IntroductionWelcome| 00:04 | Hi! I am Jeff Sengstack, the author of Premiere Pro:
| | 00:06 | Color Correction and Enhancement.
| | 00:08 | If you are a video hobbyist, an
event videographer, or work in a small
| | 00:11 | production studio then I
think this course is for you.
| | 00:14 | Premiere Pro and other software
products bring a full collection of color-
| | 00:17 | correction tools to
anyone who cares to use them.
| | 00:20 | My goal in this course is to show you
how helpful color wheels, other Color
| | 00:24 | Correction effects, and scopes can be,
and to show you how easily you can
| | 00:29 | put them to good use.
| | 00:30 | Premiere Pro has a full suite of effects to
cover all basic aspects of color correction.
| | 00:35 | I have tested all of them and have
dramatically narrowed down the number of
| | 00:38 | effects you need to use.
| | 00:41 | I explain all the standard color-
correction steps, starting with contrast and
| | 00:44 | brightness to give your clip some
extra punch, going onto adjusting color and
| | 00:48 | saturation to remove a colorcast,
for example, or make colors more vivid.
| | 00:51 | I show you how to limit your color fixes
to specific regions within a frame, and
| | 00:56 | show you how to match the tonality
and color of one clip with another.
| | 01:00 | Finally, I show you how to enhance your videos,
| | 01:02 | for instance, give them a warm film-
like look, or use vignettes to focus
| | 01:07 | viewer's attention on the subject.
| | 01:09 | So let's get started with Premiere Pro:
| | 01:10 | Color Correction and Enhancement.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or if you
| | 00:05 | are watching this tutorial on a disk,
you have access to the exercise files used
| | 00:10 | throughout this title.
| | 00:12 | The files are organized by chapter
number, followed by movie number, and come
| | 00:17 | complete with all the assets you need.
| | 00:20 | If you are a Monthly or Annual
subscriber to lynda.com, you don't have access to
| | 00:24 | the exercise files, but you can
easily follow along using your own assets.
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1. Getting StartedUnderstanding color correction concepts| 00:00 | I want to give you a feeling for
what color correction is all about.
| | 00:03 | There is this sense that color
correction is this mysterious process with
| | 00:07 | impossibly difficult controls
and indecipherable waveform scopes.
| | 00:11 | I want to dispel those misconceptions.
| | 00:13 | True, not too long ago color
correction required expensive hardware, and that
| | 00:18 | barrier of entry meant that few
people knew how to do color correction.
| | 00:22 | But those days are gone.
| | 00:23 | Now, with your copy of Premiere Pro you
have all the tools you'll need to do some
| | 00:27 | excellent color correction work.
| | 00:29 | In fact, I think you should incorporate color
correction into virtually all of your projects.
| | 00:33 | Your family, friends, and clients
will appreciate the improvements.
| | 00:37 | Let me give you a rundown on
my approach to color correction.
| | 00:40 | Color correction falls into three areas.
| | 00:43 | Grading focuses on adjusting tonality and color.
| | 00:46 | There are two steps to grading:
| | 00:48 | Primary color correction or grading
deals with changing the tonality--brightness
| | 00:52 | and contrast--and color of
all the pixels in the clip.
| | 00:55 | Secondary color correction deals with
changing a subset of pixels in the clip,
| | 00:59 | such as the color of an
object or an actor's clothing.
| | 01:02 | Color correction can be used to match
tonality and color in multiple clips,
| | 01:06 | for example, clips shot at different
times of day, or with a different camera or
| | 01:11 | different camera settings.
| | 01:12 | And finally, you can use color
correction techniques to enhance video, create a
| | 01:16 | look, set a mood, highlight an element,
or give your videos a film-like quality.
| | 01:22 | You can do all of these tasks in Premiere
Pro with only a handful of video effects.
| | 01:26 | So what I'm saying is that color
correction should be part of your everyday
| | 01:30 | workflow; your projects
will look better as a result.
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| Presenting the Premiere Pro color correction workflow| 00:00 | Premiere Pro has a full suite of
color correction and enhancement tools.
| | 00:04 | I want to give you an overview of those
tools and show you how they fit into the
| | 00:06 | basic color correction and enhancement workflow.
| | 00:09 | We'll start with the scopes;
| | 00:11 | Premiere Pro has four scopes that you
will work with a lot in color correction.
| | 00:15 | Let me pull this Reference monitor out of
its frame for a moment, so you can see it.
| | 00:18 | I will just drag it here by holding
down the Ctrl or the Command key, then I am
| | 00:22 | letting it go, and then dragging it out a bit.
| | 00:25 | There are four scopes.
| | 00:26 | We can work with them individually or
here in this little group. I'll show you
| | 00:29 | just how they look individually.
| | 00:30 | There is one to look at, Vectorscope.
| | 00:32 | We will go back to the whole group
here so you can see all four of them.
