Understanding Color in Premiere Pro

1. Understanding color intro : Imagine if we can understand color, if we can look at an image or video and correct it so the colors are natural, where whites are actually white, correct? Exposure, hue and saturation create the mode of feel that you're looking for. That I'll tell a story. Well now you can welcome to understanding color. Alexa. What does Lumetri Color main. Here's something I found on the Internet. Trees come in many colors including green, brown, red, green, purple, but mostly green and brown. Hi, my name is Bill, and in this course we're not going to overwhelm you with too much technical on color. However, we need to go a little bit deeper and just blindly clicking on buttons. There's lots of programs out there that show you how to just use a software. Our aim is to make you understand color and take you through a sequence that allows you to understand the steps needed to create great video. This is a very practical class that will take you through on all aspects of color. We're going to be used in Adobe Premiere Pro. However, the principles will be the same. Whether you're using another software will cover what is white balance, why it's important? What's the Kelvin range? We're going to take a look and to train your eye to understand highlights, contrast, shadow, mid-tones, blacks and whites. We're also going to take a look at all the tools, vector scopes, histograms, curves, and auto balance. And we're going to go through color correction and color grading. And what's the difference anyway? Color correction will take you through overexposed video or underexposed. And color grading allows you to have a look or a specific field to the video that you're creating to create a mood or a story. But also take you through the steps or the process order that you should do to be able to manipulate your color correctly. By the end of this course, you'll have a good arsenal of tools and knowledge to add to your kit bag so that you can make great video. 2. Lets jump in: Hey, I wanted to give you a little taster what was coming up. I know we haven't done anything and you may know nothing about how to do this. But just follow along. In later video lessons, we're going to have you open up a project each time to practice along. In this one, just follow along. And so in the resources, somewhere in the description area, there is a place for you to download that video resources of the videos and pictures and things. Just unzip them, put them on your computer somewhere. And then in the video folder, look for a video clip called Rome. And this is what we're going to use just to show you a quick color grade and color correction to give you a little taste or what's going to come up. Don't worry that you don't understand anything because you'll get all the details and all the upcoming lessons. So let's jump into it. So I just want you to follow along. I know we haven't done anything yet. I just want you to follow along. I assume you know a little bit about adobe Premiere. Just follow along. And we will, it'll make much more sense as we move into each class. But I wanted to open Adobe Premiere. I wanted to say New Project. And then just give it any title, whatever you want here, and then save it to wherever you want to 2. So I'm going to save it right here to my J Drive. And then we'll say, okay, open. Now I want you to come down to the project area, double-click and navigate some way. You have gone to get the resource and project files that go along with this course. If you download the zip falls somewhere in the description area, you'll end up with this folder sequence here. One of them, so we have pictures. And what have you that one use with each project as we go through, go into the one that says video, and look for the one that says Rome and say Open. And what you're gonna do then is drag that over to the timeline. And then you should have this here. If you're in the edit in mode, we want to be in the color mode. If you don't see color mode up here, go to Window workspaces and color. And this should bring that up here. Now I want to be in the basic correction. First of all, this is all going to get explained later on. I know you haven't done anything yet. Just follow along with the can. And we want to go to Lumetri Scopes. If you don't see this. I want you to get a window and look for Lumetri Scopes here, make sure that's checked. If anything other than this comes on, if you have this or this or a bit of everything, I want you to go and right-click. Turn-off the vector scope. Right-click, turn-off, parade. The only one we want on is this one, the one that says wave, wave form, luma. If it looks like this, this wave form RGB, right-click can do waveform type luma. So this is how we should be right now. So let's go to Basic Correction panel and watch in luma scope over here. Let's take the black slider and just move it up a little bit. And this will all get explained later on. We're going to take the whites and we're going to move them up. We're going to take the shadows and we're going to drop this down just a little bit. I'm gonna take the highlights and move them up. And we're going to move the contrast up a little bit like this. The next thing we're gonna do is correct on white balance. By this is somewhere white in the sky. Click on the clouds and it'll affect the temperature. So if you come up to where it says fx here, if you click on that ones, they'll turn the color grading effect off. Take it again and it's on. So this is our original and this is where we are. We've done color correction. This is a very flat image that was shot on an S log or flat image camera. This will all be explained later. And we made it look more natural. And one of the things we can do here too, as we can raise the temperature of the whole thing right here. Just by warming it up. And now we can give this guy a little bit. Let's make the sky a little bit more blue. Let's go to Curves. Let's go to this hue versus SAT. Click on this Eyedropper once, click on the blue in the sky. And it wouldn't make these three dots. Grab the middle one, which is the color that you just picked, and then drag this up and it will make the sky blue. We want to just see this effect. Turn this on and off with this little check mark here. And we have a nice blue sky and a nice warm day. So back to our original picture. Looks like this. And I color correction looks like this. And they have it in about two minutes. We've color corrected some video. This is what we're going to get into coming up in the rest of this course. Just wanted you to have a little feeling of what you're going to be coming up against and when to take you through every single panel in this Crimea Lumetri Color panel. And a lot of practice with color grading and color correction. And let's move on and get into it. 3. Intro into cameras: So in this lesson we're going to talk about why do we need to do anything with white balance or Kelvin or anything like that as far as color goes. So most of the time you're going to have lots of different footage and it's all going to be from different sources. Unless you've gone in with your camera, such as mirrorless camera, DLSR is one you might have put it from this. You could have footage from a point and shoot such as this, like so or a lot of the time, everybody works off their phone. So this is where a lot of stuff and this gives you good video quality as well as images. I'd say 90 percent of people look at stuff on their phones or tablets. So the reason for this is if you get all these different images from different sources, all the different color ranges going to be different. Not all of the senses, they're going to be set the same. The human eye is really good at seeing natural color. So when you go inside the sky looks blue or overcast. When you come in and there's just candlelight or incandescent light or fluorescent tubes. Your eye adapts to that, so that's just natural. Then we have to do the same thing with cameras. So the sensor on a mirrorless camera may not be set exactly the same LSU match things such as a color range known as in units of calving, or a white balance. White balance, which we'll get into in another video, is where white looks white. It looks natural. There isn't the hue cast or blue tinge to the, to the scene or a green or magenta. It actually looks whites look white and it looks natural te ri, just like it did in real life. So this is the reason that we have to correct color and gray color in some instances to get everything can natural. And that's what's coming up next. 4. White bal & color temp intro: In this lesson, we're going to talk about white balance in camera, why you should do it, and why it's important. The trend nowadays, you hear all the time is we'll fix that in post. That's fine. But if you have multiple cameras, it's important to use a reference card, such as as white balance card here. And calibrate all the different senses for all the different cameras you might use. So that would give him a reference that all the whites and the colors which referenced from the white balance, We'll all be very similar. And we'll make your life a lot easier imposed to do color correction. To understand white balance, we need to understand color temperature. Ever wonder why your subjects turn a yellow and shoot in them indoors? Or even why they might have a blue cast to them. And the certain harsh light such as fluorescent tubes right inside and heavy overcast days. Understanding White Balance and color temperature and digital photography and videography is very important. Because setting it incorrectly will give you all sorts of troubles later on, such as different castes of color over the images, as well as making the skin tones look unrealistic. So what is color, temperature? Well, the human eye and the brain is really good at interpreting images and color. So if you take a white piece of paper, even though there's different colors in this room, you can still tell this is white. So if I took this out in direct sunlight, it would still look white to you. Where am I took it out? A night in the moonlight. It's still look white or an ABR, a dark room. Well, your camera sensor can't do that. We have to tell it was real light on the y's, for example, the white doors behind me. If the cameras lighting and cameras and subtler was using give off a yellow cast, then they would pick up a yellow light or red light. If there was red lights or blue lights that would pick up that cast. So we need some type of reference tool to tell the camera what is true white. And that's what we're going to talk about now. 5. Kelvin scale: Calvin is the standard for international thermodynamic temperature range. It was named after a British engineer called William Thompson, the first Byron Calvin, who created the Kelvin temperature scale. Kelvins follow the same increments as Celsius, although they're not written in degrees. And there is no negative scale. Lord Kelvin, he did a block of carbon at its lowest temperature. The block of carbon blow glowed a dim red. As the heat increased. The burn-in block change color from red to yellow to bright blue at its highest temperature. In photography and videography, the Kelvin range directly corresponds to the temperature of the burning carbon and the light that it produced. When you shoot in calving. You're manually adjusting the camera's white balance to match that of the Kelvin temperature in the room. By aligning these temperatures can produce the most accurate white balance for the imaging camera. Adjusting Calvin allows you to manually do what your brain automatically does in different lighting situations. As we said before, you see a white piece of paper is white. It doesn't matter whether the environment is a bright sunny day ed side, where you're inside and a candle lit room. Your brain will adapt automatically and see the paper is white. So let's take a look at this Kelvin scale. That was assigned a value of 5500, wouldn't match sunlight, direct sunlight with no clouds At midday when the sun was directly above you. So high noon, this is given a value of daylight at 5500 Kelvin. Anybody who is lower than that will give off a warmer tone. Any values higher than that, or give off a cooler tone. This doesn't matter whether it's indoors and you're looking at incandescent bulbs or candlelight, or even fluorescent tubes, such as these guys here. Or the longer chains you'll see in hospitals and some older kitchen lighting systems too. If you go into the other side of it, the higher the value, the cooler the image looks. And that can be if your right side that will be cloudy days or even moonlight or overcast. Our jobs is videographers is two when we walk into a room and check out the room temperature. Is it more candle lit or incandescent light which is an orange tone? Or is it a cool light or a mixture of everything? Same when you're outside, if you're going out at sunset or sunrise, is it more on a cloudy day, full sun overcast? All these will cast different temperatures. And your goal is to match your camera to the temperature range on the Kelvin scale. So only then will the camera know what true white balances and that will affect the different color range. So let's take a look at the Calvin range and see where each of these settings fall in the range. At the low end of the scale, we have candlelight. This is around 1 thousand to 2 thousand kelvin and some warm light, and it's on the lower end of the spectrum. Our next light is around 2500 to 3500. And it's a tungsten bulb that you would get in, have sold varieties. Between 3000 to 4000 is sunrise and sunset. This is also known as golden Iowa. And photographers and videographers around the world look for this lighting because it's very flattering and looks amazing. I'm very cinematic. Next we have fluorescent tubes arranged from 4000 to 5000 Kelvin. Then only on white tends to them, but they can come in different tome such as warm white, cool white, or even daylight white. These are mostly used in office buildings, hospitals, things like bad doctors waiting rooms. At 5000 to 6500 Kelvin is daylight with clear sky. So if the sun's right above you, there's no clouds. This is known around 5000, 5500 or 5600 Kelvin. At 6500, 28 thousand Kelvin is moderately overcast skies. This also gives you a more bluish tone. And our last one is a 1000 to 10000. That's where you're under shade. What's really heavy overcast sky or even your out under the moonlight. 6. Kelvin summary : So to summarize, what does all this mean? So here we have the picture of the Kelvin scale. The goal of auto white balance is to keep everything neutral. Daylight, which we know is 5500 around this area here. So if you have a picture or you're taking video in a room or a side that has the lowest warm colors. Your camera. We use auto white balance, will try to add blue to this to increase it so that white, it looks in this area here. And vice versa. If you have an image or an area that has very blue lights to it was very clarity. Your camera sensor will add warm tones to that with the goal of always trying to get whites white. So in our picture here, we know that this is pretty much warm image. It's candle lit, so it's got quite a warm tone to it. Now if you use your auto balance on this picture and your camera to white auto white balance. What it's going to try to do is add blue tones to it to try to get things white like this paper or his shirt is true white to what the sensor reads. And this may not be the same as what we see in real life. So here we can see the same picture and we can take a white balance selector tool. And then we're going to pick what is white in the picture. So if you see here this tone is more on the warm tone. And then we're going to say this is true white here. Let's take part of his collar and you can see what it did was it went more to the blue side. So it's calculating what white is because we chose us here when your camera will do the same thing. But you can see if you have a really warm tone here. Your camera and you use an auto white balance is going to add blue. So head to try to get the white and the picture. So whatever it thinks is white. So here's another image that has a blue tone to add a blue cast. There isn't anything whiting here for us to actually get a good white and a bit. But again, if we were using our camera to shoot a picture or video, it's on auto white balance. The camera will try to get rid of some of that blue zone by add-in warmth into it. So not make it as blue and try to keep it more neutral color. So that's what the whole Kelvin ranges during. 8. In Camera WB introuction: He information guy. How do I set the white balance and my camera? That's easily find some white. And then you check in. So in this section we are talking about how do you calibrate your camera for white balance? So we're going to use a few things here. One of the things that we could use is that they sell on Amazon or other places online or these little lanyard colored cards and some white and 18 percent gray and a black. Now you'll notice, forget this up closer. We can zoom in. You'll also notice on the cart itself that there's a little target and some other diagrams on that. This is her focus. So you can use that to make sure you're on focus because your camera need something to focus, to just use the backside. It's a plane card. They might have a little bit of effort focusing on to that. So that's the one thing that can be used. And they're portable and you can use it for calibration of your cameras. The next thing that we're going to use is very popular. A folds away in a case like this. And it's 18 percent card, it will unfold. Just like this. Has a target on it. And this is what we'll see in the video. And also on the other side, there's a white side. It's the white side, an 18 percent gray. So we're going to use the gray side to set our white bonds. This is coming up in the video as well. The last thing you'll see in the video, as far as calibration is something called an expo disk. This is actually quite a good idea for a simple, It's sort of like a filter that you just put onto the camera. There's two sides to this. One is a white side that has a wine side to the other side. Looks like a, a mirrored disk. It's actually like objects, like a little array of objects. So let's see if I can get a better image of that for you. My right. That okay. And on the other side, we have the white side. And the white side faces the lens. So this face is away from the camera. And you basically just put this on your camera. And then you do your white bones calibration, whether it's indoors or outdoors. These are about $50 and they calibrated manually. And then I have $50. And it's a great idea and they seem to work well. Again, we're not sponsored by anybody. The other thing you'll see in the video, and this is not so much for white balance, but it's good to get a representation of color. So if you were doing your white balance, It's also good to have someone is subject hold it or put it in place if it's a landscape. And on the same thing here you got, you've got whites and grays where you can zoom in and get a white balance off of this. Or how it uses imposed to get true color is also a great handle on the back of this one. I don't particularly like this one that pretty cheap, like $10. This is very shiny and looks a lot darker than the cloth ones. Maybe look at that together. But this definitely is a good idea here. The last thing that we have, a thing called x-ray color passport checker. There are actually hard plastic, careful not to touch the surface of the colors. There's also a white balance card here on this area. And then you'd open this up or someone would hold this like so. And you can actually set this up. And actually for photographs, there's actually an app that goes into your thumb software that goes into Adobe Lightroom. And other software has, I think, and it will actually capture this image and then calibrate things for your romantically. And there's a whole set of white bonds is here for landscape versus portrait for example. But it's a good reference to, but these are expensive. They're like a $115 versus this other guy here is like $10 or something. But anyway, it depends on your budget. So we're going to see this in the videos. Just wanted to introduce them to my desk before you see each one. We're going to be in a sort of a plain background screen. And we have an LED lamp that will be set to 5500 Kelvin, which we know is daylight. And we're going to utilize the gray cod and the expo desk as far as automatic be calibrated new camera. So let's take a look at that next. 9. Custom WB Grey Card indoors 5500K: So here we can see that we can change from a 3300 Kelvin. And we're going to make this a white light by going up to 5500. For daylight scenario, we have a lighter white daylight light shining onto the screen. And that's what we're going to do in this section. So this is how the calibrate a custom white balance. So again, we have an ID panel set of 5500, shine it onto the screen. But there are a bunch of incandescent lamps and an LED strip above here on the ceiling. So it's a mixture of different lights. So this gray cod, there are about $15, white on one side, gray on the other. And what you'll do is go into your menu. You can see here that we set for 5500 Katia white ponds menu. And you can see this custom 123 where you're going to go to, to set. And then you're going to see here that the circle needs to be on the gray cod. So I need to adjust that. So now my circle hits the grave section of the crate, balanced COD. I still have a color code above it. I just hit the center button in this case and it tells me and it came up with a Kelvin body. You take this as a Sony A7 3. It tells you, first of all, this is confusing select register. So currently in register 1, the custom white balance is set, the 99, 100. The value that we want is 50, 300 Kelvin. And it says it's also got green to magenta and then G1. So if I scroll over my case, I can set this to press the button again. If I go into my menu now, that is telling me that in this situation, That's what it thinks. Looking at that gray cod is white balance. Some people will have it. You move the gray cod so it fills around the lens area fills the screen. And other people say hold it at arm's length. And other people say put it with the subject because that's going to get true. Light bouncing off it. Where if it's right against the lens, that's just see in total gray. So let's say you're going to calibrate your camera. Again. If you don't have the presets, you could do this knitting. All cameras have this DLSR literalists. And then you can take those values magnetic and put it into it before you shoot. So just as a quick test, I'm going to do a little test here where I will just hold the gray cod that's sort of live here. And then I'll set it manually. So if we go to where we are currently where your custom setting was 50, 300 Kelvin. So if we go here and go down to seven again, and then again, we will move this in position. And you want to, and so that also it's in-focus. By the way, your camera might have a hard time focusing on it. So what we're gonna do is minute focuses guy. Like so I'm just going to get out of the shadow. Press the icon customer. And this time it tells me. So I've learned at arm's length, it tells me that 5800 Kelvin is the, is a setting that we want. So the first one when it was further away, we had 5353 to 58. That's within a range that's doable. So I'm going to save that to number one. Now if I go back to 0, 0, There we go. So now we should have that in our setting. 