot is a little bit too cold. There's way too much blue in this shot, and that is because we just got more shadows because these girls here are in this shadow side. We've got the lights behind them. First of all, let's go to the Master. Effects controls master because we've got our grading going on right here. By the way, guys, a little bonus tip there. If you want to make it more clear which clips are master graded? Right-click on them, go to label, and just choose any other color in here, for example, magenta. Right now, those clips right here are highlighted with that color, and so I can more easily see which ones are master graded. Let's go back to Master, and then I'm going to go to my color wheels match and just push a little bit more orange into the shots, something like this would do looking good. The next one, there's a bit too much contrast going on. What I'm going to do here is go to my basic correction tap and just increase those shadows or actually want to remain the contrast, maybe increase the blacks a tiny bits. I want to keep the contrast there, so I'm only going to lift up the shadows, but keep my blacks down. That way, I'm also adding more brightness to the shot, specifically those hard contrast darks, looking better. The next one right here, I'm going to go here into my Color Wheels & Match because I do find that there is a bit too much blue going on here in the shadows. Maybe add a little bit more of the opposite like so. But overall, the shot is looking pretty good. The last one is pretty similar to the first one and actually match pretty well, and there we go. We have now color corrected and color graded our entire project. This workflow contains the first color correct all of your shots, some shots might be easier to color correct on the Master, they were going to apply an Adjustment Layer on top of everything, do our regrading on the Adjustment Layer and then go back into every individual clip and adjust where needed, because every clip is going to act differently on that grading. Let's save the project and export it out so that we can send it over to the clients or to YouTube or whatever work that you're doing. The one last thing or bonus tip that I want to give, is that whatever you're going to do presentations where you have one camera sitting there for an entire hour, and afterwards you're going to cut up that one shots into multiple clips, etc. Also there you definitely want to do a color correction on the Master. If you're going to color correct every single clip is going to be a big mess and you're going to lose a ton of time. Make sure to make use of that master color grading whenever a clip comes back multiple times in your timeline, and that's it. Congratulations. You've now gone through the entire foundation of color correction and color grading insights Premier Pro. This was the last and final lesson of this class. I really hope that you've enjoyed it, but stay tuned. There's one more video coming up after this, which is the conclusion video. But in there, I also got some assignments for you to just to help you on your path little bit further. Make sure to watch that as well.
17. Conclusion and Project: [MUSIC] Welcome to the last lesson or conclusion of this class and like I promised, if you did a good job, I would hang your portrait to the wall. Well, the nail is already in the wall and also you're portrait is finally done. Let's have a look at it. This is you. I figured that you're probably holding this huge pencil because it's an art class after all. You're probably making notes with a huge pencil, so this is probably you. I know you might think that this is not a real painting. Well it is, I mean to hyper-realism, even painted like the tape in here on the corners as well. This is all real. You've done such an amazing job student. It's really something to sit through an entire class and I hope that you've also been practicing during this class, as well. You've actually seen the entire foundation of color grading and color correction inside Adobe Premiere Pro using Lumetri right now. That is a huge step forward. Let me just put you to the wall right now. This is going to look so great here in my studio. Look at that. Oh, that actually fits very nice together with the other paintings. Really nice, really nice. Apart from you doing a great job, I have one last assignment for you. You will find under the tab your project or something here on Skillshare, a download button. From there, you can download all of the assets that I've been using throughout this class, all of the clips, all of the LUTs, the pictures, the project files, and everything, so that you can practice yourself, but also to make your own project. What I want you to do is use all of the clips through our 12 clips in total, make a video edit with that. It doesn't matter what it's about. You can add transitions in between them, you can add music to them, it doesn't matter. What I'm interested in is to see how you're colors and levels will eventually look. Try to match the skin tones, the color tones, the levels of every 12 shots. Then finally, you can add your own color grade to it. Render it out and publish it here on Skillshare, so that I can have a look at it and give you guys feedback. Of course, like I said in the introduction as well, if you have any other questions then let me know in the discussion down below, I'll be happy to help you further. Thank you so much for watching and I really hope that you've learned something new that can help you further on your creative adventure. Let's end the class now it's something that I always say at the end of my tutorial videos on YouTube, "Stay creative."
Jordy Vandeput, Filmmaker and Youtuber