| | 00:34 | This is the Waveform monitor, which is luma.
| | 00:37 | We use this to adjust the
contrast and brightness.
| | 00:39 | This is the Vectorscope, which shows you
hue and saturation, basically the color
| | 00:44 | and how vivid the color is.
| | 00:45 | This is the RGB Parade, which breaks
down the color into the individual red,
| | 00:50 | green, and blue channels.
| | 00:52 | This is the YCbCr Parade, which breaks
it down into what is usually the original
| | 00:57 | format for video, which is Luma, Cb, and Cr.
| | 01:00 | We will work primarily with these three, and
we will refer to this one a couple of times.
| | 01:04 | These scopes are immediately interactive.
| | 01:06 | As you move through your clips, the
scopes immediately show what's going on
| | 01:12 | there, and as you add effects to the
clips and make changes, those changes show
| | 01:15 | up immediately in the scopes.
| | 01:16 | That's a terrific thing that makes
it really, really easy to do good
| | 01:20 | color correction work.
| | 01:21 | Let me put that back in there.
| | 01:23 | You can make color correction and
enhancement changes using any number of the
| | 01:26 | color correction-oriented video
effects that come with Premiere Pro.
| | 01:29 | I am just going to give you a
brief rundown of what that's like.
| | 01:31 | Here is the Effects panel, open up
Video Effects. All those bins are full of
| | 01:35 | effects, many of which are
color correction oriented. Specifically the Color
| | 01:39 | Correction folder has 17, and
we'll work with a subset of these.
| | 01:44 | There are several other bins that
contain color correction-oriented effects like
| | 01:47 | these three, for example.
| | 01:48 | In fact, there are about 40 effects
inside Premiere Pro that can be considered
| | 01:54 | color correction effects,
| | 01:56 | so many that it can get a little
confusing, so I suggest you make a Color
| | 02:00 | Correction Effects folder and put
these ten in--and I explain that later--
| | 02:03 | because these are the ten we will use
throughout most of the course. Only a few
| | 02:07 | others will come into play.
| | 02:08 | So those ten are the big heavy hitters in
the color correction world and Premiere Pro.
| | 02:13 | The first step in your color correction
work is what's called primary, where you
| | 02:16 | adjust the tonality--the brightness and
contrast--and the colorcast, so we will
| | 02:20 | just take a look at this
particular clip right there.
| | 02:22 | I've applied an effect to it called
the Fast Color Corrector, and that is
| | 02:25 | a quick difference.
| | 02:26 | It makes it sort of jump off the screen at you.
| | 02:29 | We're going to work with four
different kinds of effect controls.
| | 02:32 | Let me show them to you.
| | 02:34 | This is the RGB Color Corrector, and
it has the Gamma, Pedestal, and Gain
| | 02:38 | controls, with sliders.
| | 02:39 | I use that sometimes.
| | 02:41 | RGB Curves work with a graph.
| | 02:44 | Here is the Tonality for the Master,
plus Red, Green, and Blue, so you'll work
| | 02:47 | in the individual channels.
| | 02:49 | The Fast Color Corrector
has two kinds of controls:
| | 02:52 | a color wheel and levels-styles control
here, so you have four different kinds of
| | 02:56 | controls that are at your fingertips
when you're doing color correction and
| | 02:59 | enhancement inside Premiere Pro.
| | 03:01 | After you do your primary
work, you do secondary work.
| | 03:04 | Let me switch over to another clip here.
| | 03:06 | The secondary work lets you work
on certain sections within a clip.
| | 03:10 | For instance, I want to highlight the
hair here, not the whole clip but just the
| | 03:14 | hair, so I can do it that way,
little bit of highlights.
| | 03:17 | See, a little bit of a pop came on there.
| | 03:18 | We'll make it even more emphatic this way.
| | 03:20 | There are ways to just emphasize certain
parts of a clip, and that's called secondary.
| | 03:25 | You do that with the secondary
color controls inside these effects.
| | 03:28 | But you can also isolate certain areas of
a clip using what are called track mattes.
| | 03:33 | For instance, this clip has a nice
orange warm fill back there, but upfront it's
| | 03:37 | kind of blue from the sunlight.
| | 03:39 | Well, you can fix that using a track matte.
| | 03:41 | I'll show you how that works real quick.
| | 03:43 | Now, the whole scene has
that same nice warm glow.
| | 03:48 | Another part of color
correction is matching clips.
| | 03:50 | We will match these two clips.
| | 03:52 | The original clips look like that,
| | 03:54 | so I am going to match that to that.
| | 03:57 | I'll explain how to do that in this course.
| | 03:59 | And then we're going to go to enhancement
after that, where you take a clip like this--
| | 04:02 | let me show you the original one of these guys.
| | 04:06 | That's the original.
| | 04:07 | Let me go forward a little way so
you get a sense of what it looks
| | 04:09 | like, compared to that.