800. If we go to number 2, and it's 5300. And you get the idea. So wherever you going between different rooms or from shade to direct sunlight to partial shade, had side by different lighting environment. Just do a gray card check and dial that in and use that while you're filming in that area. 10. Setting your cameras custom WB grey card 3300K: So here we're indoors. We have a light panel which has been set from 5600, which is a white light, to 3300 Kelvin, which is a warm light. And you can see the camera itself is set to 5500 Kelvin. So it thinks the camera things, it's daylight. But as you can see, the actual light source is 3300, and that is a warm yellowish light. So I'll set up is the great count for white balance. Michaela cod, just for reference, the LED Maeda is set for 3300 Calvin, and the camera itself is set to 5500, so that camera thinks white is daylight white. But the reason why we see this yellow, orangey tinge is because the lighting here is warm woods home, 3300 Calvin. So what we're gonna do now is we're going to go and try to set this value. And here we can see that it's asking for the circle to be lined up. I think it's close enough. Say OK. And there we go. It's Ptolemy directory that lighting should be set to 3300 Kelvin. I can set this just by saying okay, just like so. And if we go into the menu, it's no set for 3300 Kelvin. So if we were currently in manual here for 3300, which is what it said, it matches the allergy panel. We can take a look at the menu here. If we go all the way up to auto white pawns, the auto white balance will cool it and try to bring everything to neutral like we've been seeing. The light would be set to 5500. So it goes right back to thinking the camera thinks that white is at 5500, so daylight, but we know the LED light is set but 3300. So we get this orange cast. Shade is also much cooler. So we're telling it, Hey, we want to use this if things were in the shape, but we know it's a warm light source, then Cloud, less warm, incandescent has a blue tinge to it. But of course, these are the presets. Fluorescent with warm white, fluorescent with a cool white fluorescent day whites, Skadden orange or again, because that's saying that we're using a fluorescent bulb that is 5500 Kelvin. And they like the same again, or underwater auto, your Kelvin range. And then our presets. 11. Using the expo disc with 3300K LED : So we're going to talk a little bit about this expo disk thing for Jim white balance. As we said before, there is a, It's got one side which has these optics ridges on. The opposite side is plain, opaque white. This is a side you're going to put on a camera lens towards the camera lens. So this works a little bit differently. So once you tick, take your camera, and these come in different sizes, but you can get the biggest size. You can remember $50. And you just gotta hold it in front of your lens. You don't have to put it on the lens. I got one which matches this lens, but it's my biggest lens that 82 millimeters. So what you're gonna do a little bit different is you're going to set your aperture. Before you use this, you're going to set your aperture, your ISO, and shutter speed to what you want it to be. And the way this works is opposite to what you're thinking. Chef my cameras here and my subject is over there. What I'm going to do with the Expo, this is, I'm going to put this on again with the white side on here. And then I'm going to go over and stand with the subject is and turn this back towards where the I was shooting from. Say you stand where the subject is and she'll be back towards where you're shooting from. It's backwards thinking. And this is going to basically try to capture the source of the light that's falling onto the subject. And that's the principle behind this. And that will give you a white balance based on the light environment that you're seeing landing on the subject. So here we're indoors, we have a light panel which has been set from 5600, which was a white light, to 3300 Kelvin, which is a warm light. And you can see the camera itself is set to 5500 Kelvin. So it thinks, the camera thinks it's daylight. But as you can see, the actual light source is 3300, and that is a room yellowish light. Okay, So now we're using the expo disk were setting for the camera is at 5500 Kelvin. So it puts on the camera that white is white as far as the Lycos. The other de Solis is an LED source and 3300 Kelvin. So what I'm going to do right now is I'm going to go and make sure that my aperture, my ISO and everything is how I want it. My shutter speed. We have the expo disk here. Not sure if it's in good focus there. The white side does. Is it going to go on to the camera? So I'm going to put the white side onto the camera. I'm going to set the camera to manual mode. Is a switch on the slide for that. And now I'm going to walk, I've got a walk to where the subject is, where the great town is, and point my camera back towards where the camera currently sets. So I'm going to be where the subject is against the screen and point it back to where I'm going to shift it from. So I'm going to go here. I'm going to set my value for that. I'm going to go down to set. So now I'm going to go down. So I'm actually facing the light source. And then press the button. And it's telling me that my light source is 3300 Kelvin. So now I can save that in preset one by homeless on. This is no telling me that. If I go into the menu that were set to 3300 Kelvin, which is correct. So again, the expo disk isn't looking at your subject. You've got to shoot back towards where you're going to take the picture from. And that reads the light source that will be folding onto the subject. Looks a little bit backwards, but you can see it picked up exactly the light source at 3300. 12. WB outside shade & presets : So here we're in the same environment. It's early morning, about 830, the sun is just coming out and the auto white balance somebody, it's very scattered clouds. So we're going to do a calibration on this as well. So we have the gray cod set up underneath the patio, so it's in the shade. So right here. I'm a little bit too far away. So we'd lined up the camera, make sure it's focused on the cod. And we're going to press the button, as he explains here on the screen, takes the image and it comes up and says underneath the patio, It's recommend in six fires and K and green to magenta as M1. Again, we can set this as a preset. I'll set it to number to come back to the main menu here. And if we look at the white balance menu, we can see that an option 2, we set it to 6000. And M one. Again, if you look inside of here, he's either the dot is in one direction towards the magenta value m. So that's stored inside of the, of the reference. So now I can continue the film underneath the shaded area. And my cameras set as far as my white balance goes. And I have the reference color cards in the picture too for post checking. So now let's take a look at where we left off at 6 thousand K and m1 and magenta. Again, we're under the patio and we said this accustomed to, Let's take a look at the camera preset values. So if we go all the way to the top, we have the auto white balance setting. So the income settings can be used these presets. If you're not comfortable with the calving sudden auto white balance is normally for daylight 5500 shade. Is it warms it up a little bit here. Cloudy. That could work if this is totally up to you. An incandescent obviously is very blue, same as the fluorescent tubes. They also, we shall combine. The fluorescent shapes have some which are daylight non-white. So this can be up to your taste. And then they can be used. Flash is only for still photography underwater auto. The Kelvin range again, we can see here that it's very green image almost setup 4400. Our calibration told us it should be 6 thousand and it was a green because it was set to green one if you notice that here. And then also go over and change that to magenta one, which is what the gray card told us and this environment and needed. So this is a way where we can set things manually or store it as a custom setting. While we're in this environment, I'm shooting under the same condition. So if you move from here back out and whether it has changed or it's a much brighter area, we've gone indoors. You obviously have to change these settings again or use one of the presets. 13. WB outside morn sky V1: So we've looked at doing white balance custom settings with LED panels. And let's take the camera outside and get some scenarios where we have different conditions outside to do the same thing. So it's early morning, it's about 830 in the morning. As you can see, the sun is just coming out. There's a lot of scattered cloud. However, the sun isn't quite up yet. And when it does come up, it's slightly behind these clouds. But there's a fair amount of clouds as you can see. So we're gonna take a reading right here. I've set up the just a mic stand and take the gray calibration contoured. So we're going to get a read them right here from this. So currently we're ready to do a custom setting. We're in auto white balance, as you can see here, must grow through the menus down to custom. Just like before. Let's select sad, I can see my circle here is not quite in the right place. So I'll adjust my camera position and make sure it's in focus. So it's on the gray card now. And we'll press the button to capture. And this tells us that currently it is 5600 Kelvin where the green to magenta at M2. So we can see the selected register is one. I can just press the button to say that to custom body one. And that will set the 5600 K in pre-selection one. Going back to the main menu, we can check white balance has been saved to pre-selection one. And you can see here, it's that, that 5600 calvin that a calculated. And you can see that it has M2 as the value. And you can see here if you go into it, the little orange dot is two squares down towards the M. That's what the m2, just green to magenta and a to b. So that's where this color correction is, besides the 5600 Kelvin. So we're calibrated here to do any shooter we want to do here. 14. Practice files how to: Somewhere in the link, there'll be a practice folder for you with all the project files, videos, pictures, things like that. The thing is when we make this course is being made currently with Adobe Premiere 2020, version 14.8. Now the problem with project files and premia is and not backwards compatible. If you try to open the file that I've made and you have an older version of Premiere, it's going to give you a warning saying that the you can open it. So there is a link in the README text in the folder, in the resource area that will take you to a place where you can just choose the project files and it will automatically convert them. So they will be backwards compatible and they should work with older versions of premium. The way the dam grader works is and your practice files as a read me one of the Readme, There's a hyperlink to this converter or downgrade and just paste this into your web browser. And then that'll bring up this converter. Then you'll choose your file. And I will go to where the file is, choose the file here, and then say convert. Soon as you do, it will download the file and convert it for you. It'll go to your downloads and says exactly the same name as your file with the word downgraded in it as well. So that's what you can do for previous versions of Adobe premium. If that doesn't work for some reason, you can still use whatever version you have. There's a folder called video, and you can just take each video that you need. So to practice along and just load it in like you would normally do. And that's it. So you should have no problems practice in along with what we're gonna do. 15. Practice 1 intro: All right, It's your turn now, this is practice one. We talked about white balance and Calvin. And now it's your chance to take three clips. So I've put together and see if you can correct the white balance so that whites and blacks and everything looked good. And the way they should. Don't worry if you don't get it or you're struggling with it. We're going to review it in the next video. But just see what you come up with. 16. WB practice 1 Review: So how did you all get on? Hopefully, you did. Okay, anyway, let's run through this. So we get an idea. So we have three clips here. There's one here and one here, and this one. So the first thing, if it opened up in editing, we want to go to color. If you don't see this, you can go to Window. And then you'll do color space here. And you can start looking at the color spray. Let's take a look at the first one here. When the color space, we can pull this over just to make this bigger. So right off the bat, the color has a hue of green, so red, we can see that this looks I, even though there's a lot of green grass and water as a white bird here, but it lacks brain green. So if we remember, we can do opposite C. And so if we look at creative for example, so for it's green. The opposite of that is like a warm tone. We want to warm it up. Remember what we just said about white balance? So wherever tint here. So if we actually take this to magenta or whatever, you can see, it starts to warm it up. It already looks a lot better like that. Nonetheless, undo that. And then a quick way you may not be aware of is a set of white balance selector. It's an eye dropper. And let's zoom in on a little bit here to this bird looks pretty wide or there's some white on a window here. You can select the white dropper and your white on the bird. Click on Add. And look at that. That pretty much fixes that one in Sunday, but you can see what it had to do. That the warmer tone right up and also the ten right up from green to magenta. And this probably had some blue tone to it as well. So they're warm that up in this scale here. So that's an easy one for the first one. Let's go to the second one. The thing too here is, don't spend too much time on color correction and color grading. You'll end up just going around in circles trying to perfect it somewhat. Luckily, we got in the first and this one here, this is very washed out as some looks like some red flowers, the sidewalk and then some grass. So again, but we don't have anything wide. So like before we joined the eye dropper, we don't have the white summing white in this picture that they do the eyedropper. So let's take a look what we got here. So first things first. One tip here is that it's really difficult when everything so washed out to sea where your tones are and stuff. So the first thing we can do here is take saturation is moved that up a little bit. And we can see straight away that it's still got a very warm feel to it so we can take. This guy and move it down into the blues away from the warm tone map doesn't look too bad right there. Now, one other bonus tip for you. So if we go back to the original by Control Z or Command Z, just like fine in the white bird on the previous one. If you have anything gray, It's a neutral color, just like use of the gray cod. We can we can do that. We know the sidewalk is gray. So we can actually do that. So again, we can use the eye dropper here for white balance and then click on the gray sidewalk. And then that will set our white balance towards brought the temperature up. And all we need to do now is then just drag up the saturation a little bit. So that's the second one done. So we're less one and this one. And if you want to see the before and after, see the subtle effects tab up here, you just click on that. So that's what it was like before, after, before, after. Curve. The next tab. Again, this is after, before, after, before. And then the third one, we have a lot of white, same here, which is a lot of white for white balance. So this is, seems like it's overexposed. So what happens if we use our eyedropper and just try to go on this white coat. It does woman up a little bit. But I think we're going to have to do some other things. He had to help help it out. Someone's do Control C, Control Z, or Command Z. Now up here when the Effects Controls, but if you go to Window and select Lumetri Scopes, you'll get these scopes up here. We'll get more into scopes in later lessons. However, if you don't get all these three up, these are the three that we'll use. Most of the time you go to this wrench. And this vector scope y u, v is this one. This is mainly for exposures. So we can see the Midtones, shadows, highlights Whites and Blacks. The parade, red, green and blue over here. And the waveform luma, which is this guy. And this is the same as the color wheel. Then I'll canceling. It's green. Opposite of green is magenta. Ran up. I said MAN, the opposite ran is cyan and then blue and yellow. So it's the same thing. So this one, we use quite a lot. So the first thing we want to do is try to change our exposure and see if we can bring it down at it. So blown out, everything is just white on white. Okay? So this isn't a range. A 100 is pure white like the whiteness white in this picture. And 0 is black, totally black. And all this information in between is the rest of the picture. You don't realize this, but if we move. The watchmen, she moves. You'll see her in this picture. Also this post and sign here is actually this. If we move this back, you'll see this dark area here is actually this. And then if we move further by again and we press Play, you can see her figure is right here. It's this. So the way you look at this is it's the same from left to right, across the image and from top to bottom. So we can also see from the RGB Parade that blue and green are the dominant colors. And even though this is a big red bond or a store or restaurant, the reds are actually a lot lower. So this means is that this guy is getting more of a blue tone or cool its own. Okay, so the first thing is we can choose is use these sliders here. And we'll watch this scope here. And if we use the blacks, do the blacks first. So if we're all the way down in the blacks, this is everything black. So anything in the black, It's so far below 0. Anything in the shadows will just be like black and this tree and this window. So you want to be, drag this up a little bit. And we want to be and see it drags it up around the BYOD, which is brown, just so the lowest pot is around just touching 0. And then we can do the same thing for exposure, how the top, so she has given him whiter and whiter. And this is being pushed all the whites in the picture being pushed to the top. So it's just saturated. So I really want to bring this back down. And we want to be around. And you can see, even though it's washed out right now, because we're at 70, we want to come up to around just so the top of this image is just touching a 100. Tell me the white to sing in the picture. So now we've got a better range of whites and blacks. Okay, we can push the whites up anymore really. Because if you watch his customer drives everything backup into the a 100 percent and get all saturate that again. So do control Z a lot. If you just double-click on this, it brings them back to 0. So if we go the other way, we can drag this down when it's bringing the whole thing down together up here. So we're just going to leave that. Where was he can try move in the highlights. Then here and sub remove that down. Eoc that it starts to drag this down a little bit more. But it's cell needs this up a level up here high. So it just doesn't go up as one big, big blob. So if we look at where we are now returned in fact off as how it was initially. That's how it is now. But also we can see from RGB Parade that the rads, it's too blue, blue and green are the highest. So we know that if we bring that tone up to bring the red zone, so maybe give ourselves a little bit of saturation as well. So if you go down with saturation, you'll get a black and white image. And this guy here also is your saturation meal. You should never go Add side of these boxes here. So we can bring that up a bit more. So then if we look at the green is sell a little bit high. So if we take that to magenta, bring that down a little bit, even them out. So this is our original image. And this is where we are now. And I think that looks okay. We're in the center of this scale here and we'll talk about later on in the nonetheless than these more even now. And we're in a good exposure range now, we're not saturated and the dark end or the top. So compared to the original image. I think that looks pretty good. So that's a really, I know that one was a little bit more complicated and, you know, nothing about scope so far and stuff like this. But I wanted just to show you. And we sort of trick you might throw in a hard one because there's so much white than that. But you can see, you can, you can get, um, some information back and said they'd be in touch, totally cool, blue and just saturated up here in the whites. So you can't even see anything in detail or in these trees. Now you can actually see detail in the tree and a little bit more in our code. And her face actually as well. It's got more color. Okay, so that's it. That's a good exercise. And what are we doing these throughout the course as we go along? All right, we'll see you in the next video. 17. Tonality and contrast : So in this lesson, we're going to take a look at some video that was shot on a flat is very flat profile, it's called slog. There's two ways that you'll get video. Some people will prefer to have it, like adjust all the settings with a picture profile. It's called in camera. And that's where the colors look. In camera, almost as near to what you see in real life. Other people will like to do a flat profile and each camera has that. One is called NSLog. Profile settings, very flat for that allows you to, doesn't look good on camera, but it allows you to have a lot more information captured when you're trying to do color correction. We're going to take a look now in the Lumetri area of the Adobe Premiere. And we're going to take a look at adjusting contrast. So contrast is the range of of color between or shades between very, very black. So the deepest black to the whitest white. And all the ranges in between the shadows, the mid tones, the highlights, and then the ultra pure whites. So anything above really, really high white is I just get blown out. It'll be like pure white in the sky. And you won't see any detail. The same the other way if you take your blacks to black, the shadows are dark. Portions of the video will just be blown at all, be a blob. It's called banding. You just said I looked like waves in the video of black, mud, muddy colors. So you gotta be careful and we want the range of between to be as best as we can. So we've talked about the first step of doing color correction. And that's adjusted exposure, and then white balance and then saturation. That's the first step. So let's take a look at that. The project file that you'll need for this next section is 000 three color correction. Double-click this to open it in Premier. So here we can see we're in the color panel. If you don't see the Lumetri Color panel, you can go to Window lumetri color and it should pop up on the right-hand side. And also we don't have the Color workspace. If you've got a window workspaces and choose color. And they should bring this up here. Looking at the right-hand side, there are six spaces that Adobe recommend you go through here. But you don't have to do every one of these things from top down. As the basic correction. The creative panel. The curves. Such as peas. And then we have color match on wheels match. And we have HSL secondary. And we're going to get into all of these later on and vignette. So we're going to stick with the basic correction. As we know when we've just talked about. The first thing. The first step we'll do is color correction with which consists of correct and exposure. Fix him white balance and adjusting saturation. Before we move on to color grading, first step always is color correction. I'm pretty much starts off with exposure. Looking at tonality and contrast. What is it? So basically, the contrasts you can think of everything that's black, black. And then to the whitest white and all the gray shades in between. So the shadows, the mid tones, the highlights, and the pure whites. So looking at scales here are sliders. Forget about temperature and 10 for the moment. Exposure as exposure, if I drag it up, this would be if this thing was totally overexposed. Don't get me wrong. Garbage in. Garbage out. If something comes into from row picture that was exposed like this, you're going to have sent to be impossible to to correct. You need it somewhere in the middle. By the way, if we change this slider, you just double-click and handle go back to 0. So if I go the other way, is a B something that's underexposed. So we're going to leave that alone. The next thing we have is contrast. If we drag that all the way up, you'll see actually two things we contrast is the difference between the blacks to the whites and all the ranges in between, like we said. You'll also see that it affects color or saturation. If I go the other way, becomes rest, gets much more milky, a muted. But you can do the same thing with highlights, shadows, whites and blacks. In the next lesson we're going to start looking at the scopes and that's where you can do it with the sciences that have just by eye. Because if in case your monitor as in color calibrated or it has different tone from what was done as a tone cast to it from the camera image. You want true color and there's ways of calibrating your monitor when you're doing color correction and color grading. So the first thing we're gonna do here is we're going to start off with the blacks. You're also always start off with the blacks. So if I go too far, what will happen or to light? Again, you want to go just enough so the image to your GRI in this case, because they're not using scopes at what does it look like? So one thing to do here, you can have something black in the image if you very carefully don't blow the Modify, go here. And we look at maybe this tree, we have a black guy here. But look at this tree here. If I go to five black, it's just a black blob. In the video image. Sprite go the other way, it just becomes a milky blob. So I'm just going to go down a little bit, just a little bit here, somewhere like that. And then you can see some sort of image there, some sort of information I should say. So let's go back to fit. Okay, the next thing I'm gonna do is take the whites. Again. If I go to File, what you write, look at the clouds coming up here, it's blowing it out. So what I'm gonna do here is they don't need much because it's quite a bright image anyway. Was early morning. The sun was just coming out and some gray sky. So I'm just going to take it to a little bit here. And you can also drag on here, by the way, and move your slider even past a 100, for example, to say no. So they get to about five or so. Okay. Now the shadows, the shadows, the areas near down towards the dark is points. So I'm going to just drag this down a little bit. And the highlights and the last thing, it's still a quite a bright image. So I'm going to drag this down. So looking at this now, we look at it from before. If you click on this affects, you could turn it off, turn it on. There we go. So it's not much of a change, but it's starting to get a change. So look into that here. I'm going to next click on the Eye dropper. There's a white van here. And we click on that. And that will adjust a little bit of tonality here for us, a little bit of temperature and 10. And without touching any of these other things now, I'm just going to bring up my saturation a little bit on the colors. So now if we look at it, it was pretty flat, very bright. And now this looks more like what the image did look like when I took this video. So that would be it for this. You don't want to go crazy. And at this point, try to make your colors so vibrant. Try to make them look like what they looked like in real life. If you want vibrant colors and stuff, this comes later with color grading. We're just trying to get an exposure level and a white balance. And contrast here looking good so we can see that the clouds look white. The sky looks blue. This bush looks yellow compared to what it looked like before. And the sidewalk looks gray. So that's looking good. All right, that'll be it for this one and we will go into the next lesson. 18. Waveform scope basics: Until now we've been looking at each video clip and trying to adjust the contrast and exposure levels just by using our eye, whether it be too bright to dim, too flat and things like that. So wouldn't it be nice if there was a tool that we could use that would scientifically allow us to see on a scope where our blacks word should be a whites. I'm mid tones, highlights and shadows. Well, there is what's called the Lumetri waveforms scope. And we're going to use it now. It'll also allow us to do the same levels and approach when we look at different video clips for trying to match exposure levels. Instead of just guessing by I. So you should be in your color panel with the Lumetri Color open over here. On this side, you should have the sculpt someone, if you don't say them what a Window Lumetri Scopes. We're going to be looking at the waveform. You can use the wrench tool and you can select any waveform type you want here, luma, RGB, as well as any other type of scope. We're going to stick to the waveform skull. The lumber is the easiest to work with, I think. To start off with the waveform. Scope is to use her body weight, exposure levels, and contrast. The way it's red is from left to right. And this is the information it's seen over in the program window. And then from top to bottom, the shadows, black being exactly 0, whitespace in exactly 100. And on this side, 0 and 255 being pure white. So the information is read from left to right. And what's known as the trace is read from top to bottom. These are the numbers because we've selected a video here. In CFI, change them to ten bed. The values change or flooding, which means they will change. I will go from 0 to 1. With 1000, the information is the same. It just depends on the color depth that your image was. Film that. And the last one would be HDR. Again, this would change these numbers. So our stack, because this is the most common two 8 bit video. So in our case, we're going to use this side, the 0 to 100 binary values because they're the most common and easiest to understand across multiple software programs. So the different types that you can display and the LUMO level is actually the brightness level. The RGB or the luminance levels for red, green, and blue. The YC values and the luminance in green and chroma in blue. And why say no chroma displays the domains levels in green. So as we said, we're going to stick with luma. So one of the things I wanted to show you here is how do we read the scope? People are intimidated by them, but actually they're quite straightforward. And it's a scientific way to look at what the computer sees for your intensity levels, your brightness levels, and your contrast. So this matches from left to right what we're seeing over here. So these big white doors is this. And this is me in the middle here, which is over here. And then we're going to have a lot of midtone gray ranges over here. And then there's some light up here, which is light appeal. So one thing to look at this, so move with the video. So as I move this along, you'll see me. If I actually play this. You'll see me, this is me here, going back and forth in the video. So you can see its frame in the video. The luma levels actually follow along. So it's not a static picture. It's actually really moving along with what's going on in the video. So momentum from Matt, Let's take a picture first. That's more simplistic. Now we're still in the waveform luma scope. What we have here is all the different shades from the far left. In this case is black. Going through all the different shadows. Mid tones highlights to pure white. And then less as what we see over here. We see that at 0 is this block here. And pure black all the way up to 100. On the fast side is white. And then all the different shades all in-between. So if we click on this picture and we go into the Lumetri Color basic panel. Here we can see what happens if we take the blacks and raise them or lower them. So if we raise them up here, you can see it makes the image the blacks and our gray. And it's taken the black bar and shifted that didn't affect the top area appear. So if I double-click this, I go back to 0. The same with whites. If I drag the white stam, the white bar from a 100, and this range will also dropped down or 50 all the way out. Above 100. They can see everything's getting blown out and the highlights. And you see that up here. So all this range appear is above 100. We double-click that here. Next we can check the shadows. So if we take the shadows and we drop them down, you'll see the lower part of the scale start to drop in any saw this where the black is making these shadow is darker and it's represented this here as well. We go the other way, take the shadows back to normal and will go higher. See, he watched this along with this guy. Will take the shadows up and they get brighter and brighter. So this is much brighter than I am. And we saw the shadows raising up terrain, the 50 percent level. Double-click again. And then the same with the highlights. If we take the highlights, then we see that the highlights get DACA and the highlight. So it's dropped to a lower value. And if we go the other way, the highlights will get brighter. And you get them all in this range here. Oh, getting brighter. Well, we have a as like a perfect range of black through all the grays, a mid tones, the highlights, the shadows, and the y. So this is like a perfect scale here. And this picture represents something that would be perfect contrasts completely from one end to the other. Just as a representation. Hopefully that makes the wave form and the Lumetri Scopes a little bit less confusing. And that's going to look at some videos and pictures and see how this represents itself in video clip. 19. Zone intro: So we're in the first step of color correction, which is exposure. They might be asking yourself after a little bit that we've just done is Hello In no way to put my highlights and shadows or my black so my whites to get a correct exposure. Well, luckily for us, this work was done a long time ago by two guys called Ansel Adams, who was a black and white photographer. And Fred Archer is colleague. And there's a system called the Zone System by Ansel Adams that was put together where he can give you a list and we can refer to that list as to if ways you weigh your exposure should be for skin tones for example, or snow, or pure white. Or shadow is our foliage or concrete. So when we look at this in our video image, we're going to be able to at least look at that as a starting point. So that will be able to go skin tones should fall within the 70 percent range on the Ansel Adams system. And luckily for us, that also falls into the Lumetri system that we've been looking back with the waveform scope. So let's take a little look at some images. There is a project to follow, and we'll try to refer back to that zone listing from Ansel Adams and see if we can get it to make sense in our system. 20. Zone and waveform example: In this lesson, we are going to use the waveform vector scope to have a look at an image, some video. And we want to basically do a color correction. And remember a color correction is the exposure first. Can not write them white balance and then saturation. So we want to look at the vector scope, the waveform vector scope, and y, u, v. So that we can take a look at the ranges instead of just looking at the image and just do everything by eye, we're going to use a scope so that we can have a bit more of a scientific approach to any field lines, right? So that's cancer. So in this example we can see that we're underexposed. And this image, you can see all the information and the scope is all towards the bottom of the screen. And there's nothing operand 100 or so. Following our normal roles. But we're gonna do is use the black and take them, them to just by 0. And take the wide and take them up as far as we can to get up towards 90 or a 100. We run into a 100 here, but if you click on the number itself, it'll allow you to go a little bit higher here, have brightens up the range. So the normal order to adjust would be shadows first, then the highlights, and then the midtones. So that's what we'll do. So if we look at this image here, you can see the guy has a dark gray suit on and you can see in the vector scope, this is the guy. We can also see this taller images, the mirror where there is a reflection of him and that's also done. Ok. That's what you can see here in the vector scope as well. So if we take the shadows and we drive them down, if we go too far, you can see that it will crush the blacks down. Towards the bottom of the image, you get a straight line. So we don't want that to be no detail. So that's just double-click on the shadows line to get that back to 0. So looking at the zone table, we can see that in three, this is very dark distinct shadows texture is visible for is medium dark gray. And then 5 is 18 percent gray, which is a lot lighter. So we're looking at areas of three to four for the shadows, I think. And that's what was that again, it's a guide. It's not a strict rule. You can look at the video itself and see what you think looks bad. But this will give you a range to start with. So we're going to attack and shadow is at 30 to 40 percent. Because basically this dark gray suit. So we can see that the shadow area that we pointed out earlier is this block on the right. So we're going to drop the shadows dam so that the shadows end up around 30 to 40 percent as the main information area. Like here. I think that looks okay. The next thing we're going to look at is skin tone. So looking at the zone system again, begun, see that seven is pale whites came when he doesn't have that. Sex is average white skin tone. So we're going to end up trying to get this area into zoom six. I go up to the Effects Controls, go to Opacity, click on the Pen tool, and then just draw a little mask around his face area and neck area with the skin tones are young. Gotta be too detailed. Just like so. So now the vector scope just shows his face and we can see that it's about 75, sounds, almost 25. So we wanted to try to adjust this a little bit with the highlights and the shadows. So I'm going to use the highlight slider and just drop that down a little bit, lower the higher end and then take the shadows and raise them up just a little bit. Try to consolidate that a little bit more for his skin tone all the time watching the screen in the program window. The chain, the mascot, click on the Effects but none opacity, and then click on Mask and just click anywhere else. Now, looking at the overall thing we can see here, if we want to go see the before and after, go to Lumetri color on the right, click on the fx button. And this will change the effect on and off. Looking at the Lumetri Scopes who have a much better range than, than what we had in the beginning. They'd run will find out that you can isolate his face and another Lumetri effect or just the fact the background. But that's in later lessons. For right now we're looking good compared to the beginning. The other thing that we can see here is a few increase exposure highlights when tree increase the contrast here we'll extend the range a little bit on the scope, but that will affect saturation. You can see the walls again a bit yellower. Is the colors again a bit too vibrant. Just put that back hip you remember from the lessons earlier, the next thing to do after good contrasts or exposure, right? You're gonna get white. So we're gonna get the white balance selector. And this happens to be a little white area in here. Just click on that. And then we'll see that it did affect the tonal image. So the temperature and made it a little bit bluer. And that's the white balance set. Finally, once we've corrected exposure, we fix white balance. The last thing to do is adjust saturation. You go to five and seeing the walls are almost screen at the moment. So bringing, just bring the saturation down a little bit until it looks natural here. And I think we've done okay. So that kinda before looking at the scope, you can see everything was squashed down and an underexposed and then looking at it afterwards and looks a lot better. And Lex Good. All right. Let's move on so you guys can practice now. 21. Practice 2 Zone & Waveform: So we're onto a practice session ever again. So we're going to do the same thing as we've just done, looking at the zone system and using the waveform scope with some new files. So in your practice projects folder, look for WO for zone and waveform project. Double-click this to open up. And we are three files in here for you. The first one is the one that we just did. So you can see if you can manipulate a similar effect that we just did. The second one is this monkey. Lots of white snow. Some people here and this monkey. And the last one is a sunset, quite late at night, just before the sun went down and it's very dark. So let's see what you can do using Lumetri Scope. And if it comes up with the RGB one, remember hit the settings. Waveform type is luma, and go with that one. Okay, um, after this, we'll review this. 22. Review practice 2: Okay, so this has a little review of the practice that you just did. And the very first one was the same as before. So you can watch that previous video. The next one is this monkey, and the third one is this sunset. So looking at these scopes, if they're not open here, now you can go and then to Window and do Lumetri Scopes. It overlap here. So it seems like we're very condensed here. Well, you don't have any exposures nowhere near 0 or a 100. That's all. Just very flat. So vol are all path we will take the blacks found as far as we can to 0. If I take him to five, you see there it's crushing everything. This becomes really black and you get this solid line here. So we want to bring that up just so it's touching around 0. Same thing with our whites. If we take the white side, we have a lot of white and this image. So if I take the whites up as far as I can, it also took the blacks up as well, so, so we try to drop them down a little bit. So looking at our zone chart, it says here, textured blacks a dark as part of their image was like details of B at around two. And then, but most of this is way up here. So bright white. Snow is up around, around the 90%. And then there's also snow, basically then here at six, so shadow is on the snow would be around 60 percent. So our first step here after that is doing the shadows. And there are some shadows here, I guess on this snow for it, some very wide. So we're going to try just to play around with that. Keep the shadows up high here. See if I come too far up. It all gets washed out. If I come too far down, everything just becomes very black. I'm just going to try to bring that area up little bit like around here. So let's take a look at where we are to where we started. Let's look a little better. Again, this is color correction, is not grading the color. I tried to put tones over it or color casts. We're just trying to get the exposure right using this scope here. So looking back at this charter and to make some sense of it here, we would try to get shadow is on the snow around. This area here, right? 60 percent and then the snow itself is up at 90% is very right. So we would take our highlights then and try to drag them up to highlights. We can see we're crushing the whites now up here when we have no detail. So we'll take the highest part of the of the video by using the white silhouette MA, taken that up to a 100 or as near to the top. And then the highlights, I'm going to be up around that area as well. Then the other thing you can do is zoom in a bit and take a look at now, let's turn this off and on. The monkey, the detail that we have here, let's have a look at the shadow area on the snow. And also big guys like booths and genes next to it to see how realistic they look. So looking at that will just take the shadows down just a little bit. And the blacks come down just a little bit more. Just like that. Then we have a nice range now, between 0 and a 100. Now if we go back to fit, the other thing we can do then would be click on white here. And this will give us a tonal range or a temperature change that a little bit, just a little bit one because I looks like there's a bit of sunlight coming in through here. And again, when we're playing with this, we have a nice range compared to this. Your saturation will also change. You can see he won't go. If I go back, double-click and go to 0. Smallwood up a little bit. Take a look at the anything there with a lot of color is the monkey's face. So we can, now it's too bright like this, but just take it up a little bit, get some color in there. And take a look at the the water area as well or the ground. See what we have. Here. We have some detail in there. It's not looking too bad. So for me, that would be the stab. It looks good. As far as the range of the skull. We've done a little bit of temperature change and we have a good, a much better range on exposure and contrast. Then before. All right, our last one here is again very flat. You can see where these are actually the palm trees here. This line is the lamppost. But there's absolutely no. Color in this at all, if you play, it is a little bit of orange or something, just trying to get through here. But again, let's start with the blacks. Just their knee. It's very dark anyway, it looks Ryrie. It was just before the sun went down. Sons actually gone down by here. And then we have the whites will try to bring this up alone that. And then again, sequence shadows, highlights midtones. So we'll drop the shadows then. And then keep an eye on. If you drop them to match this LOS totally black with no with no detail. So if we go down here, let me scoot over to this bush. Sorry, look at the zone system again. We'll have near black with slight tonality but no detail around 10 percent texture blacks and dark is part of the image was slight detail maybe to around 20 percent. So if we take a look at bat, It's not very dark gray, distinct shadow texture is visible. I think it's quite a dark image on this one. So we can take a look at anywhere in between. Is guys here. We go back and try to look at that bush and to the shadows if we raise them. I mean, we can get more and a little bit in detail, but it just washes everything out, right? So if we take it down to a little bit here, we can just see you in a little bit and then bring the blacks down a little bit more towards 0. That's maybe okay. And then we can look at our highlights. We take them up too high or too low. Let's take him up here without getting them to too much here. I really there's no fixed rule as such. It depends on what you're trying to get from. This doesn't mean if you play with exposure, it's an, uh, get too bright. So we don't wanna do that. Right? So again, looking at the scope, instead of just guessing, if we take the shadows up a little bit here, are actually invest, move, I move contrast. I think if we move contrast sub is going to move everything top to bottom. We've gotta be careful I move too much. It's going to crush the highlights up here and the blacks down here. So I want to move contrast back to where it was and move it just a little touch. So now this looks very banded down here. So I'm going to move the blacks up a little bit off 0. And then the shadows just bring them up and all that. And the highlights we can just come up along a little bit like this. So let's say that's what we want to stop. I sort of looked like before, much darker. Now we can take I notice in this picture here actually, there is looks like a truck or white car over here. So I'm going to just see what that does. I right-click on this. I think it warms it up for us. Yes, it did. Like this. And now we know as we are playing with contrast, again, we can play with, that'll affect saturation so we can bring the saturation up a little bit. The other thing we can try here for you remember, gray cards as we have in the picture, a lot of sidewalk right here. So we can click on this and click on that. And then we have some yellow in here on the sidewalk here. And then again, I think it's just a matter of vibrance now, saturation to what looks good TO. Then if we take a look at this compared to the effect from the floor, turning this on and off. You can see it was almost black and white here. And this doesn't look too bad. Our exposure levels look OK. Again, we had to move a lot of stuff up and down compared to before. Again, it was very squashed. Squashed down top to bottom. Hit this guy and doesn't look too bad. I remember rightly this is what it's sorted. Didn't look like when the sun just scroll mine these mountains here. All right. Again, this is also like personal taste. And we'll use in the sculpture. We're not just guessing all the time. We are trying to get some range where they should be. So there's our three images and what they look like before in a flat profile. And then we can go ahead after this and do some color grading that just put a, a feeling on it or a different tone, a temperature or a tint. We could warm this guy right