| | 04:11 | I am going to take that original and give
it that kind of blue urban, gritty feel.
| | 04:14 | We're going to take a shot like this,
that daylight shot, and turn it into
| | 04:18 | something like day-for-night, as they call it.
| | 04:21 | And then, after that, if you want to
go beyond what's available within the
| | 04:25 | retail version of Premiere Pro, you
can use what are called plug-ins that are
| | 04:28 | available on a retail basis.
| | 04:30 | I am going to show you two
that work inside Premiere Pro.
| | 04:33 | One is called the Colorista II.
| | 04:36 | It looks pretty much like this.
| | 04:37 | Well, there is much more to it,
but it's a full-featured color correction suite
| | 04:42 | that's built right into one plug-in.
| | 04:45 | And we'll show you also something called
Looks, and it gives you a full suite of
| | 04:49 | tools that give you these sort of Hollywood
looks in a moment, with all sorts of tools
| | 04:54 | that allow you to adapt
those to your own liking.
| | 04:57 | And I'll show you a plug-in that ships
with the retail version of After Effects.
| | 05:00 | You don't need to pay extra for it.
| | 05:01 | It's called Synthetic Aperture Color
Finesse, and it is also a full suite of
| | 05:06 | color correction tools.
| | 05:08 | The bottom line is that Premiere Pro gives
you a full collection of tools so you can
| | 05:11 | do high-quality
color correction and enhancement work.
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| Getting it right in the field| 00:01 | You can take care of a lot of tonality
and color correction issues by not having
| | 00:04 | them in the first place.
| | 00:06 | Get it right in the field and
you need only apply a light touch
| | 00:08 | in postproduction.
| | 00:09 | So, here are a few brief video shooting tips.
| | 00:13 | First, the so-called white balance.
It's kind of a misleading term.
| | 00:16 | In fact, it's a neutral color balance,
the gray balance. When you press the White
| | 00:21 | Balance button or use Auto or Average
White Balance, you're telling the camera
| | 00:24 | that whatever it's pointing at is a
neutral color, be it white, gray, or black.
| | 00:29 | So here is what can happen.
| | 00:29 | Let me just open up this particular
image to full screen, and the way you do
| | 00:33 | that in Premiere Pro is hover your mouse
over whatever panel you want to open up
| | 00:36 | and then press the tilde key, which is a
little squirrelly, squiggly thing in the
| | 00:40 | upper left-hand corner.
| | 00:41 | So let's switch to over there and make
sure that's active and open that guy up.
| | 00:44 | If you take a look at this image, this
has an orange colorcast to it because it
| | 00:48 | was sunset, and that's the
kind of thing you want to get.
| | 00:51 | But if you point your camera at
something orange like this and then press
| | 00:55 | the White Balance button, you are
going to get that, because you are telling
| | 00:58 | the camera, "This thing I am pointing at, it's
gray," and so the camera will make it look gray.
| | 01:03 | Another example, here is this room shot
where the walls are orange and the skin
| | 01:07 | tone has that kind of orange glow to it,
so most of the color here has kind of
| | 01:12 | an orange cast to it.
| | 01:13 | So if you point your camera at it,
it's going to shift to the opposite of orange,
| | 01:17 | toward blue, and so it's going to
make most things look blue, like that.
| | 01:22 | So if you just point your camera at the
whole scene, you can end up getting some
| | 01:26 | strange white balances.
| | 01:28 | So the best thing to do is to use what
I would like to use in the field is a
| | 01:31 | gray card, which I use for
all the shots in this tutorial.
| | 01:35 | So I can go forward here. I put
a gray card in front of the camera, get
| | 01:37 | my white balance off the gray card so
that that's going to be a nice average,
| | 01:41 | neutral card. And I just make this gray
card from a little print-out, and I'll
| | 01:45 | show you how to do that in a second.
| | 01:46 | And then I get a nice
color balance in the scene.
| | 01:48 | Now if I go back to the next shot,
this is how the shot looked like from the
| | 01:52 | beginning before I got a color
balance, and sometimes I like to get a warm
| | 01:56 | color balance to make it already sort of start
like it's got a sort of a sunset feel to it.
| | 02:01 | So in this case I use a
light-blue card when I do my color balance.
| | 02:05 | I put the light-blue card in front of
the camera and press the White Balance
| | 02:08 | button, and what that does is it
shifts everything in the scene to orange.
| | 02:12 | Let me show you this.
| | 02:13 | When I press the White Balance
button notice how this card turns gray,
| | 02:17 | because it's saying okay,
| | 02:18 | I am telling the camera this blue card
is really gray, and it will shift things
| | 02:22 | to gray, which makes the
scene look orange. Here we go.
| | 02:24 | It's going to shift herein a moment to
gray, and it gives that kind of a little warm
| | 02:30 | feel to the whole scene.
| | 02:31 | So you can use light-blue cards
to make things look a little warm.