up and color grading. And depending on what you're trying to effect, you're trying to get rigor really warm it up. We can make it whenever you want to know whatever the story of the image are trying to portray. But for now, this is what it looked like as far as exposure. All right, great. Hopefully you got some good ideas from this and we're going to move on to the next topics, coming up to the other scopes that we can use. 23. The RGB parade scopes: In this session we're going to talk about the RGB Parade scopes. So the parade scopes are very much like the Loomis scopes that we've been using. So we have to this point being correct and Exposure, shadows and contrast. And the scopes are used to balance the image, the color. If the scopes of the red, green and blue or I had a bonds with each other, then that'll result in a color cast on the image. Also, just for your own knowledge, is when you have things like RGB curves, if you overlap each one of these red, green, and blues, that makes white for perfect white buttons. So let's take a look at what the RGB Parade does. In this lesson, we're going to talk about the RGB Parade scopes, which is similar to the luma scopes, except they display the red, green, and blue channel separately. And we can get to them very quickly by go into the wrench tool, coming down into RGB Parade and get rid of the waveform luma. And then this is where we have them. There's a bunch of other ones. Parades high. Yuv, this is lumens minus red and blue. And stuff for that. But where we're going to stick to the red, green, and blue. And this is a great way to balance a, a picture of some video. So this is a trace information. And remember trace is read from top to bottom that separates the rads, the greens and the blues and the picture. A balanced image is when the shadow is a black and the highlights or white. Also. A balanced image is when the shadow is on the trace all at the same level. And the highlights on the trace are all at the same level as the RGB channels. Different levels that will indicate a color casts or a color hue on the image. And we need to correct this. But a lot of colorists use this RGB Parade scope for doing their balance and their colors. You can see in this next example that the blue is much more elevated than the red and the green channels given the image this blue cast to it. Here in this example, we see that the red so very dominant compared to the green and the blue. So it's out of balance making this image have a washed-out red tone to it. And in this last one, we can see that the image itself has a sort of a green yellow cast to it. And we see that here in the RGB trace, the green is much higher than the blue and the red. So by balance in these images, which we'll do next, we should be able to bring these images back to where they should look. 24. RGB scopes practice: If you want to follow along with this project, it is go to your practice files, 000 five RGB Parade scopes. If you're not in the coloring window space workspace, click on that to make sure you can bring up the correct workspaces. I will start off in basic correction. Now, we can change this around here too, just to get more space for us. The first thing we have is this ten by the sea picture. And there are four ways typically to balance color. The first way is the auto white balance color picker, which is up here. And we'll be using all of these during time over the next couple of images. The second way is the temperature and tint control. The third way is the color wheels. And the fourth way is the curves. And we'll look at each one of these individually later on as well. But this is the way we're going to balance the color depending on what we have. Okay, so the first step is to just see where we are. Click on the image. This one is pretty well Color Balanced here, but let's see what we get with the scopes. If the, if the RGB Parade scopes don't come up, you're going to select them from he has. So if you happen to be where you were before in one of these other ones. And the waveform, for example, where you can do is just click on this, turn off the ones you don't want. And we only are interested in the parade scopes. So this is pretty well balanced. You can see that the reds are a bit lower and the blue and green is the same further up here. So let's just take a quick look at, come back to the basic correction. And just for giggles here, let's go look at the LUMO wave form. Turn off, parade. Just see where we are for exposure. So we can see right here that there is a lot of stuff right the top, the highlights. It's got a lot of contrast. Plot them, move the shadows and the dark spots are not down here. So just before we start using the parade, just bring the black stamp. Let's take the whites up a little bit to a 100. And we'll take the highlights a little back. And then shadow is. Ten plaques about are coming back down a little bit. Okay. Well, I'll just leave that like that were a little bit. Take the whites down just a little bit. I think we're clipping at the top there. Okay, so just to get the contrast better, just like we've been doing. Let's, let's do that. And then let's get rid of that and go to the RGB Parade and turn off the Luma. So now we're here. First things first. We talked about we could try to use the white balance picker here and see if there's anything widen the picture. So for that, I'm going to just move in over here. And I think some of these boats, by the look of it, might have white on them, such as the top of this one right here, for example. So let's go down to there. And the top of that boat looks pretty white. So let's take the white pants like that. Watch this. And the temperature control when we click on this. And it does move a little bit, not very much in RGB. But it didn't move this over here from 0 to minus 2.1. So that's you fed. And now using the tint. So we can see if we drop the blue and try to bring up the red just by using a tint value right here. That we have some other free edges here, but these values here along here, a pretty equal Nasser. We have a look at that. Before and after this, I think just makes it a little bit more balanced according to the RGB values here. And, and so looks quite like before and after. This is the after. I'm sorry, this is before. After. So we just seem more color balanced. And remember, if your red, greens and blues are balanced, that gives us good white balance, which means the rest of the colors. Or you could play around with this a little bit and take the saturation up or down? I would take it just down a little bit to be not so in your face vivid. But just somewhere. Maybe like that. Well, maybe it's a little bit more. Keep a colorful again before original image. And then afterwards. A little bit more balanced. Now again, you don't have to go crazy. This is just doing color correction and color balancing. Okay, next we're gonna go over to the next image here, where we can see straight away that the blue is overwhelming over riding green and shows itself. Maybe this is a look that they were going for as I'm the client. So where do we start from here? Again, I would go to luma and just have a quick look at where our exposure is. So basic correction again, I would go to black sites were to bring the blacks down or crack home this here and bring the blacks down to where bragging, CAD. And then when that was saturating, take the whites up a little bit. And that's saturating here. Shadows and highlights. Median play around with the contrast a little bit on this one I bang. And then obviously first things first, okay. We know it's re blues and the opposite of blue and the temperature is going to be, He's going to be over here on the warmer tones. So we haven't looked at that before and afterwards is a little bit better. Now we can go with to the RGB Parade. We still have this separation. So let's get rid of the luma for now. We have this. So a couple of ways that we can do this as if we go to Color Wheels and Match. Has this work some top-down in the Color Wheels like highlights will affect midtones and shadows. So again, highlights are up here. Midtones are in here, shadow is down here. So everything is looking very blue. These are saturated here, but these two are together up here. So I'm going to take the highlights, I'm going to increase the blue a little bit. Try to bring that up around the same level. Even though this is very blue, we'll see where that goes. And then the shadows. And go in and try to take up this way as well because it's very blue. Are actually a lot more. Take it up a bit more here, see what that does. Okay, and then maybe the mid-tones do the same thing. Try to get rid of that dominant blue. So that's nice, looking a lot better if you look at the picture from before to now. But maybe we can do this all with the color wheels. This isn't molecular, more saturated version of this. Okay, So if we drag this up here, you can see what we get with this. If we drag these down, this just shows you that they said the effect that they all go up and down. All the shadows go up and down with the same sort of effect. Yeah. So I'll leave him to what we did. So they're looking a little bit closer. This is looking a little bit more realistic. And then we're gonna move on to curves. So our curves just so you know, there's, there's white, which is everything. If you put red, green, and blue over the top of each other, it's white. Okay, the way this work is then this part of the area is shadows and above is highlights. In the middle, is mid-tones. Okay, so if I want to, if I wanted to adjust exposure, for example, a quick lesson. If we go to numeric M and just look at this. If I grab the white of the top and I bring it down, I can adjust the exposure level. I bring it over here. I can bring the exposure level up. Okay. You want to just go back to here, double-click on this. If I want to bring the shadows up or Dan, I would go up if I want to bring him up, for example. And we'll bring them up. And I want to bring them down. I will go to the right along the bottom here. So you can use these to control things. Same with the red, green, and blue channels. And they give you a lot more control. And they're going to be more of this coming up. This is midtones. If you grab the middle and move it on with ILA. Okay. I can just maybe grab that little bit so it looks a bit better that, okay, Now let's go back to the RGB Parade. And what we're trying to do is get these to line up, like we said. Alright, so first things first, let's grab the blue channel. This needs to go up for the highlights. So we grab here and we will bring them up like so. And then the bottom pot or here has to come down, sort of grab the bottom part of the Blue channel and bring it this way. Try to match it up with the reds. Right now. Then we're going to go to green. This could drop a little bit maybe. So we're going to just grab that and just bring it down a touch. And then the shadows over here, we're going to take them up a little bit. Okay? So now they're pretty much matched. And if we look at before, this is before, and this is now. So a lot better. But for this one it was so extreme that we needed to use basic correction. We needed to use the color wheels. And we also needed to use the curves to get this back to look in normal from this. So this all right, so we're going to move onto the next one. Okay, our next one, again, reds very dominant obviously. And then green and the pole is down here. Again, I'm going to check luma just to see it's very squashed. So Von back the basic corrections try to drop the blacks or bad exposure in contrast a little bit better. Our whites will come up and drop the shadows and highlights. So it's a lot brighter than it was still very orange. So we'll see what that does. And the next thing is tent. We can actually click on her code, I think would be white. And that took the temperature way over to the blue. And hardly anything on the magenta. So that looks better than it did. Sound is washed out. Let's go to the RGB scopes and have a look where we are here. Get rid of luma. And we can see we're a little bit off, but that pretty much fixed it over here. I think. We could fix says doing cartwheels a little bit. So highlight circle K, That could be a little bit lower on the highlight. Just bring that a little bit. Just like that. And then the shadows less blue, more RAD and try to bring it a touch this way. Seems like it went the wrong way to go this way. So let's bring this just Dan and a little bit. And then we don't say Yes, that's a little bit better here. And we want to tweak them a little bit more. Just the tiny bed, a little bit more. But then they don't look too bad right there. So if we look at the before and after. So one last thing we see is the blue is saturated down here. So to get a better control of that, That's code of the curves again, click on the blue and just bring that up a touch on the, bring the shadows. Little bit more, little bit more. One, but too much about that. So now there's a lot better. So that's our final image. Before and after use and the RGB Parade scopes. Our final one is this green cast here to this image. So starting off again, Let's go to Basic Correction. We know that if it's green, we can move it to magenta BI Desktop, even though that doesn't have bad at all. Click on white, the cards white, his shirt as white. And that's a quick fix. I just had a green casts which just move in that temperature tint, fix that one. So now we have all four images or color balanced. And looking a lot better than the originals of return that off or turn them all off. Here we can see that. And this one. And finally one. Okay, so there you go. Using the RGB Parade scopes. And we did a little bit on the, I'm just surprised scopes, but the color wheels and match and the curves and we'll do a little bit more. And then coming up. 25. The Vector scope: In this section we're going to be talking about the vector scope. People get intimidated by the way the vector scope looks black. She gets a really useful tool. It's great for using it for hue, so color, saturation, and also for getting really good skin tones. So let's jump in and take a look at this tool. So the vector scope is laid out in quadrants. You can see here, this is red, magenta, blue, cyan, green, and yellow. This area here is known as a 75 percent safe zone and you have a trace form. We tried to keep it in this area here, these outer boxes as our own, what's known as in the industry standard. And if they reach these boxes, anomaly too saturated. For television, This comes from old school days, but it does make it really bright. So we try to keep within these boxed areas here it's 75% of these outer edges. This is where your saturation would be and you haven't dot in the middle like this. It means that this is a gray mark on white and black overlaid which makes gray. And this is what there is no color. It's a black and white picture or video. You can think of the vector scope as a color wheel. The colors on the color wheel that you adjust with are in the same orientation. So if we superimpose these over the top of each other, you can see where the quadrant sine. Here's just a picture showing the primary colors of red, green, and blue. And then the secondary colors of yellow, magenta, and cyan. To follow along with this example, go to your project file practice files. Look for zeros, zeros six vector skull project. Double-click on that to open it. So let's take a look at some images here. If you're not, if you're not in the color panel, go to Window Workspaces, make sure color is on. And if you don't see the Lumetri Color panel over here and a window. Make sure Lumetri colorism here also scopes. So coda color metric scopes. If the vector scope is an up, you can just right-click on this. If you were using waveform before or Parade, three things that we've been using in just right-click on them, and then just, just deselect them to get rid of them. Right-click. We're interested in the vector scope, YUV. We can see here in the vector scope the hue or the color is very much towards the reds. So there Jackets are dominant in this. And then a little bit down between the blue and the cyan. So a cooler color down here, the genes and the darker colors. Now, if we click on this and we go into the Basic Correction panel, if we take the saturation up, you can see that we're going to go beyond the limits of what premia like Churchill. And this outer box here, we want to stay within this range. And if we go all the way back down the other way, Let's see that this goes to black and white or gray. And then this is a little dot on the image representing and no color. So that is a gray as well. Okay, to get this back, just double-click on this button here. Now if we were going to add some color here. So the warmness up, for example, or cool it down. As remove this tool, it's a cool range. You see that the vaccines scope moves towards the blue. Just reset that. And if we were going to make him more green, you'll see that the vector scope moves towards the green range. Like to reset. We go to the next image. You can see here that this has a very bluish tones when we look at the vector scope here, it's quite a lot of saturation. So if I drag that back down, we could this down. So it's not a saturated. Reset it back to where the original images see that the dominant colors out towards the cyan and blue, which is a lot of blues and cyan color in here. And then up towards the reds and yellows, which is towards on this line, which is that tonal range because there's a lot of skin Chiang in this picture here as well. And we move to the next one. This is the town or village by the sea is a bit of everything in here. You see a lot of cyan because of the color of the C here. It's like a greeny bloom, so it's ranging towards this area. And then up here we have some lovely yellow, which is going towards the yellow tones in the buildings and towards some red, like the red roof. And these buildings have a red tinge to them. Every go to this one. Obviously. It's very much dominant towards yellow and up in this area here, but it's all over the area where we want it to be. So it means it's oversaturated. And we just bring that down a little bit here to bring it into the safe range, which is here. Our next one, again here is yellow is dominant because of the the yellow raincoat here on this person. Yellow in the reflection and on the mountain. And then the most dominant and the color here too is the blue of the lake that's sitting here. And there's some sort of reds as well, meaning the word and the boat itself. Again, if we were to try to warm this up just with the temperature sliders and the basic control. We'd see that this dominant range of b right outside here as far as saturation. So we'll bring that down to try to bring it back in. And we can see before and after it takes away from the blue. Then here are the teal. I'll just reset that. Another thing we can do is if we look at the secondary information here, if we were going to change, say, the color of this blue, I'm lake, we can click on this and get a range here. Click on the gray, and then try to look at our saturation. Tried to get as much of the color that we're trying to change, which is a lake. So this is the stuff in gray won't be changed. But the stuff that we just picked, the colors of the blue in here. Well B. So we can take that back off and if we have a correction now, let's everyone that leg even more blue. As we drag this down, you'll see this getting really blue. And this will be, I got a slight delay on what I'm seeing. But this will also be dominant here in, in the bloom verses that was more teal before. We turn that off. And we change the late, too bright blue, we still have the yellows of a raincoat and the yellow in the light reflection and on the mountain. So that's reset all that this by turning this off. We go to the maximum. So here we have a couple on a boat. We see a lot of red because there's a red towel here. And this is the skin tone line. This is like a well-balanced image. I think if we go to click on Hindu RGB Parade, we'll see that it's pretty well balanced as far as the colors home. So that's you get rid of that. Again. We're in the range here, so the pictures are sort of true and we have a lot of Tone, go into our cyan wall. This is the color of the ocean versus the blues of the sky. And that's what we got here. And our last image. We want to show that we talked about a tonal, tonal line here. So you can see there's a lot of blue and then a lot of white because of the background. And so there's a lot of blue towards cyan right in the middle because of the genes, I guess. And then we have a lot of tonal image because a lot of skin in this image here and some reds. But I want to show you that no matter what the color of your skin, Ethnicity, everybody has red blood underneath and in the color schemes, it shows itself along the tunnel line. So just to show that, I'll double-click on this. Just to bring this up, I'm going to go to effects controls. I'm going to make this pretty high so we can zoom in on somebody skin. So we're going to turn off the effects on Opacity. Click on the pencil to make a mask. And I'm just going to draw a line on this girl's skin. Okay? And then what I'm going to do is turn off the effects. And then we just have our skin highlighted. And if we go back to the Lumetri Scopes, now you'll see that that lens right along the tonal skin line. So now if we do the same thing again, turn off the effects here, and then go off to this kid over here. His white scan. So what we can do is create another mask. Click on his skin. All right, and then turn this one back off. And now look at the Lumetri Scopes. And you'll see here that we have the same tonal range along that line. So it doesn't matter if you have dark tones skin or light tone skin underneath that. Everybody has red blood. And that's what comes through in the Lumetri colors. So we are trying to get someone's has. Later on we'll show you some when color cast a really green or red tone on the whole image, you can zoom into the skin color on someone's face and bring that back to what it should look like. So again, to turn that off, go back to Effect Controls and then go back here, click anywhere off the mask areas. And let's go back to fed her Moscow, so on. And there we go. And we can actually just right-click and clear them for now. Clear and we're back to our reality. And just to show that, Let's say that we had on our green color cast on here. And the blue tinge to it. And we know that that white balance is off here. But this is the way an image was. We wanted to change that you get the long as there's a face on there are some skin tone. You could do again is go to Effect Controls. Go into opacity, turned it off for now, and then hit on the mass tool and then just go to someone's face. Click on that, turn the mask on. So you can see looks really green here. And look at the Lumetri scope. So the vector scope luck is headed towards cyan and green. That's what it's showing here. So what you would do then is you can use your temperature controls or a color wheel to them, bring this back up away from Lil. So warmer tone would just bring this here and then get rid of green as well. We're trying to landed on, on that line right here, like so. And then if we go back to our Effects Controls, turn it off again. And then it will be back to normal, or at least somewhat nearer. And we would continue doing color correction on the rest of the picture. But anyway, you get the idea. I'm mad. So good way of using the vector scope to, to skin tone. 26. RGB Curves: In this lesson, we're gonna take a look at the RGB curves. So the RGB curve, just like anything else in the Lumetri panel, we will look into the basic area for exposure, blacks, whites, shadows, contrast. You can do all of this with the curves. A lot of colorists like it because they can give it a lot more control. And that's what we're going to take a look at, is putting a lot of different nodes on the line of the curve and had been able to adjust certain areas of the waveforms, such as just the shadows without affecting the highlights, or the contrasts without expecting the exposure. So let's jump into this now and take a quick look at it. To follow along this lesson. Go to a project files and go to double 07 GB curves. So we're going to use the curves control here