| | 02:35 | And what I've done is in the assets
that come with the project in the exercise
| | 02:39 | files is a folder called cards, and
there are three JPEG files that you can just
| | 02:45 | print out on a sheet of paper and put
on a piece of cardboard and use them to
| | 02:49 | make your white balances in the field.
| | 02:50 | There is the gray card and the light-blue card.
| | 02:52 | The light-green card is something you
can use when you are using fluorescent
| | 02:55 | lighting and that will compensate for
fluorescent lighting and make it look warm,
| | 02:59 | which is a nice thing to do when
you've got fluorescent lighting.
| | 03:02 | You go back to Premiere.
| | 03:03 | Let me get out of this wide view for a second.
| | 03:05 | You just go down to the next shot.
| | 03:07 | Now here is a shot that's overexposed.
| | 03:09 | That's the other thing you need to worry
about when you're shooting in the field,
| | 03:12 | that you don't want to overexpose,
because what can happen is that you can do
| | 03:15 | what's called blowing out the highlights.
| | 03:17 | This little area in the window here is
so bright relative to the rest of the
| | 03:21 | scene that whatever details existed
outside this window--and there were details,
| | 03:25 | clouds and things--you cannot see them.
| | 03:27 | No matter what kind of video effects you apply to
it, you wont be able to see it. Let me show you.
| | 03:32 | I applied this Fast Color Corrector to
it, and I am going to try to bring this
| | 03:37 | down a little bit, so you can see detail
there. And I am going to bring it down
| | 03:40 | and all that's going to happen is it's going
to get darker because there is nothing there.
| | 03:44 | The highlights have been blown out.
| | 03:45 | You can't recover
highlights that have been blown out.
| | 03:48 | So you have to be careful when you are
shooting the field to not overexpose.
| | 03:51 | But when you go down to the next clip,
this shot of this railroad car here--
| | 03:56 | let me just go back to this guy
and turn off the effect for a second--
| | 03:59 | that area looks like it's blown out.
| | 04:02 | It looks like there is no detail.
| | 04:03 | But sometimes it's not blown out too much.
| | 04:06 | And if you look at this little Waveform
monitor, which we discuss many, many
| | 04:09 | times in this course, now
look at this little line there,
| | 04:11 | that says, "Oh there is
detail here above the 100 line."
| | 04:15 | That means that area is not blown out.
| | 04:17 | You can recover the detail.
| | 04:18 | I can do that using an effect, in this
particular case the Color Corrector effect,
| | 04:22 | and notice there are clouds there
now and a little bit of blue sky.
| | 04:25 | So sometimes you can recover blown-out
details, but you are best sort of rule of
| | 04:29 | thumb is avoid overexposing.
| | 04:31 | And actually, if you underexpose a little bit,
you are probably a little bit better off.
| | 04:35 | Even in this particular clip next here
that is so dark--it looks like how can
| | 04:38 | you possibly save this clip,
it's just way too dark--
| | 04:42 | it's actually much easier to
recover an underexposed clip than it is an
| | 04:45 | overexposed clip, and I apply
effect to this and boom. There we are.
| | 04:49 | We actually can recover a
lot from underexposed clips.
| | 04:52 | So it's a little bit safer to
be on the underexposed side.
| | 04:56 | So I just want to give you a quick look.
| | 04:58 | Let me bring this up to a full
screen, so you get a better look at it.
| | 05:01 | When I work in my camcorder I try to
set it to Manual Iris and when I set it with
| | 05:04 | Manual Iris I adjust the iris this way.
| | 05:07 | That way when I go from a dark area,
let's say I am panning from a dark area to a light area,
| | 05:11 | the camera would, on Auto Iris, would
shift to try to compensate, but it always lags
| | 05:16 | behind as you make that move, and so
it's kind of awkward if you use Auto Iris
| | 05:20 | and you go from a dark area
to light or light to dark.
| | 05:22 | It's best to do it in manual and kind
of anticipate that you are going to make
| | 05:25 | this move and make sure it has kind
of a middle setting for your iris,
| | 05:29 | so that in postproduction you can
then actually shift the brightness and the
| | 05:33 | contrast using keyframes to make
that compensate for that move, so I
| | 05:37 | prefer doing it that way.
| | 05:38 | And also if you do use let's say a
fast shutter speed, like this one, we went
| | 05:43 | from 1/60, it shifted up here to 1/1000,
| | 05:46 | and if you go to a faster shutter speed,
you need to make sure your iris has been
| | 05:50 | opened enough to compensate so that
you don't underexpose too much when you go
| | 05:54 | to a higher shutter speed.
| | 05:56 | Some cameras in their viewfinder have
these little waveform monitors, and it's a
| | 05:59 | good thing to use them to take a look
at how your exposure will end up looking
| | 06:04 | in a product like Premiere.
| | 06:06 | But sometimes the waveform monitors are
a little difference inside the camcorder
| | 06:09 | versus what you see in Premiere.