in the Lumetri panel to adjust this picture. So straight away we can see that it's very flat. We look at the wave scope here. It's only reach and around 72, 15 or 20 here, just very flat image and washed out looking. So we can go to the curves that the curves panel, it has this white, white line is red, green, and blue. If you overlay them on top of each other, it makes white. This is actually the same adjustments as you get for exposure in that basic control up here for exposure, this line here. So if I do this, exposure goes up or down, double-click and go back. Go to the curves line. If I just click in the center, go up, Come down, it does. The same thing goes darker. So let's double-click. Now. You're finding out now they use There's multiple ways of adjusting anything. Whatever way you want to do it. There's no fixed way you can use the curves, control the basic panel, the color wheels. They all adjust. The accounts control a lot of people like the colorist like because it gives you a lot more control. In this area down here is your blacks. And your dark shadow is so black and dark then this area up here is your whites and the highlights also, this is your white line up here. So this is black and it's the same gradient as before, and we have black. Then the dark shadows, lighter shadows. And the center is the mid-tones. Then darker highlights, lighter highlights and pure white. So just like before when we were doing it in the Basic panel, when we did the blacks first and then the whites, we're now going to do that with the curves. So we're going to take the blacks and we need this to go lower. So we're going to drag this towards the right, the lower part here. Just drag that down as near as we can to 0. And then we're gonna do the same thing for the y's. We want them to go higher. So we're going to go more towards this corner. So RAB the node and just start moving it up to the highest white areas. Okay, Let's just reset that by double-clicking on any node, sets it back to here. The other thing we can do now, like we would in the Basic panel is you can adjust contrast. If I adjust contrast, we can see that get more contrasts or less. Again, double-click. So what we can do that in the curves, we know on the gradient that if this is pure black, the black and pure white, the shadows would lay here. And the highlights are a little bit down from the pure whites. So if I drag them up like so, and then I drag this down like so. We are adjusting the contrast of the image here. And this is what's known as an S curve. And people like this because you can put as many nodes as you want. Along this path. For example, in the middle is the 18 percent gray. The exposure. And we can keep I didn't know It's to this. And we can find Hsun, different areas of that gradient, the shadows, the highlights, the mid-tones. By adjusting in-between these nodes are pulling one higher or lower. So let's double-click again. Let's go back to where we were asked to make a contrast image here first. And let's just see what that does. Let's move this up and get our S curve here. Move this guy down. And we have an S curve effect. So you could come in a little bit with enough to be quite as much as that. Now the next thing we can go, which scopes here? Right-click. And we want to do the RGB Parade, see where our colors are. So I'm just going to right-click again and turn off the Noma form. And then we can take a look and see where we are as far as our colors. So the colors don't look too bad here, but we can adjust each one of these with the blue, green, and red. And this side, for example, if I click on this on the red and then I move it down, it's going to move the highlight of the red channel. Down, it doesn't really affect the mid tones and shadows. So only affects this top path because we're moving just the top part. If I double-click on that, let's say we could bring that up a little bit. If we go to the green, the same thing and the blues. And again, for the lower part here, we went just the lower section here. If I wanted to go up on the rads here, it will adjust the red channel, only 10 on the shadows area, the darkest parts. Let's reset. This doesn't look actually that bad and actually does look quite balanced. There's quite a lot of green and yellow is in this. And we can see this by going to our other scope is the vector scope. And you can see here that the vector scope, the vector scope is going more towards the yellow and green and then the blue, the cyan is, we take a look at that image. There's a lot of blue cyan in the lake and a lot of green to yellow in the grass area here. So again, if we look at grown back to basic, we can look at if we increase or decrease saturation. We can see when we go to big and we're outside the safety zone, you can see it's very, very bright. But look where we started. And then if we come back to where the scope looks good, Remember for you all the way back, it's going to go to gray. So if we come up here to a nice sort of area and our safety zone, one looks realistic. Keep an eye on the picture itself. When a nice safe zone here. So that's before and after. Here's another tip for balancing color for you. Gray there is a path in here, gray path. So that if there's ever anything like gray, you can choose how you can mask it out. Click on the, on the clip, go to Effects. Close down opacity. Get the masking pen tool and draw a square here, like so. And then turn the opacity back on. We're just looking at this narrative. We go back to the Lumetri Scopes. You can see if we get, let's get rid of this one here. There's two things that'll go on here. Let's look at this 1 first. That's got rid of the vector scope. And you can see that the red is the highest, the green and the blue is the lowest. So we can use our curves to go to red, will lead the red where it is. We'll go to the green. This is the shadow is, this is this little piece here is the highlight here. So go to green. And we want to just take that up a little bit. So we can grab the green node and just move it up a little bit. So try to match where the red is, like so. And then go to the blue channel. Do the same thing. So now they're all matched up. And that should be if we even go back to looking at the vector scope is pure grain. It's now a dog. So we matched. This is a gray. We know it's gray in real life. This is now gray because we were just looking at this. And RGB channels are all matched as well. So that should mean that it should help the color in the main picture. So go to Effects Controls, turn Opacity, backoff, and just click anywhere inside of here to get rid of the mask. So again, if we look behind, this is original and this is where we are now. And that's how we can utilize curves. So by looking at all of our vector scopes here. So we have a good look at them. The balance of the color is good and the saturation, we're good. We have good contrast between a 100 and 0. Now we can see after that adjustment of the gray, we're often a little bit in the red versus green and the blue. So we can actually go down. And again, you can use lots of different ways to do this, but I don't want to confuse you too much. The, the curves as they are. I mean, come down to Color Wheels and Match. And then we're in the highlights, mid tones and shadows. We'll get into this later, but we're going to just increase the red highlights a little bit. Hey, what's up above? We can move that red just to bring it up a touch. So it gives it a bit more balance. Again before, after. And I think that looks good. But that's pretty much where it looked like a reserve early morning. On a sunny morning day, the sun was just coming out from the over this area here. Just time to come up. All right. 27. Curves hi contrast: To follow along this lesson, go to where your project files and go to double 07 RGB curves. So in this section we're just carrying on with the curves. We have a lot of, we have a picture here in this image where it's very saturated. So this is obviously done on purpose. I took this picture and put it in Lightroom or whatever they were doing with it, and decided to give it a feeling or a tone where it's really bright, really yellow. And we can see that here in the vector scope, where the image is very saturated and also the waveform is also a lot of contrast, but well, we'll see if it's clipping. So let's take a look at this and see what we can do with this. So first things first we're going to get rid of the rest of these waveforms for right now. And just have the, the waveform, the lumen waveform. So the first thing we're gonna do here is get some contrast in there. So let's click on two spots. Let's bring the shadows down. Let's bring him down towards 0 and bring the highlights up about him. Let's start with that at the moment. Let's bring up our RGB Parade and close them. The waveform, this, this URL, it looks like we're very, quite saturated in a way to bring that down. As you go back to Basic Correction. And just bring down the exposure a little bit, just to give you a better, a better image here. Let's go back over to curves that go on the red channel. So this needs to come down here. So let's take that note and bring it down. And everything else actually looks fairly well matched here. So again, if you had to move the bottom is you would move the bottom of each color channel, whether it be in the green, all the blue. And then the white is just giving us our exposure. So let's now take a look at the vectors ago. This is the main problem with this picture here, right here, is that it's just oversaturated. So we gotta go back to Basic Correction and bring down the saturation. The other thing too is I am just said the exposure back to where it was. And then we take a look at this. So the original image. Obviously this was very bright. So we can put some of that back in if we need it. But one thing I want to try to do now is let's take a look at where the skin tone lines in this, in this image here. So first things first, let's go to our facts. Let's go to about 200 percent. Let's zoom in on this guy's face. Like so. Total opacity. Click it off, click the pen tool. And let's get an area on his face. And click this off. And then look at our vector scope here. So, so we're in the waveform luma. And it's very difficult to see this saying here. But if we go back to the zone table, so we look here, says very dark gray shadow. Darker black skin should fall into Zone 4, which is around 40 percent. So if you're not show this, I can click on this wrench and it shows you brightness, so you can click on it the same brightest difficult to see. So if we use the Tilda key here, we can zoom in and see that we go from 0 to around 30 something percent. So 30, 35. So we can increase the exposure a little bit. Again, use the tilde key. And then basically we can try to use the exposure here. Tetanus raise that up just a little bit so it fits in around the 40 percent mark area. And now we have according to the zone image table. And he has dark and black skin. So we are now following this table and bringing the exposure up for his skin tone. So the other thing we can do is after that we want the other scope we want is the vector scope. Turning other one off. And then we want this. Then you can see we said that the skin tone should always lie along this line here we can see it's actually going off towards the Bloom. So we don't want that here. So what we need to do here is open up Color Wheels and Match skin tones anomaly and the mid-tone range. So we're headed towards the blue is on the opposite of blue. And we want to be up here between yellow and red. So we're going to drive this guy up in this direction. And it's going to churn. We head back towards the yellow a little bit more. And now we have landing on this line. If we Hover over here and use the tilde key. If still a little bit off, we need to be a little bit more, maybe towards the yellow. Just a touch along this line here. Show we'll see what that effect had. An effect control. Turn off the opacity. Now. And that's very yellow overall here. As CL, we have this as before. This is after. I think we've brightened up the face now to what we had early, I was quite dark. All right, so what can we do about this? Yellowy green tends to everything here. So if we go back to the scopes, again, we need to be gotten back the correction where we're very much over the yellow Chung. So we can see opposite of that is blue. So they get rid of the yellow. We need to put some blue in there. So you can see by, you can use a temperature controls here to adjust to add blue end. So like we said, the opposite of the yellow that we're seeing and the green is add some magenta and add some bloom. However, what we can do also is to go back to the curves here and look at the blue curve. And if we come back to the RGB scopes, we can see that if you look at it now it's very dense in the lower part, but not up in the upper part here. So if we take this and make an S curve with the blue, we can bring that up and take this down omega S curve with S. Like so. So again, now we're back here. And this is showing you that you can use the, the, this is off, this is on. You can use an S curve in here to also add the temperature in. And looking at your scopes, you can play with this to balance them again. Okay, so go on between the two and this is off. And more detailed back here. This guy is not as blown out right now. It's blown answers a very contrasty. And it's also missing some blacks down here wherever 10. So let's go back to our curves. First things first. Then we need to just reduce the contrast. Here. Don't have such a sharp image. I think that's a little bit better. Let's have a look. We take a look here as face circuit a little bit better. And if we go before, not too bad. Okay, so bringing up all the scopes here, I'm trying to put some black. Bring this down in the area, take the darks down more towards 0. Like so. So by dropping the contrast and bring in the blanks, then more towards 0 here, snuck in a little bit better. So if we have to take the whites up a little bit, just a touch center. This is before. This is now looking a little bit better here. And some of the other things you can do here is again, hue and saturation curves. So more desist mean. So let's say we're at this point now we're happy where it is. Let's drop saturation a little bit more. Just so we stay in that range. But we want some more color. In here in the leaves. Maybe we can go to pack the curves. Click on hue and saturation. Click on this Eyedropper. Let's say you want the leaves to be either higher or lower and color saturation it but three node C and you can actually move the mandible bed. If you take the middle one and you go up, it's going to make the leaves have a deeper color. If you take them straight down, It's going to desaturate them. So look at it that back in the original. It's almost matched his shirt. So they might have done this to the image. And this one here. Now if we take this back up to here and give it a little bit of color, we can do that. So now we're saddened and love. Like it's not as vibrant as the other one. This one, you can tell by the vector scope. And we look at ours is a little bit now more because we'll be pushed out color here into more saturation, less ME, MOM, more on the green as well. I'll maybe back here. For example. You can drag that along. You can actually drag this out as well, giving you a bit of a wider range of heel. And then I want to make that deeper. So remake. You can see it makes hedges a lot deeper by here and took the yellows up as well. Because this is part of this range, THE yellow to green. Let's bring this back down. I go the other way. Okay, And D saturate set. So if you double-click on that or resets at all, let me just make those leaves little bit greener, yellower. Give it a bit, adapt. Just a little bit with silent good range. And I don't think that looks too bad compared to the first one. Now. I think that looks okay. And if we actually go here, and again, as you hover over this, use the tilde key. This is where we are. This is our finished image that isn't as vibrant but more natural looking. But the other images though, again, color grading and color correction, is a personal taste as well. For me, I think this one looks a bit too vibrant. For me, doesn't look realistic. They really soak the colors. But this one looks, I think a little bit better, more natural, I'm sure that's the color is shattered. The leaves would look like that. Anyway, for me, this, that's better. So again, it's just showing you differences you can do if you have an oversaturated image and how to use a curves. And just keep tweaking things around until you get the tones you want. So the other thing that you can do two in this type of thing is, let's say you want to have just ensured being color, for example. So then you could choose this Hue vs Saturation. Click on that. Sometimes this will land. By the way, like this. You might see one dot here until we hear. Just move the slider over. So then you can basically take this guy either side of it then. And then what you end up with then is the rest of the image is black and white except for his shirt. And you can increase the saturation on that. And then you'd have a video where, you know, it's black and white or syrupy or whatever. And then his shirt would be the only thing that's in color. And I think you can play around with this and open this up when these nodes here. And then you start getting the same sort of colors back in there and the leaves. Or you can narrow the view by dropping it right down and playing around with that. Myself. Anyway, some more on curves they go. Let's move on to the next one. 28. Color wheels: To follow along with this project, go to your where you've downloaded the practice files and the projects folder and look for 000 eight color wheels. So far we've been using them basic panel and we're going to move into the color wheels. The reason for doing this is that using the basic panel, if we wanted to warm up an image that would basically flood the whole image with orange or blue. Using the color wheels were able to push different tones, different areas of the video or picture, such as the highlights, the mid-tones, or the shadows. So let's take a look at this. So as we said so far, we've been using the basic tab here under Basic Correction. So looking at this image here, if I wanted to warm this up, I would take the temperature control and drag it up. And this will warm the image up, but make the entire image more, not just specific parts. So what I'm gonna do is take another image of this by doing the old key. Drag it over here. Just to show you. I'm going to reset that real quick back to normal and went to go down to Color Wheels and Match. So as we see here, Let's take a look at the interface. We have shadows, we have midtones, and we have highlights. So if I want to warm this up, let's say one to warm up the same thing. Midtones and I'm the biggest effect here. So I click on this, drag this up towards the orange into the mid-tones. Okay? So you'll also notice that one side you make any adjustments to this. Instead of going from a doughnut shape, It's psycho full color wheel now. So if you see that it means that's been adjusted or manipulated. So one thing to notice here though, so I've done the midtones. And if we go back to the previous image, you can see that it, because we use the basic correction here, it colors everything including her white t-shirt was if we go to the other image, you can see it warmed it up compared to before. But her white T-shirt isn't really affected that much as we see in the other image. So the basic correction is good for doing minimal corrections. If you want to push more color into things, do use the color wheels. So let's take a look now how we can use the color wheel sliders to adjust the contrast just like we can in the Basic panel. So what we can do now is take a look at this first thing to do would be to open. Lumetri Scopes here. And we're gonna take a look at the Lumetri scope for waveform, the luma scope. And then one thing to notice here too, is that these guys act, these little sliders here. Watch if I drag this down. We are going to affect contrast. So we can drag this down to 0. And if you double-click on this, you can also tell that I've moved there because it's turned blue. So if I double-click on this, it goes back to the center. Same as if I drag something in here, for example. And I don't want to change, Double-click on it because back to normal. So we can use a scope just like before to add contrast looking at the luma wave. However, one thing that's different about this, this little slider back in the basic correction. This would affect blacks. And shadows also affect the lower part of the image, along with whites and highlights effect in the top. The, if you go to Color Wheel and match these sliders, basically act on, I drag this down is drag and then the blanks and the shadow is together. They are combined. So it drags both of them. Versus in the basic control. We haven't touched this yet. The blacks and the shadows are independent. So if we go back to the color wheels now and if we do, we can see here that the highlights need to come up. So I can take the highlights up and drag that up with the slider. And it'll drag the white and the highlights together as one. Okay, so, so far Let's recap. What we've done is we've added some warmth in the mid-tones into this image here, if we take a look at what it was before compared to now, we've adjusted our contrast using the sliders. And if you can see, if we go back to the other one, like we said, just doing the basic correction of the temperature control, everything looks a little bit warm, orange. If we go to this one, the contrast is good and her t-shirt wasn't a really affected that much. If you think it was. And you want to make it a little bit more white, you can go to the highlights and push a little bit of cyan just into the air. Just sort of brighten up her the white over t-shirt. So let's take a look at the scopes now and see what all the different scopes show us about this image. So let's now go and open up the other scopes and take a look at these things. So if we right-click and go to the vector scope and also RGB Parade the three we've been looking at, we can see in the vector scope that saturation is pretty good as far as color, if we wanted to change that, we can go back to do that in saturation. In the Basic panel, it's from a reset back as we're looking pretty good here. And if we go back to color wheels and match, you can also see, for example, on all of these, like we said, just that doesn't matter. I know we use the luma scope here, but the RGB scope, if we would take in the highlights, for example, and move them up and down using the slider here. You'll see they show that they move as well. So I can just do Control Z input that back as we're happy with that is, so three scopes are looking good. And we have a good image here. If we look back at the original to where we are now, it's looking pretty good. By next we'll go into, push some blue into the shadows because we put some warmth into the mid tones for the skin. And let's see what that does, the contrast. So the next thing we want to do, we've added some in the mid-tones, invited some won't, some orange. So to compensate for that, what I want to do is take the shadows and just drag them down to the opposite of blues. Just a little bit. Nothing too much, but we're going to drag it down just a little bit here. And if you go too far, you're going to see that the image goes really blue. And that's not what we want. So let's do Control Z, that just do it a little bit. And you can always drag more orange up in the mid-tones for skin tone. So what that does is help with contrast. Okay, it said it's known as an orange and teal look. And they can do extremes of this, which we'll do later on when we do the types of HSL secondary colors and things are bad. But for this, we just want to put a bit of blue in the shadow, even though you don't see it as blue in the image. Are. Let's take a look at both these clips which are identical, will go back and reset everything. Contrasts will be the same. But we've just pushed them blue and orange into the midtones and shadows. But the contrast remember, will be the same. And let's see what it does to the before and after, even with the same