| | 06:10 | So it's a good idea to check them out
here and then kind of comparing contrast.
| | 06:14 | So here's a relatively well-exposed clip,
although it's not as dark as it should
| | 06:18 | be, but it touches this line on
top which says it's not too bright.
| | 06:21 | But here's an overexposed one where
things are really way out of wack.
| | 06:25 | Some camcorders also have
what's called zebra striping.
| | 06:27 | Here is a normal view on the viewfinder,
but here's the zebra striping saying
| | 06:31 | you are overexposing in these areas.
| | 06:33 | If you've got these little tools, do
check them out, and in the end you can
| | 06:37 | take a look, let's say, at the thing you
shot and then compare it in the Waveform
| | 06:41 | monitor here with the waveform monitor
inside your camera to see how they compare.
| | 06:46 | So from this view here to this view
here, you see okay, is my camera matching
| | 06:52 | what I am seeing in Premiere Pro.
| | 06:54 | So it's always kind of a good idea
to compare and contrast and then adjust
| | 06:57 | your shooting accordingly to make
sure you get some nice clean shots,
| | 07:00 | properly exposed shots.
| | 07:02 | Your goal is to get it right from the get-go.
| | 07:04 | That way you can concentrate on using
color correction techniques to improve the
| | 07:08 | overall look and feel.
| | 07:09 | But if things do go wrong in the field,
there are plenty of ways to fix them, and
| | 07:12 | I'll explain many of
those methods in this course.
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| Setting up a color correction workspace| 00:00 | Setting up your color correction
workspace both within Premiere Pro and in your
| | 00:04 | physical editing environment will
lead to more consistent results.
| | 00:07 | There are three things you can do in
Premiere Pro, and I'll walk you through
| | 00:11 | these in a couple of seconds.
| | 00:12 | First, work in Premiere Pro's
preset Color Correction workspace.
| | 00:16 | That's a good starting point when
working with tonality and color.
| | 00:19 | Second, when you switch to that workspace,
you'll want to gang the Reference monitor
| | 00:23 | to the Program monitor.
| | 00:25 | And third, since I recommend that
you work with only a subset of all the
| | 00:28 | tonality and color correction effects
in Premiere Pro, you should add a custom
| | 00:31 | video effects folder and put my
recommended Color Correction effects into it.
| | 00:35 | So let me show you how to do those three things.
| | 00:37 | First of all, you probably will open up
Premiere Pro into this standard Editing
| | 00:41 | workspace, but I want you to switch
that to the Color Correction workspace,
| | 00:45 | and you do that up here
in the upper right-hand corner.
| | 00:47 | But before doing that, one of the
reasons you make that switch is so that
| | 00:51 | you can see the Reference monitor down here
and have it connect to the Program monitor.
| | 00:56 | But you can always open the Reference
monitor as a separate floating panel.
| | 00:59 | And to do that, just go to Window >
Reference monitor, and it opens up here as a
| | 01:03 | separate panel, and sometimes that's
helpful to have that in a separate panel.
| | 01:07 | I'll close that now.
| | 01:08 | So let's switch to the
Color Correction workspace.
| | 01:11 | That's this little dropdown menu that's in the
upper right-hand corner here, click that down
| | 01:14 | arrow, and click on Color Correction.
| | 01:17 | That opens up a second monitor
called the Reference monitor here.
| | 01:20 | We want to gang this to the Program
monitor, because right now if I play the
| | 01:23 | Program monitor, nothing happens down here.
| | 01:27 | We're not connected together, and you
want them connected together because you
| | 01:30 | want the scopes that you'll see
here to show what's going on up here.
| | 01:34 | To do that, you click this little menu
here, the Reference monitor panel menu
| | 01:37 | there, click that, and it
says Gang to Program monitor.
| | 01:40 | That's a fairly simple thing.
| | 01:41 | And now when you click there, you'll see
that it's checked, which is a good thing.
| | 01:43 | So let's just go away from there.
| | 01:46 | And later on we're going to look at
the various scopes here, but let me just
| | 01:49 | give you a quick taste for what that's like.
| | 01:51 | I'm going to show you all four of them.
| | 01:54 | And now, when we play this, the
scopes will adjust accordingly.
| | 01:58 | See how they're moving around a little bit?
| | 01:59 | They are now displaying in real time
what's going on up here, because we
| | 02:03 | ganged them together.
| | 02:05 | Next thing I want you to do is
to make a custom effects folder.
| | 02:07 | Now, here is the Effects panel, which
shows up on the left-hand side here inside
| | 02:10 | the Color Correction workspace.
| | 02:12 | To make a new folder, you just go up
here to the upper right-hand corner and
| | 02:15 | click this dropdown menu for
the panel and say New Custom Bin.
| | 02:19 | They like to call them gins inside
Premiere Pro, but basically it's a folder.
| | 02:24 | And then you click on the words
Custom Bin 02 or whatever it says on your
| | 02:27 | particular Effects panel.
My recommendation is to type in Color
| | 02:31 | Correction Effects. Here you go.
| | 02:35 | And then later on I'll explain
which effects you should put in there.
| | 02:38 | So that's the basic way you set up Premiere Pro.
| | 02:41 | On the hardware side, you want to
have a good PC monitor, be it an LCD or a
| | 02:45 | plasma monitor, but not a CRT, because
CRT tubes kind of fluctuate in color, and
| | 02:49 | besides they're going out of style anyways.
| | 02:51 | You want to set your monitor to the
6500 degrees color temperature, and that's
| | 02:56 | standard in North America and South
America and Europe, and 6500 degrees Kelvin
| | 03:01 | sort of mimics midday sun.
| | 03:03 | China, Japan, and other Asian countries
work in a 9300 degrees Kelvin, which is
| | 03:07 | a bright blue sky, a different environment,
but those are the standards in those two areas.
| | 03:12 | Connect your monitor to your computer
using an HDMI or an SDI connection; that
| | 03:16 | allows higher bit rates for color.
| | 03:18 | Most people work in 8-bit color, which
DVI can handle, but some HD camcorders
| | 03:22 | record at a higher bit rate than that,
Typically 10-bits, and DVI can't handle that.
| | 03:27 | You want to have neutral lighting in
your physical environment, and again, you
| | 03:30 | want it to match your monitor.
| | 03:31 | So 6500 degrees Kelvin lighting is
best if you're working in North America,
| | 03:35 | South America, and Europe, or
something like 9300 Kelvin in Asia.
| | 03:39 | And you also want to make sure that your
lighting doesn't change during the day,
| | 03:42 | so you don't want to be working in an
environment where you've got windows
| | 03:45 | facing outside, because the lighting
will change during the day, which will
| | 03:48 | affect how you view the
color inside your monitor.
| | 03:51 | You want to have a neutral light-gray
wall covering behind the monitor, because
| | 03:56 | if you have a color wall behind it or a
bright light or a dark wall, it really
| | 03:59 | affects how you view color on the monitor.
| | 04:01 | So you want something neutral
light gray behind the monitor.
| | 04:04 | And this will kind of go contrary to a
lot of people, but you really don't need
| | 04:07 | to have a separate playback monitor to
show your clients how it's going to look
| | 04:11 | on TV, because your monitor will be
fine for that, and if you have a separate
| | 04:16 | monitor that's a different brand or a
different model, it's really hard to match
| | 04:19 | two monitors together, and your
clients may be sitting there going, "Well, I
| | 04:23 | don't really like what I'm seeing on
the playback monitor, but I like what I'm
| | 04:25 | seeing on your computer monitor."
| | 04:27 | So really, just stick with your computer
monitors and forget about the playback monitor.
| | 04:31 | And finally, I think you should take
some regular breaks to avoid eyestrain.
| | 04:36 | Look away from your monitor every so
often and then walk away for a while, so
| | 04:39 | that you don't get too much eyestrain.
| | 04:40 | So do take those breaks.
| | 04:42 | So using the Premiere Pro Color
Correction Workspace, using a high-quality
| | 04:46 | monitor and proper room lighting and
having good work habits will go a long way
| | 04:50 | to ensuring solid tonality
and color correction results.
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|
|
2. Scoping Out the Technical StuffUnderstanding scopes and industry standards| 00:01 | I give my junior college video
production students clips with tonality
| | 00:04 | issues and obvious colorcasts and then
asked them to fix them without relying on scopes.
| | 00:08 | Invariably, everyone sees things differently,
and they come up with a wide range of fixes.
| | 00:14 | We see things differently because we
all have different amounts of red, green,
| | 00:18 | and blue color-receptive cones in our eyes.
| | 00:21 | Because we see things differently,
making tonality and color correction
| | 00:24 | decisions based only on how
clips look is not best practice.
| | 00:28 | Instead, use the scopes in Premiere
Pro as the foundation to your color
| | 00:32 | correction workflow.
| | 00:34 | Premiere Pro has four
scopes; they're the four right there.
| | 00:37 | We will come to rely on
three of them, these three here.
| | 00:39 | I want to show you briefly these
four scopes and then give you longer
| | 00:43 | explanations in separate
movies following this one.
| | 00:46 | To do that, let me pull this panel out
of the frame, and to pull a panel out of
| | 00:49 | the frame, you click up here where that
little collection of dots is, hold down
| | 00:53 | the Ctrl key on Windows, or the Command
key on Mac, and drag it out, and that puts
| | 00:56 | it in a separate frame and let go.
| | 00:58 | Now, I can pull this guy
out and make it much larger.
| | 01:01 | Then we can start with the Vector scope.
| | 01:03 | To get to these different scopes,
you go to the dropdown menu.