contrast. So the next thing I wanna do now is go back to the original clip that we have, just the temperature control on the basic correction. Let's just put that back to 0 to reset. All right, now and then I want to go up to effects control. Go on the other clip first, the second one that we've been playing with. Let's go to Effects Control. And you can see lumetri color here. So when we wanna do is copy that. Let's copy that to right-click and copy or Control C or Command C. Let's go to the first clip over here. We're selling effects control, but this is the Effects Control for this. Let's now click on that and press the Delete key and get rid of it. And then we'll go into paste, right-click and paste. The Lumetri control that we have done on the right-hand side clip. So now they're identical. They've got the same lumetri settings altogether. Now if we go to the first clip and then we go back to color wheels and match. And then we just reset the tones that we put in here. So the only thing that's gotten a was the contrast, the shadow contrast. If we go back to Lumetri Scopes and less close these down, let's close this then. We just look at this. The first clip. And the second clip has the same contrast because we didn't delete the sliders on either one. We just deleted on the first one we took away the the wheels are color that we push the orange and the blue in the shadows. So what does that mean for us? Well, if we look at them, we can see a difference. So when you run these in these views here, up in Color Wheels and Match see it says Comparison View. You can go up here now and what you can do is you can see which clip you want to look at. And this guy on the left, if we go through, it's looking at the image that we have down here on this first clip. And then if we go to the bottom clip down here, we can see Let's go back where she's looking. And we'll do the same thing up here. So what we have here now is on the left here with this little play head is playing the first clip. And the main timeline in the, in, in this lower part is playing the main clip down here for the second flip. But you can see the only difference between the two. They both have the same contrast. It's just that we've pushed blue in the shadows and orange into the mid tones in here. And look at the difference between the two. If we have a look at this a little bit more, if you just highlight over a program window and just use the Tilda key. You can see what we're looking at now. And you can see the one on the right has a lot more color and contrast to it. Even though the contrast is the same bus I, just by pushing those colors in, it makes an incredible difference. So this gives you some other views to here. By the way, it's side-by-side. You can do also vertical versus vertical. And this little slider for it helps you see things or top to bottom and you can just drag it down. We didn't mess again. And we're looking at side-by-side to that again because Julie is flushing the toilet next door to me. So you can see side-by-side here. So this is the one with just the contrast and this is the one with the with the color per Stan. And you also have a top to bottom one down, which you can use also, we're going to put it back to side-by-side again until the key is that all squiggly line key in case you don't know top left of your keyboard, and then go back to here. So that's really good at doing. Just by pushing using the color wheels. You can push color into different areas. One of the other things that the add-on here while we're here, is color wheel a match and you can match different colors from one clip to the other. So that's what we're gonna do and take a look at next. 29. Matching Color: To follow along with the coarse coding of practice files, look for 000 nine kilometers. So the other feature that this has is it has a function that to color match stuff, whether it's from different cameras or even from your favorite film or a picture. And you can take that tone and they'll try to match it over to a selected video of your choice. So let's look inside of Premier here. And we have two clips. The first one is the one that was color corrected. We can see we've used the color wheels as before and the same as a previous video lesson. And then we have another one, which that say was filled with another camera. And it has a much cooler tone. But what you can do is go up to here where it says comparison view. And you'll notice two things. The slider down on the main program window down here, the timeline window. This is where you clip saw, drag them over to the clip you want the color to go to. And then up in this comparison view, the reference window, you have a little slider here. This is actually looking at the clip that you want to take the color from, which happens to be this one. So you'll also notice down here that there is faced attack button on. So to try to take the tones from the skin tone on the reference and go whichever the current. So you can swap these two by the way, just by hitting this little button then here. Or we're going to stick with what we have. And all we're gonna do is say apply. Match is going to analyze it. And it's going to try to take the tone of the reference video clamp and apply it to the other one so that they would look more match dismissive works out. Well, it didn't got like different cameras. One was shot when another seen by someone else. And someone else shot a slightly different time of day. So the tome was different in the sky or what have you. So really works are good for there. So we have set up here. And then we also much, this is the one that's color corrected. This is the one we want to correct. You have a comparison view. Again, remember this is the one which will affect this one. And I drag this one back. So this clip here. So when I got a clip, a color match from this to this one, just to apply. And they go and matches it really well. Actually, I talked to Tony from here and apply them to hear some regard the first one. Because the effect of these two. And I'm the orange tone in the mid tones, the shadows are towards blue. The contrast for the highlights rose up and contrast for the shadows was down. If we look over here, it seems like it did a little bit and the same thing. Yeah. So I'm not quite as much. And then you can tweak it. This is a good starting point. All right, So great way to match color from one clip to another one dow much different cameras and looks. Okay, so let's say you've got a picture from a Hollywood movie or some image that you like and you love the way the color looks. You know, it's dark. Which really teal and orange or bright. How could you do this? So in the project timeline now we've got three clips. We have done the bomb under something. I don't know what it's called, Thomas Hardy. And then we also have one, Chris hemes worth and James Bond. Daniel Craig. So if your image here has the size of the frame, just right-click on it and say set the frame size because we want as much color information as we can get from it. Now, remember that this is where this is the reference. Okay, I want to color grade the one on the right here, the current with the timeline. Play head down here. If I scrub over with this one up here in the reference, I can go between Thomas Hardy, Chris Holmes worth, Daniel Craig. And they have different Bray, different color tones. You can see this here. So that's how I really like the way this one is. So let's rarely teal and orange, actually, very orangey, warm tones. So again, just all we have to do is we're over here just to apply color much. And you'll see that it's really warmed up the image over here. And you can see by the color wheels what it actually did to everything to try to match what it thinks is for this. So if we do a Control Z or Command Z, and not only raise the tone, but also the highlights and midtones. So that's that one. Now we can scrub over here and take a look at what happens if we like is much darker look here from this movie. So again, click and you can see that it matches it again. And it's dropped. The shadow is way down, highlights a look like it's adjust them a little bit. I'm mid-tones way down until we see it made it more of a blue tone, trying to much the same tone as the clip that you've got over here. So you can see, you can just use my even a movie clip or just a picture or something if you like, Don image, try to apply it to your footage. The original thing for this, I think, is matching two different cameras that were maybe their white balance is off a little bit and stuff like that, or just the tone is off a little bit and you can try to match them like we did in the first example. And then our last one is coming over to James Bond, is still a very cool image. To get rid of this if we, as long as we're clicked on this and we'll go to Lumetri. You can just delete it so it'll go back to its original. And then we'll just gonna do the same thing to apply. Applauding much. And that one did it straight away. Now just by unchecking this box here, you can see the differences. So it tried to take values for grading in here and apply them over here. So that's just another thing that the color wheels can do. A nice little, little added bonus that. So yeah, it's already a factor. 30. HSL secodary: To follow along with this project CO2 0, 1, 0 HSL secondary. So in this section we're going to look at the HSL secondary panel. Now, the secondary panel, a secondary color corrections where we can isolate part of an image or part of a video and change that such as a face, that tone in the face or the color of the leaves or a flower or the sky. So we're going to take a look at that. Let's first look at the panel itself and what controls we have. In the top of the HSL panel, we have the selection tools, says I dropped us to set the color within a picture. We have hue, which is the color range. And we can see here these go from all of the colors within the color wheel. Then we have asked for saturation. And you can see here it is how light or how dark the delegates or the saturation of the color. Is it very faint teal or a right Teal? And the last thing we have is the luminance, which is brightness, and it follows the same scale. If you look here, it's black and goes all the way to white. So these are the scales that we can select to change stuff on this picture. We then have some other things here where we can select whether we have gray once we made a selection, gray and then black and white. And that lets us see the image that we've selected a lot easier. The next thing we have is the Refine sliders so we can the noise blur the mask basically that we've selected or the area that we're going to choose to select. Then we have the actual correction wheel, which is the color wheel that we know with also the saturation. We can also double-click here, and we can have the same type of curve tools that we've used as far as a color wheels, mid tones, shadows, and highlights. Underneath that we have a very similar thing to the basic correction, which is temperature, tint, contrast, sharpen, and saturation, as well as finally, vignette. So we're going to use these to make some corrections. So the first thing we have here is a well-balanced image. It's a photograph of some Japanese girls were some light Street coming into the picture here. One thing we wanna do right now is two. We, we've always talked about the white should be whites and blacks should be black. But this image, just like we've done before, has some blue tones taking into the dark shadow areas and some orange tones taking into the mid-tones. So we want to make the blacks black. And this might give us, if we look closely, might give us some blue zone within the black areas. So if we take a look at this and we go to 200 percent, for example. Maybe if we move into here, it might be hard to see right now, but this has a blue tone in the shadow. As well as the lady has totally black trousers jacket. By that, we'll have a blue tone in the shadow area. So we can try to first civil manipulate that. So the first thing we would do is that's the way we've used these sliders. This is always in the middle of this teal color. So we can just drag the top here and expand the range. So you can expand the range all the way here for the luminance. So we're going to keep it sort of like this. We're going to drag it all the way down to the, towards the blanks. You can see the blacks are on the line here. And then the other thing on the bottom is we're going to have how much it bleeds off or ramps up, sort of fades into that. And that's always a good thing. Then we want to say what about saturation? Where we want to take all the saturation and say all of the colors which capture and everything here. And you'll notice as I move stuff, you'll see this go black and white because that's what's chosen that I'm here. So if I click on this, I think it defaults to gray. And sometimes you can use a gray and you can use black and whatever shows up better or white and black. So whatever shows up for whatever particular picture that you're using. So I'm going to use a blank. And then when I can do is expand this just a little bit here. And you can see it's picking up more stuff. So right now I can just make it like this just to pick up the black range here, like so. And we could do white and black. And what I'll do is I'll zoom in a little bit to that lady's coat that we will look in out. I can turn this back off. Let's look at something black in the image, which is, Let's go to this lady right here. Let's zoom in a little bit more. So, and now if I click on this, and if we change this a little bit, and then with whatever is white is going to be affected. So I know that's I can see that that's her coat. And I know it picks up a lot of other things, but basically I'm checking this one here that is black, She's totally in black, so we want to make sure it doesn't have that blue tinge to it. So I'm going to see if there's a ramp this back down a little bit to isolate her a little bit more. And then I can feather this out. Just two. You can see now that's picking up most of her image here, which I know is very black. Okay, so now what we're gonna do and let's go back to fit. You can turn this off. And what I can do because we're on here, I can take the saturation all the way down. And it doesn't affect saturation like we know it, you see, it didn't affect anything on our scopes. So it's just looking at this secondary panel and the area that we chose to look at. So if we go look at that now and go back into here, for example, if we go over to that lady, and I make this a lot bigger, you might pick out that. If we turn this on and off, this is off. You can see that she has a lot of blue tone in her black area. So when I turn that off, you can see the difference. The black is now very black. Another where to another place I really noticed that is over here and the shadow is here. This was before. You'd be looking at in the shadows as these people sitting in this room. And I turn this off, is it before and now on after you can see it's the shadows and I blank. So depends on, you know, this is a good way to, first of all, make sure that blacks are really black to a specific image here. So for people that don't know, it wouldn't even moving the panels around like this. You want to go right back to the beginning. You're going to Window workspaces and we set to save layout. And everything will go back to default. And I will go back to this fit. So that's now is showing us that that's how we got all of our blacks. I'm black and I don't have blue tones to them because we had put certain color grading. We put blue into it, push blue into the shadows, and orange into the mid tones and highlights. 31. HSL face: Follow along with this project code to 0 0100 HSL secondary. So our next method of doing the HSL secondary is Shinto isolate this girl's face. The image itself has quite a yellow green tone to it. And maybe that's what they would go in for in this case. However, that reflects in the face as well. So we want to turn to why Snyder of skin tone and just bring that back to a more natural look. So we have a fairly balanced picture here. Some footage that you've received before here. So Lumetri Scopes. Okay. And we can leave them as they are. We're going to go to the HSL secondary. And we're going to assume that we want to change the tone of this girl's face. So we're going to choose the color picker. Choose a color here. And then if we go here, the color and gray were able to click on this and see anything in gray Woolmark are affected. Anything that's colored will, if we look at these other options, you can do color and black. So anything in black will not be affected. And on the bottom we can do white and black. So error again, anything of black or won't be affected. So we're gonna go to color and gray. And we'll go into then use the dropper with the plus next to it. And then we can try to get a bit more of the things we want, such as her face. And you can actually click and drag on it as well like this just to try to get as much as we can. Now it's inevitable that we're going to get part of her hair because it has the same sort of skin colors as skin tone as well. And then if we don't like something, there's a minus dropper. And we can try to just drag that across here. And that's not looking too bad as far as what we have. Then we're going to use the hue here from the middle. Just move that over and you can see that's no good. We'll bring it back and try to just get the facial features. We can then try to expand it with the top. That's working a little bit better for us. But then we start getting into the brush area back here, which we don't want. So we're going to bring that back just a touch. And then we can feather it out with this bottom area here, bring it back in. That's not looking too bad. Now we can look at the saturation next, just grab the middle here and move it from one side of a C That's not work in, come back the other way just till we get as much of that skin tone as we can get without starting to get a lot of other stuff. And then we can try to expand it. Bring it back. Same with the feather. And I think that's looking okay. And then now for luminance, and again, too much. And then. We can try maybe around here and then expand that too. But then it brings a hair in which we don't want. So we wanted to keep as much of her hair. Again graze, not going to be affected. But we wanna make sure that arm is a factor. Okay, so I think that's where we set at the moment. Now the next thing I'm going to do is zoom in a little bit here, maybe even 75 percent. And we can see there's a bit of a green tinge or because a lot of it's a bright day, but the look of it and there's going to be green cast up from the grassy area. And we see that in the vector scope, a lot of the color is towards yellow if we look at this here. So what we're going to try to do is brighten that up a little of them. Here. Maybe drag this down a little bit towards the blue, the opposite of yellow. And then if we look at the before and after, and let's go up here. We can see that before she has a yellow tint to a scan and afterwards now it's a bit more natural-looking because we got we pulled the yellow back. Now in other way, as you know, the best way to check this is go to your facts. Click on opacity. Let's draw a square on a skin tone. Then go back to Loomis scopes. And now let's get rid of the vector scope. And I'm sorry, we want the vector scope. We don't know the RGB. And we can see it's almost right on that line. It's a little bit after the yellow cell. So we can try to go towards a little touch towards red. Like so see if I drag it over. There we go. Just so that's we're right on that flesh tone line. So go back to a fax. And then we can click on the Opacity off, click the max mask off, like so. And go back to here. And we can see that again, this is before. This is after. So she's got a much more natural looking skin tone. So it So that's good. So now we have that where it's a lot more nicer looking. Lan. Then before when it was yellow. So the next thing we're gonna do is go up to Lumetri color up here. And we'll go into the ad say Add Lumetri color effect. And then you can do that again. And what you'll notice down here is that it actually put the lumen, this is the first lumetri effect we just did. And even though you don't see anything then here anymore it looks like it's reset. If you go to HLS as HSL secondary here, all the adjustments we've done are in that layer here, just so you know, the soil here and they can still be affected. So what we're gonna do with this as the second one here. Now up here again, we can say Rename. And then we're going to type in Skye. Okay, and then you'll see that he and I, you could have done that here too, just by right-clicking and you can do rename. So for your rename, you could have done it from here. Anyway, we're here now. So we have a brand new panel. And now where do the same thing. So this is a layer on top of this. We're going to click on the Eye dropper. And then click on this color. And then I'm going to click on the plus. And then drag this all over here that see the gray and we can see what we have here. Now, I find that difficult to know what this is exactly. So if you click this little button here, you can actually see the image with the gray. So I'm going to continue to click on parts of this. Just to get a bit more of this, if I can get it down to here. And then I'm going to play with the hue I before. So what does that down? And we see that does drop it down pretty well all the way around here. Let's see what we have for if I go this way was saturation. It's too much. And we started getting things appear which we don't want. And finally, luminance. So we're going to play with that. And I think I'm going to leave it right about there. And I think that looks pretty good. That's pretty clean. So I'll take that back off. Make sure this blue guy is off as well. And now what we're going to do this shared a fact, just the sky. So if I want the sky to be more blue, for example, or a deeper color, blue. I can do that. So this is before and after. So now she's walking alone on a sunny day and with a nice blue sky. All right, so that shows you how you can put two different Lumetri color panels over each other. And the secondary colors to target different areas of the video. And then be gone. So practice along and see where you can come up with. 32. HSL object: To follow along with this project current to 010 HSL secondary. In this one we are going to take some stripes on a guy's shirt. So an object, the piece of the video, and change the color from one to another. So this is something that you can do quite a bit if, you know, someone's got a certain color shorts on or the bicycle is red and you want it peripheral or what have you. It's somebody that you can change part of a color in to another color. One thing to keep in mind though it's quite difficult to do. If you're trying to change the colors. A lot of the guys got a green top on, for example. And he's in, uh, an area with lots of green around him, like on grass or trees or whatever, it's quite hard to isolate just him. You can use a mask and stuff like that which was showing you in the next video. All right, let's get into it. Okay, In this session we are going to take part of this image. There's two guys here and they are untangling some bulbs and looks like we're going to change the stripes on this guy's shirt. Right now. They're like a blue color, blue or purple. And we're going to change it to something else. So this emitter saying wanted to change the white balance first, this very warm. So we change the white balance on this click the eyedropper, that'll give that white balance tone change. So before we go into the HSL secondary color, we're going to add another Lumetri color effect. And this, well, if you look over in the Effects tab, we'll add another Lumetri Color tab right here. So these lay on top of each other. So this is the one where we did the, the white balance. And the other one at the bottom is on top of it. So our Lumetri effects on this won't affect the one on the previous one here. This is common practice when you're doing some secondary colors. If you want to isolate a face or part of the video image, you can actually get, you can stack the Lumetri panels so one doesn't affect the other. So one of the thing we wanna do here is rename this so they just don't have a bunch of Lumetri. So you go up here to rename this case. We're going to type in HSL or something, whatever you want here, say, Okay. And then you'll notice down here now that lumetri color is now named HSL. It just keeps things nice and tidy. So it's good to do keep bookkeeper organized. Right now we're going to go being on this lower panel and we're going to now go over to the HSL panel. And I'm going to zoom in a little bit here so we can see the stripes better. Now we're going to pick on the color picker. It's like a purple color. It looks like it comes up here. Let's click on the gray so we can see it now we get a nice contrasts here because it's a one color on a, on a white shirt. So it's very contrasty. I'm going to pick on the plus value and do that derived little bit more. And now it looks like we've got a good capture, good zone here. So let's move the hue a little bit and see what that gives us. If anything, you can see it's starting to show other things now. So we don't really want that to sound the pickup other things and the other guy or something in the, in the object with a similar color, they split at the top is on his collar. So this looks pretty good. I don't think that he was on a given us much more. So let's just tweak that back. And then we can look at the father never going to go into the saturation, move that from one side to the other. And then we'll look at the area of saturation, see if that does anything goes away, seems to be strongest about here. And then finally, Lumosity. So this is basically brightness. Again, move from one side, see what you get. Just make sure it doesn't pick up a lot of other things. And that's just feather that off a little bit, see what that does. And I think that looks okay. I don't think we're gonna get anything much better than that. Let's just do the de-noise and blur. Just because it's good to do. And then we're going to use this color wheel here to make this green will go with a green color. Drag this down to green. Let's click off to see what we're doing. Might have to zoom in a little bit here. And we can also just move that green down a bit more. Even move the tint towards the green. And then if we go back up, it's nice and green. Now the other thing we're gonna do is look at the vector scope and see where it a little bit saturated and the color, making those dial that back a little bit. And then if we go turn that effect off. So the original was purple, I would screen. And that will play through the whole video. It's pretty clever, whoever can do it. So as you can see, this worked well because it was a bright color on a plain background. Basically, if you're doing colors that are very similar, you know, where this is a very warm orangey tone to this, to this video took like his shorts might be a little bit more difficult even though they're bright. And my pickup a lot of other colors and in from the lights as well. So play around and see what you can come up with. 33. Hue & sat curves: To follow along with this project, go to your projects. The 0, 1, 1, heel and sat curves for people come in to this program with an older version of Premiere. Before, I think October or November 2018. They might be used to the old hue saturation curves, which was a circle and look like this. Since then, it's changed two curves looking like this. Or we go to curves. We have the RGB curves that were used, and then we have hue saturation curves. So let's just close this one up and let's run through them. This Hue vs Saturation. Then we have hue versus hue. Hue vs Luma. Luma versus saturation and saturation versus saturation. So let's start at the top, right up here with Hue vs Saturation. This first one is exactly the same as the circular Hue vs Saturation in previous versions, only in this straight line phone. And the purpose of this is to isolate a particular hue. And you can choose that on this line by clicking. And then you can raise it up. So you get more saturation or less saturation. We can see that if we double-click, takes us to the center, but if we go to the center and click ones, you'll see that as you raise up, the color is more saturated. And at the bottom of this line is less saturated. We can manually guess the color that we're going to use myths is blue teal color. So we can click on where we think it would be. And then use that. Or we can use, if we double-click this to get rid of it. We can use the eye dropper and choose a specific color here. And then you get three dots. The color in the middle is the dog that the eyedropper picked. And the other two nodes are the boundaries or range between it. So if I move this around, I can't go beyond that range. So if I go up, the color that we chose will get brighter. Just that, isolate the color. And if I go down, the color that I chose will get less saturated by having this three nodes here. This creates a bell curve. So the colors that are in within this range, you can actually see most saturated. Whereas below, if you look at the line, it's less saturated. And what it's trying to do is take any colors between this range and this range and add a gradient to it so it looks more natural as we take it up. And then you can move the nodes really close together to narrow that point. Like so. But you might see that the color isn't quite as saturated in different areas. So if we bring that back out on a little bit, on either side, it'll blend in more than before. So let's double-click on that to get back to normal. Of course, you can even increase the range of the bell curve to pick up more of the heroes and help with pixelation. But you get the idea. So let's reset that. And let's move on to Hue vs Hue. This is where you can replace a color or hue with another one. This is similar. But in this case instead of Hue vs Saturation, this by left-handed up and Dan will change the entire color range of each, of every hue in the video. So by going from top to bottom, all the colors will change. But we can isolate a color just by clicking on this red dress. And then when you see this trend about this with one dot here on this side and two on this side. Just use the scroll wheel to bring them over to where you want them. If I click on this, I can give up the color range and change the color of the dress to whatever color I want. I can also see that if we go back to the beginning, this is the only bright color in here. The rest of it's pretty much green. So we can actually click on this color and expand the range a lot more. And then that'll give us some old gradient fill color here to whichever color that we choose. Like that. For example, holding down the shift key will allow you to just move straight on the vertical axis here without going left or right. So you can't sway off to other parts of the range here. So we'll take it back down to green. So you could copy another Lumetri color effect. Georgia mask around is fire hydrogen for example. Choose it with a color picker. And then change its color. So there's lots of things that you can utilize this fall with the Hue vs Hue. Next we have the Hue vs Luma. So this is basically taken a color and either increase in brightness or decreasing. And so in this case, we click on the dress. We can take the middle dot here and hold the Shift key and we can make it go brighter. Or we can make it go really deep in color because the brightness has reduced. Now we could also take the green area around here, click on this, and then do the same thing, make the background a lot brighter or darker. So maker's time that even more. You may not find yourself using it too much. But it can help if you have some crazy coloring a video that you need just to adjust. In our next curve is luma versus saturation. So this works on change in, exist in color saturation. So it will saturate everything more by the existing colors. You can see this is, has a lot of blue and teal just going into everything and we'll desaturate everything. Again, we've always talked about black, so dark. Shadow areas should be dark. And you can see here everything has the two teal dark blue color. So it doesn't really stand out. So we can use as like an S curve. So we come down to this is where the shadow is. And this is where the highlights. If we click on this area here and drag this down. And we can make like an S curve right here. This isn't a work on the DACA areas and dark in the middle without going into the highlighted areas. We turn this on and off. So this is with it off. Let's go up here and make it bigger. You see though teal blue is everyone. And then we go to the own and go to the same. It makes the darker shadows a bit more darker towards the black areas and keeps the rest of it highlighted. Again, if this is the look that you're going full and its gradient that was put on there for a reason and that's what you want. Great. But you can just enhance it a little bit. As I said by going here, Dragon this down. And this will take the shadows and the blacks and try to remove the color so that the darker areas on all blue, they get a little bit of the black back and it'll just make it pop more. Last thing we have, saturation versus saturation. If we just go up and straight up and straight down and acts like a normal global saturation slider. However, some things in the image here, obviously more saturated than other things such as the fire hydrant haha. So what we can do is if we take the lower things that on to saturated here and the ones that are all such, write it up here on the, on the scale. We can desaturate that and saturate the small. And if we drag that over here, we can increase that a little bit. Now this isn't obviously the look that we want, but explains that the stuff that is already saturated the most will get increased and the stuff that's not saturated as much can be decreased. So one way to use this could be to prioritize subdata isn't saturated as much. So we can take this up here and drag this up, and this will make the background more green compared to what it was before. So a saturating the stuff that was lowest saturated compared to this fire hydrant by a lie witness to do it on this curve. So it's just that one way that you can utilize them. All right, That said, I think we have covered the hue and saturation curves. 34. Luts and Presets: So in this session we're going to talk about lots, which are lookup tables and presets. So after you've done your color correction and you've done color grading, and you're happy with the way your colors look. You can save that if you film something with the same camera and you've done all your color correction and you've got multiple clips on. You don't need to go and do it over and over and over again. What you can do is save that as a preset and just drop that preset onto all your clips to get the same colors that you've just done on the first clip. Now a lookup table that all over the Internet. It's basically a look or feel that is applied to the video clip. And that's everything from Orange and Teal looks in Hollywood movie looks to the matrix blues and greens, to cold images which are, you know, like dark movies, too bright images and anything in-between. Totally depends on the person. And these also export it as a dot q files, which are known as Lutz or lookup tables, as I said. And these can be passed around and you can find them all over the internet, as I said, and used with your own footage. Keep in mind that just starting points, you're not going to put a lot on there and it's going to go Man, that's amazing, That's fantastic. You're going to put that on there. And it's going to be too contrasty or too dark or too light, then you are able to manipulate it. And it's a starting point. So we'll take a look at them and then in the next videos coming up. But for right now, and we're going to, in this video, we're going to create a preset and create a lot. All right, so let's have a look at this. To follow along with this project. Go to where you've downloaded your practice files and go to Projects and up for 0, 1, 2, adding a lot. Now that we've color graded the clip to the way we'd like head. So if we turn this basic correction of this is the original is a very flat image. And this is how we liked this. Luck. We're happy with that. This is a look that we can have saved, so we don't have to do this every time that we've had. We shot a bunch of clips with the same camera and they all have the very same sort of profile like this. We can save this to save ourselves some work. So if we go to Effects Control, this is a Lumetri color that we've used to color grade this clip image or color correct this image. So we can right-click this and do save as a preset. Inside this preset here and the name, we can say. My best. He said, Oh, Hello. Then, now, if we go down to Presets, it is right here. So we can always load up these images for this Lumetri color on all the clips we have that we filmed with the same camera. Or if we like that starting point that we can do that. So if I go back up here and I get rid of this by just pressing the Delete key on the Lumetri Color, we're back to square one. And now I can just drag that preset over onto my clip and then we're back to our original colors. So this is a way for you to save a look that you like as a preset. Now there is another way to, to save this out as a lot, which is a lookup table. So to do that, we take our finished image that we like and we go to these three lines on lumetri color. Click on them. And then we're going to go to export dot cube. There's another one, this is Export dot look. This is very specific to Lumetri, which cube is very universal. So we're going to use that. Click on that. We're going to navigate to where we want to put this. And we're going to call it, hey again. And we're going to say Save. So for now I'm going to delete my Lumetri color effect from here. So back to a flat profile. And then I'm gonna go down to creative and choose a look. Ryan Lewis. And I'm urine said, go to where my LUT is, which I put in here. We say Open. And now we just create SAT lead and we've loaded it. There's a couple of places you can put the LUB. The first place you've probably noticed up here is Input LUT up here. And the second place as where we put it in creative, which says, Look, so what's the difference between the two? So here's another image that is very flat. It means it has a lot of low contrast. You can see the blacks and the shadows and the whites. It's all very such a saturated as a flattened image. This is good. This is what's known as a log file. So this particular one is from shot with the Sony camera called slog. If you are using a Panasonic, it's a V log or Canon, It's a c log. And they basically called technical lots. And get a starting point for this week. And we could manipulate this in color correct. And color grade, just like we've been doing from scratch. But if we go to each cameras site, they have lots and lookup tables that is specific for the camera. So for this particular one, it's a Sony A7 3. So here, just as an example, where on the Sony website and you can see here there is I love profile for S gamma S log T2 and as log 3, two different flat image looks and you can download this as a cube phone. Now the same when we're done for the whatever camera the profile was, was shot in, whether a canon, canon or Panasonic or what have you or Red camera. They all have a lookup table as a cube fall. So I've gone ahead and downloaded the zip file and extracted this gamete to LC 709 cubed file and put it where I wanted. And now appear under the basic correction. I'm going to go here to browse. I'm going to go and choose the log that would just lead downloaded right now. And you'll see that automatically. Returns are very flat profile into what looks like a normal image. Can this is what is, it knows from the Sony camera or your Canon camera that if you shot an S log, this is a starting point for the image that you've shot. And you can see there's no changes to the basic, the color wheels and match or anything else. Curves. We have applying canvas here. This is what is going to be baked into this image from the camera. So this is a good starting point for the lunch, so it saves you a lot of time. And then we can just tweak this to however we want to enhance it. So you may have noticed that there's two places to put lots. One is Input LUT here on the Basic Correction, and the other one is under creative called Look right here. So which one do we use? Well, let's show by example here, Lumetri followers a top-down approach. So if we have this image here, which is a flat image, we've seen this image before and we have some information, but it is a flat format here. If we go to input our lot in the basic correction, and then we go to browse. And I had this too much contrast lot here. C, Okay. So this has made it totally saturated and overexposed. So I take that on and off. It just blown everything out here. So what could we do to try to bring this down like normal? So we would go to look in scope, returned to bring out blacks down and bring them here. We've tried to bring our shadows down and we'll bring our contrast down, an exposure. But if we look closely, we get in, everything just looks blown out here. We're not getting any information back, even if we'd bring the highlights back down, we get some but nothing to gerd. So if we turn that on and off, but information seems to be there. But if we look at his face and her face is just a white mass with no information. So, you know, even if we bring that right down, that isn't making it look very, very good. Again, we can play around with this, but it's because the law with a high contrast and it is up above on this layer and it's been put into here so we can change that. We're just this stuff is being applied on top of it. So we can take it away from the source image on the master image. So let's reset all of this right here. And now let's go to creative. And let's put that same Ladin. If I go to Browse, I'm going to do too much contrast here. Say, okay. So we have the same thing. So we still have the over-exposed image, but it never lies below the Basic Correction panel. So now we can go and take our blacks down and shadows. And let's see. We can increase our contrast that a little bit. Take our exposure down a little bit here, and we can add some saturation. And now we're able to control the image because the law was applied underneath here on the Creative tab. So any changes that we do above it, we're able to pull that information out from it over the, over the top. So that's a good sort of tip is apply your LEDS in the creative tab. Because if you want to go back and change on the stuff, you can still have your basic tab to help bring that down in amino are adjusted. So that's just a good little tip there for you. 35. Color Grading: To follow along with this project, go to the way you've downloaded your practice files and go to 03, color grading. Let's take a look at color grading. Don't forget before you can color grade, we need to color correct? Once all the color correction is done, you can add a layer over the top to get that feeling or emotion that you're looking for. Whether it's the orange and teal look, the matrix blue, a dark image for a horror movie or something with gold highlights. Whatever you wanna do, now is the time to do it. So let's jump into this and take a look. So like we said, the first step in anything to do with color grading is color correction. We know that we should do correct exposure, fix the white balance, and then adjust saturation using the Lumetri Scopes. That's normally the first step. But after that, color grading is totally up to you. We can go through some of these here. It has a sort of misty look to it inside of a gym, a boxing gym, or they're working out here. The next one we have here is almost like a creepy, right, right, orangey golden tones. But sort of creepy, almost American horror story type thing. And with a guy walking through the hallway from, if you're looking through your doorway. And the next one, which is outdoors and it's very bright. And this guy dance and lots of stone in a courtyard, much lighter than some of the earlier ones. This also very sort of, I don't want to walk on this Subway. And the past thing. He has very green tones to give sort of a creepy feel. And then this one is again sort of romantic, nice golden tones. And given that Ambien, so it's telling me stories. Each one of these video clips are very different, so that they look different, they tell a different story. And not all color grading will be good for each thing. So if you want to do the Mad Max look, and you know that that's probably not going to work well in this outdoor area. Or someone walking the field, or if it's a horror story you're trying to portray. So you've got, you know, not everything will do it all. The matrix blue. And on this clip, for example. So let's take a look at what LEDS due to the image. You can preview them first in the creative tab. The sea, if you'd like any of these lots that are premade. And that is a good starting point or might even just be the look, you're looking for some a look. One of the things we can do with this here is you can add these lumps. So if you go to any one of these clips and I'll go to creative, then you can see there's nothing on the insist the original thing. Now we're going to assume that the color correction has been done on this. But you can start choosing. You have all of these things built into, um, Adobe Premiere. They come with this. And if you've added any, they can be in here. You can browse here to where you want to go. Find, let's say you've downloaded. But what you can do is get a preview of them. So you can just use this a lateral here. And you can see if you just click on this, it'll add that to it. This happens to be called Cyndi space, RGB 6-bit. I'm going to do Control Z. And you can work your way down through each one to see the effect that it would have on your image. So for example, if you clicked on this one, That's not very much different, that gives it a more milky look. But that might be the look that you're going for. So you can use a lots to do this. Then show matrix blue for example. So another thing we can do, instead of if we have a bunch of clips that we want to apply the same grading effect to. What you could do is go down to here to New Item and then do adjustment layer. Just say okay, grab that, put it on the layer above, and then just drag that to the end. Or some parts of it, whichever one you want to do. Now, what this means now if I click on this, I am going to click through this ease of facts here and see which image I wanted to apply. So let's say I like this one. So I'm going to do this. He says It's CL blue intense. Click on this. That's what it does to this image. But if we click through these images and we click off this here, this is the effect, it applied that same LUT, that color grade to each one of these images. So you can see that you can apply each one just by applying it to this top layer. And then if that's the look that works for you, and again, it's a starting point, then you can tweak it from there. You can change your saturation, vibrance and things like this and drag it down. And then this is applying a global, a global grading to a bunch of clips just by applying it to this adjustment layer on top of them. Let's try to calibrate this together. We have an image here, some footage of GM and some boxes thrown a medicine ball around. Let's see what we can do with us, what they're going for that orange and teal look. So like we said, the first step of any clip is make sure that you've done your basic correction, your color correction. So looking at our scopes up here, again, we can just tweak this a little bit. We'll take the whites, Dan and Lubeck as a wrapper. The top here, shadows, drop them just a bit. Highlights will raise them a little bit. Our contrasts rule give it a bit more contrast. And our exposure. But just drop it down just a little bit like this. So before nafta, soon as milky looking for, Let's say we want to now add a color correction to this. So this is where now I want to be creative. So first thing I'm gonna do here is if I go and keep playing with these, with these effects, I'm basically changing my color correction. And you can do that. There is a way to do it. But you don't really want to do that. You