| | 01:06 | Every panel has a dropdown menu at the
upper right-hand corner. Click on that and it'll
| | 01:10 | go to the Vectorscope.
| | 01:11 | Vectorscope displays hue and saturation.
| | 01:14 | Hue is the angle, the color away from the
center, and the saturation is how vivid is.
| | 01:19 | That's measured by how far
away it is from the center.
| | 01:21 | I will explain this in more
detail in the movie following this one.
| | 01:24 | Let's move on to the YC Waveform scope.
| | 01:27 | YC Waveform displays chroma and luma.
| | 01:30 | The chroma is the color part of the
video signal, and the luma is the brightness.
| | 01:34 | We are going to work only with luma, but again
I will explain the further in the next movies.
| | 01:38 | Moving on to the YCbCr Parade, this
is the scope that I don't recommend you
| | 01:43 | use, because there are no effects in
the Premiere Pro that work directly in
| | 01:47 | the YCbCr colorspace.
| | 01:49 | At least they're a reference to give an
indication about how of this technology works,
| | 01:53 | and I explain YCbCr in the separate move.
| | 01:55 | Let's move on to the last of
the four scopes, the RGB Parade.
| | 01:59 | The RGB Parade analyzes color
intensity of individual color channels.
| | 02:03 | There is a red channel,
green channel, and the blue channel.
| | 02:06 | Premiere Pro scopes are essential part
of the tonality and color correction
| | 02:09 | workflow and using them helps to
ensure that your video projects will
| | 02:13 | look their best.
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| Using the Vectorscope| 00:00 | The Vectorscope displays Hue and Saturation.
| | 00:03 | I am going to show you that by
showing you these color bars, and I have them
| | 00:07 | selected because color bars display
inside the Vectorscope in a very precise way.
| | 00:11 | So I am going to drag this guy out of
its frame by holding down the Ctrl or
| | 00:14 | Command key and dragging, like so,
and I am going to drag out the Effect
| | 00:18 | Controls panel as well, for a
reason I'll explain in a moment.
| | 00:21 | I get it down, so you can have that be
about the same size, and I am going to
| | 00:25 | open up the chevron so you can close
up this part of the timeline and see the
| | 00:28 | whole effect that way.
| | 00:29 | I have the Fast Color Corrector
loaded up, and it has a color wheel in it.
| | 00:33 | You will notice that the color wheel
has something similar in terms of how
| | 00:36 | the Vectorscope works.
| | 00:37 | I will explain that in a second.
| | 00:39 | With the color bars showing here,
they display inside the Vectorscope in a very
| | 00:44 | precise way. See those little dots there?
| | 00:46 | Each of those dots represents a color
and how saturated that color is, and so
| | 00:52 | in the color wheel, you see there is
red, and here's the red dot showing up
| | 00:56 | there. And then there is blue. That blue dot
shows up here. That green dot shows up down here.
| | 01:02 | The reason it's a dot is because
this entire rectangle is one saturation.
| | 01:07 | It's 75% saturation.
| | 01:09 | Now, when you look here, you say,
"Well, this says 75%, and this dot is here. Why is
| | 01:13 | this thing like that?"
| | 01:14 | Well, this is an old way of looking at
vectorscopes, where 75% represented the
| | 01:18 | outer edge of the Vectorscope in terms
of how saturated colors could be, but you
| | 01:22 | don't need to worry about that
anymore with high-definition video.
| | 01:25 | So we'll switch this to 100% and
have it stay at 100% from there on.
| | 01:29 | You now notice that the dots
have moved down here to the 75% box.
| | 01:33 | So this box here shows 75% saturation
for those particular hues, and the hues are
| | 01:39 | the angle away from the center.
| | 01:41 | So notice in this color wheel, that
line right there is the red line, which
| | 01:46 | corresponds to this red area here,
and this is the green line down here, and
| | 01:51 | that's the green area here, and this is the
blue line here, and that's the blue line there.
| | 01:57 | These little lines here in
these little boxes are called graticules.
| | 02:00 | It's the name for them inside the
Vectorscope. And you notice a couple of other
| | 02:03 | lines besides this which I
think 360, 180, and 90, 270.
| | 02:08 | These other lines are
called the I and the Q lines.
| | 02:10 | This is the positive I line and the
negative I line, positive Q and negative Q.
| | 02:15 | I stands for in-phase and
Q stands for quadrature.
| | 02:19 | It just happens to work out that these
calculated lines sort of match what's
| | 02:23 | called skin tone and sky blue.
| | 02:25 | If you look at this little dot here,
that's this dark blue right there, and
| | 02:29 | this area would be the complement of dark blue,
which is orange skin tone, just by coincidence.
| | 02:34 | Sometimes it's called the skin tone line,
but in fact it wasn't designed to be
| | 02:37 | the skin tone line. And over here this
little dot represents that purple, which
| | 02:41 | is between magenta and blue, with
darker purple on the quadrature line, just so you know
| | 02:45 | what they're called.