want your color correction, the stay, and then your color grading to go over the top. So one way of doing this, what we're going to do is rename this Lumetri column we're going to call called a color, correct? And if we go into effect control now, this is now called color correct. And then if I add another Lumetri effect over here by going to add lumetri effect and then rename. And I'm going to call this one color grade. So now looking over here, we have this new material factors, our color correction. And this one is our color grading. And you can see it's nothing. He and now everything is back to reset. It also noticed that when you did this year, this oxide, this is gone all the color correction that we just did. But if you go to basic corrections and this area here, to make this a bit bigger. You can see the values as cilia right here that the changes that we made in these values. You'll also see that if you go back up here and click on the drop-down, if I do color correct, your values are here. It's just so when we made another one, it goes back to Lumetri Color, which looks like it's a blank. So you can grab them here, whether I want to go to Lumetri, Color, color correction or color grading. So we're going to make sure that we are on color grading over here. Let me close this up so you can choose it by going to here or here. And again through the drop-down, you can go to color grade. So now. I want to try to calibrate this. However, I want to again use a lot like we've just seen in creative, these ones here, but we're going to try to do this from scratch. So what we're going to go to is relieve him Basic Correction alone. And we are going to go to HSL secondary, right? We're going to click on the key. We're going to choose this guy's face to the gray color copy that go into see if we can capture as much of him as we can. That's not doing anything. Muslim terror and match here. And then we can also use the plus key. Try to capture him with a little bit more. So that's a little bit too much there. And as you've seen before, you play around with this until you get it how you want it. So just for our example and not to spend too much time on it, we can then teach Act this. Now if we check this box here, this is going to leave everything that we, that we hadn't C inverse of it. So the stuff that's gray is going to be affected now. So a check that off, make sure this is blue. Now we come down to the color wheel and we can come down and drive this teal color. And so we can see right here for on and off. Like so. We can also use free, close this guy's backup color we'll match. We can actually drag the shadows down a little bit into the teal. Drive, the mid-tones for his skin tone. Same with the highlights a little bit. And then we can raise the colored dark center. Let's darken this down quite a bit and go from there. Looks good. See before and after. So again, that orange and teal look that we're looking for. And he is our final color grade, where the orange and teal look. If we look back to before, this is what it looked like originally. This is with the color correction and this is where the color grade. Okay, So they go for a step. Remember in summary, make sure you do your color correction first, and then create another Lumetri panel to do your color grading. And again, like before, we can say these out, if we want to say the merit is a preset or a lot. So remember, if you want to save the preset, go on the color grade. Right-click Save Preset. And we will say box of blue, just for example. And then when we go down here under Effects and Presets, box and blue is right there. And if we wanted to save it out as a lot of color grade, if you do save export as cube. And that will allow us to. 36. Animated masks 1: In this session, we're going to take a look at the masks and had to animate them. We're going to take a look at change in the sky effect in the first clip. And the second one, we are going to take an animated mask and follows ladies face as she submerges into a lake. So let's jump into it and see how mass can affect different color that you want to change when it's just part of an image. All right, let's do it to follow along this lesson. Co2e, you've downloaded your project files and open 001 for masking 1. So the point of this lesson is to talk about masking this image. It's a drone image. Would actually, we would color correct it first like normal. But I wanted to just show you how we can mask out the sky, for example. So one thing to notice here in the effect controls, we don't have a Lumetri section. So just do anything on here, drag this back and forth, reset it, and that will open up the Lumetri color over on the Effects Control. Now what we can do once that's open is go to 25 percent. Just we have room. Click on the Pencil and we're just going to draw a mask right over this. Like so. Then we're going to mask feather by quite a lot. Because we don't want it to be a straight line because this is moving, then we can now call it the sky, a different color from the sea. So if we want the Skylab but bluer, we can go to Color Wheels, for example. And then say the mid-tones, maybe take a more blue, take the highlights, drag them more blue. So before and after. And if we turn the mask off, like so, you can see the difference. And when we run the video, sky is much bluer than the original. So that's one way to use masks. In this next clip, we see a lady in a lake and she's going to submerge down into the lake. And it's got quite the mood of it is quite serious. But it's very, very, very, not very saturated at all. So let's say we wanted to brighten up her face just a little, just a touch. So goes with the mood of the scene. But maybe you can see she actually does have makeup on here a little bit. So let's say we want to emphasize that just a little bit. So how would we do that with a mask? The first thing again, in our facts, we have no Lumetri areas, so we're going to just move this DoubleClick. So now what we can do is use this elliptical here. Here's the Ellipse tool to create something around her face like this. We could adjust it to where we need it. Like so. Bring that down. Just a touch. Like so. Don't forget to also feather at quite a bit here so that it's not a solid line. All right, next thing to do is we're going to use the mass path. When I click on the wrench tool first. Make sure that preview is sad if you don't have this on and you press this, you won't see the mask. So make sure preview is set to on. Then with this on the first frame. Press Play. Now this isn't a go and make keyframes here. And go frame by frame through the clip. And it's going to track her face wherever we chose that mask. Now if it gets out of this is do an actually really good. But if it's not doing such a good job, you're going to actually stop it at any point. And then you can make slight adjustments for that area and then continue to press Play. And then it will continue on. So I'm going to speed this up. Don't forget that. If you need to stop it, if the mask is going off somewhere where it shouldn't be. And if you watch his gonna go off her head to goes up the screen, the mask is cell. We're going to track the face. So that's actually doing good. Now if you wanted to do this next line where the neck comes out of the water, you'd have to do a separate Lumetri, make another Lumetri panel, and do a separate mask as it's moving out of the board or do you want for a neck? But we're going to leave it just like this for the example. So I am not a government to speed this up. Okay? So now you can see that the mask and is done, all the keyframes are made here. And it did pretty good with tracking her face. So what we wanna do now is then do color grade. So if we wanted to do a little bit of midtones here, just a maker face. So you know, we can say we Google crazy. We want to just do that a little bit just to give her a little bit more skin tone. So before and after. And now if we turn the mask off and we just go over here, and then we take a look at that. It actually did just brighten their phrase up from before. And not too much. Or it looks totally different than just to show the way you can do with the tracking mask. So that's how you can use a tracking minus an animated mask. 37. Eye color change effect: To follow along with the project, go to 0 15, eye color change. A fact. Now you'll be using this clip here, not the one that's selling the video, but the principle is exactly the same. Just do it on this clip. So let's take this a step further here. So I dragged to clip of this lady here. And we're going to change the color of her eyes. Also, it's a little bit more difficult because she's going to blink ns. So we're still in the Lumetri Color panel. And this time we're going to click on Curves. And then we're going to come down to Hue vs Hue. And then what we're going to do is click on this eyedropper and click a selection from her eye. But before we do this, I'm going to just go in a little bit, a little bit, zoomed in, so we get a good color match here. So we're in Hue vs Hue. Click on the Eye dropper and then just click a selection here. And what this is going to do then is similar. Drag three lines here on the selection area. Okay, and then we're going to just put this back to fit. And now what we're going to do now is we will take the center dot here and then we can just drag this up or down. Now, depending on the color that this goes to, this will be the color of her eyes he has. So in this case, it'll be green if you want. Purple or blue. That's what you would do here. Okay, So we're going to come down to green. And then we're also going to spread this out a little bit each side to broaden this range. Okay, so that's where we are. Let's make it quite green here. And we spread this out a little bit here just so that it captures all of the colors in the eye area. Yeah, just in case the eyedropper picks up on just one here. So now I like to go back to editing. And now in the effects control, and you can see this is a Lumetri color that was applied to here. And if you just come down here and you click on Curves, which is what we chose. You can see the effect that we did under Hue vs Hue right here. And this, by the way, is later on where you can change the color to another color, like blue is magenta or whatever later on. But I guess in a state where what we did, which is the green. So let's just close that back up here. And now in Lumetri color, when I click on this pencil here to do a free tool Bezier mask basically. So we're going to click on this. It will create this single mass one. And then let's make some room here. And we should zoom in on this as much as we can so that we get more detail on the eyes where we're trying to get to. So for example, right here, come up closer you want to be. And then you can just start drawing where these dots around the eye itself and take your time and connect up. So once that's done, you want to come over to mask feather over here. And we're going to change this to 25, which should work for this. So at this point we premiere has a tool that can try to do a mask path for you. It's not as great as what's in After Effects, but anyway, we'll work with what we have. This is just one frame. So we're going to click on the mass passed toggle switch here, and then click off it just like this to see the mask again. And then if we drag this out a little bit here, so we don't get confused. This is an old jumbled up. You're going to click on this track, select mass, move forward. And what we're gonna do, you'll see a moving frame by frame through here. I'm just going to hover over, stops so that when she blinks or the Moscow was too crazy Auth0, I'm going to stop at them off to manually manipulate The key frame, frame by frame. So right now it's two in pretty good. It seems like a stain on the I prefer it goes off too much, so I'm going to stop it and then take over manually. And then that's what we're going to have to do frame by frame. It's creating all of these keyframes here, is trying to track the eye without a mask automatically, which is still pretty good so far. And at some point she's going to blink. And that's where I want to stop it. Right back. And now what we can see is There's green even when her eye is closed to him. Okay, so what we need to do now is zoom in on all these keyframes. Click inside this box here, and just use your plus key on your keyboard. And then we get to see all the keyframes that were made. So this is where we are. This is where we first noticed that. Okay, so the first thing we're gonna do is use this toggle to go back just to where the last frame is where her I was opened. And then we're going to put a keyframe for Moscow passivity right here. And then we're going to go to the next frame, keyframe here. And then this is where we don't want that to show the green. So I'm going to change this to 0. Right? So the next thing to do, we have to manually move forward now. So we're going to go to the next frame and the next frame until she starts opener I right here and you can see the color or eye. And now we're going to do two things. We're going to click on the mask again to see where it is. And we're going to change opacity back to 100. So now what we've gotta do is manipulate this mask. Again. We can just move this up here, like this is going to create a new keyframe. And we need to manipulate this. So come to each point here and just drag it and this isn't a B. There's no easy way around this. You have to just all the points manually as you go and just drag them down. Oh, there we go. So there we are. And then we're going to just do the same thing for the next frame. And if it's a little bit off like this, you can just move it. This is an RBM going to be too detailed with this because it's really tiny, right? As soon as she brings her, I would just send manipulate this each frame as we go and we're going to work our way all the way, frame by frame, all the way to the end again. And then I'll speed this subs here after watch this. And so take a little while, take your time. This can be really if you mess up to Control Z or Command Z on a Mac to get you back to previous steps. Because if you click on the wrong thing on some of these mass points, it gets a little bit crazy. Just like so. And then you work your way all the way to the end of the clip. So I'm going to speed this up and made sure that they have aside. So again, just work your way along each frame. And then sometimes you can move the whole thing just manipulated, which to smoothen slightly where you bring the points then to where they need to be. You can click on each frame with this little button here. And then just manipulator as you need to. And again, it's painstaking, but this is what you need to do. Okay? And just do that right till you get to the end. Okay, just click somewhere in the timeline down here, press the space bar, and we'll see the result of the green eye that you just made. So even when she blinks, you've changed the color of her eyes. So in case you still have the mass shown up by this, which you will, if you can't get rid of it, just click on that which He color over here that will get rid of the mass showing. And we want to show it again. You can click on these guys here. Mass 1 Lumetri color. So she has the green guy here. All right, so another thing that I would be sad if you wanted to change this, you would go to curves. This is where we changed her eye color. And I think if you take this now, you can then change the color of her eyes just by manipulating this color pathway. They want to more blue or red or what have you. So I'm just going to keep on Ms. Green. Our next step is then to how to color this on the right. The other thing is an effect that people do is when she blinked, you could stop it right there. So she would have green eyes for example, or brown eyes initially. When she blinked, then it would be green. So here's our final look. Alright. So the next thing to do would be to do the same masking effect for this I. So the quickest way to do that is select Lumetri color, copy it with Control C or Command C, and then Control V. Okay? And then once you're inside a here, we gotta get rid of the keyframes that were made for this size. So select mask here, hit Delete on your keyboard, and then we're right back to the beginning. So the steps are exactly the same. So you're going to go to the pencil lead and under lumetri to combat, to make a mask. You can go and select a zoom in. Zoom in so you can get better accuracy. Create an a mask around her eye as before. And then we're going to select the mask feather, said that the 25. And then what we're going to do is hit Mask Path much head at once and click back home mass so you can see the mask itself. And then hit the trach mask forward button. And then watch it as it's moving. And you can stop it at any point where it goes little bit too crazy. So keep an eye on it. And then just stop it again where she closes her eye. And then you can see we have this green here. At the same time. We're already zoomed in to this location. And what we're going to do is use this toggle that go back. So in this picture here, it's still okay and right here. And then we can manipulate this just a little bit. Go to the next toggle. And where this is here is if we go back one again, where the guy was open, we're going to select mask opacity isn't a put a keyframe here at a 100 percent. Then we're going to talk about to the next one. And this is where we're going to change this to 0. And that means that once her eye is closed, it won't look green. Again, move this frame by frame. So you just start to see the color of the eye. And for there we are going to change this guy back to 100 yards. And we have some green on our eyelid here. So we hit the mass because again, and then we're going to manually manipulate this guy again. So it's just on her eye. And then again, it's repeating what we did before. I'm all the way through so that it frame by frame for the other eye. And finally he is the CEO finished effect. So both eyes are now gone from brown to green. And then we have it. Again. If you want to change the eye color from green to something else, you can just come over to Lumetri color code them too. Her expand that. This is what we did on the essential Lumetri Color panel. And this is when we drag it down, so it was green. You would just take this drag it up and if you watch The her left eye, it's now blue. And then that's where you can easily do to each one to change it. So they go change some brand to green. Hope you enjoyed it. And you can get as creative as you want to. So simple as that. And all I did here, just for your own knowledge, is I stack exactly the same original clip over here so that when it goes through, She's got brown eyes. They turned to green. Brown, green. And then I waited until I got to a point where she closed her eyes, right. They cut the brown clip away. It's when she opened as a model. They grain and simple little tricks. 38. Multiple clips: So up to now we've just been doing single clips. But what about if we have a real project and we have multiple clips on our timeline. So how does a good way to do this? So here we can see we've got this first one with the bird is go walking Rome. Then we have these flowers. Then we have the gear, walk him again at a different point. This monkey, again, this clip are part of that clip. Someone walk in the park. And thirdly, that same clip again. So you can see here, what we could do is go through each one of these and color correct them as we go. But sometimes you can see that we've used the same clamp, the ones in pink here three times. It might be different parts of this, but we've used it multiple times. So what can we do to help ourselves? So what we can do here is we click on this clip here, the pink one, that there is any multiple times. And you'll see up here it has multiple clips. And then we click on Master. So if we click on Master, right, what I'm going to do is go over to our Creative tab. And I'm going to browse to where I have this left. I'm going to use for the Sony S log footage, say open. And we now we know that that is what it applied. But because we use master, if we go to all these clips, it's been applied to all at the same time. It fits the same clip and you want to change them all. I'll make some corrections to them. Make sure you have clicked on master. And then if we go to Basic Correction and we want to desaturate that a little bit. For example. Now, all three of them are the saturated to the same points from the master club. And what you'll see is, this is the one we clicked on to change first, go to mass data. And you can see here there are saturation is a 107.6. And that should match this a 107.6. But also here, even though that says 100, we know that it matched this muster one and it applied it to the same clip all the way down. So if you want to make further changes on this, change them on the master one here, makes sure your master, and then work with this one. Now the other way of doing this for multiple clips would be to go down here to New Item. And select Adjustment Layer, say, okay. And just drag that adjustment layer over the top of the clips that you want to to make color correction to. And we're gonna make it to this adjustment layer. And it's going to affect all of these along the way. So let's say we were going to color correct this. We make sure we collect on the Adjustment Layer. We would then also open our Lumetri Scopes. So watching us scopes over here, we can just quickly adjust this troppo blacks down, make our whites go to about 90. Shadows, drop the shadows down. A highlight, some just a touch. And increase our contrast that a little bit here. And then the other thing we can do if we look at before and after. And then we can change the tone. If you want to change the tone between them, they get a better white balance. We can move a slider for temperature to bring these guys up. And then that image or color grade will be applied to each one of these clips. Which doesn't work as you see for the Rome. And then we're adding it on top of the ones that we've just color graded for this. So, but it could work where we need to do it. Like if we turn this off, where we need to have that, if the only images were the same and shot at the same thing, you can put an adjustment layer over the top, make one correction and they don't have to go through each image and color corrected individually. So it doesn't work for some of these obviously, like this one, because it's totally different from this clip. I'm totally different from this clamp. So I'm just trying to show you that if you had a lot of the same ones. So for example, if the bunch of clips you had were all shot in this area with the same type of camera, with the same settings. You could just do one correction for the move tool. And they would all be calibrated in one quick swoop. All right, that's all I really want to say here. Just some tips here on how to work with a workflow. Or if you have a bunch of clips and it is really up to you. I tend to also color great lists. We get rid of this. I can also color graded each one. If this really was something I was putting together for YouTube or something, I would calibrate each one as I'm building it, shows another way of doing it. Because a lot of the clip, so I use come from lots of different places, such as online resources, my own stuff, and things like that. So each one would be very different as far as the tone and camera quality that it was shot on. So as I build that, I just sort of color correct our media query. Okay, just wanted to give you some tips on what happens when you've got multiple clips. 39. Summary: So you've made it. Congratulations. Hopefully this course demystified some of the myths with color grading and color correction. Your project goal now is to go and practice stuff that you've learned. Whether you use the footage that you've downloaded, your own footage or something that you get from stock video. The key is practice. Just keep doing it. And some of it's quite intimidating. Just remembering the Kelvin range, for example. The more you do it, the more that'll stick in. So I'm whole-brain truly hope that you've gotten something out of this course. And I hope to look forward to seeing your results. And also maybe you'll join us on another one of our courses. So we'll see you on the next one.