| | 02:46 | Let me show you what happens
if I change the saturation.
| | 02:50 | This little effect has a
Saturation control on it.
| | 02:52 | Right now it's set at 100, which
means the original saturation level.
| | 02:56 | If I reduce the Saturation, you will
watch these dots, watch what happens as
| | 03:00 | I reduce the Saturation.
| | 03:02 | They start moving toward the center,
because we're taking color out,
| | 03:05 | we're reducing the intensity of color, making them
grayscale, and once I get to 0, it's one dot.
| | 03:11 | That's because everything inside the
color bars has been converted to grayscale.
| | 03:14 | Now there's different intensities of
gray, from white to black, but they are all
| | 03:19 | unsaturated, and so since they're all
unsaturated, they show up as just a center
| | 03:23 | point, a completely unsaturated clip.
| | 03:25 | If I drag it to the right and completely
saturate them, watch them go past the 75% area.
| | 03:30 | There is 75%, when I go back to 100% here.
| | 03:32 | If I go beyond that, they are going to go
to the edge, 100%, and then sometimes they
| | 03:37 | crush up against the edge, and then they
actually start going sideways. There is
| | 03:40 | only a certain amount of
saturation you can apply to them.
| | 03:42 | If I move the colors all the way up to
be fully saturated, now if you look at
| | 03:45 | them you see they are much more
intense than the original 75% Saturation.
| | 03:48 | Color bars are by default set to 75%.
| | 03:52 | When TV stations look at color bars
they know that it should be 75% Saturation
| | 03:56 | that they are seeing.
| | 03:57 | I am going to close this little
window because it's covering a lot of space
| | 04:00 | and I just wanted to show you how that color
wheel works with this particular Vectorscope.
| | 04:04 | I will put that guy back where
it belongs, right there. There we go.
| | 04:07 | I want to drag this thing over so we
can see the images as we go to the next
| | 04:11 | clip, and I have got several clips here
in the sequence. The next one is a grayscale,
| | 04:14 | and then we've got some video shot
here and a couple of other graphics.
| | 04:18 | So we'll go to the next
clip, the grayscale clip.
| | 04:21 | You notice what happens to the little dot there.
| | 04:23 | It becomes one dot in the
center, as I mentioned earlier.
| | 04:26 | Those are all different intensities,
but they are all desaturated, and so
| | 04:29 | there is no saturation.
| | 04:30 | There is no color, so there is nothing out here.
| | 04:32 | It's showing an angle of color.
| | 04:33 | Move on to this group shot here.
| | 04:36 | Now you see a whole bunch of traces
here, as they're called, showing that the
| | 04:40 | color kind of leans this direction. That angle,
| | 04:43 | that's the hue, and the hue falls
between red and yellow which would be orange,
| | 04:48 | and the reason is kind of heading
towards orange is because there's a lot of
| | 04:51 | orange in the picture, not only here
on the walls but also in the skin tones.
| | 04:53 | Let me show you what I mean about how
you can isolate particular colors and how
| | 04:58 | skin tone typically falls along this line.
| | 05:00 | I am going to select this clip, go to the
Effects, and I am going to turn on the crop.
| | 05:05 | I did it in advance here. And there is
a crop of just that person's face, and
| | 05:10 | notice how the Hue angle is
heading toward this little I line.
| | 05:15 | That I line is referred to sometimes
as the skin tone line when in fact it's a
| | 05:19 | calculated line, but it happens
to be about where skin tone falls.
| | 05:23 | Now, if I were to drag this cropped
area by selecting the Crop and moving it to
| | 05:29 | someone else's face, even someone of
a different skin tone, and notice that
| | 05:35 | again it falls along that line.
| | 05:36 | If I go to the third person, and
again another nationality of the skin
| | 05:40 | tone, again it falls more
or less along that line.
| | 05:43 | So that line is helpful when you are
trying to get good skin tone, even though it
| | 05:47 | wasn't originally
designed to be a skin tone line.
| | 05:49 | Let me show you one other thing.
I want to click this other crop here.
| | 05:51 | And this crop I want to use down
here in this little grayscale, white-
| | 05:55 | scale, black-scale card.
| | 05:57 | If I hover it over the gray area,
| | 05:59 | you can see that the hue is
in the center, as it should be.
| | 06:02 | It's pretty much gray.
| | 06:02 | There is a little bit of color inside
that gray box because of the light in the
| | 06:05 | room and how the camera was color balanced,
| | 06:07 | but you can see that the gray falls in the middle.
| | 06:09 | If I go to the right on the white area,
again it stays there in the center, and I
| | 06:13 | go over to the black, again it's dead
center, because this is all desaturated.
| | 06:17 | Maybe a little bit of light in the
room is giving it some color, but for the
| | 06:19 | most part it's desaturated.
| | 06:20 | Let me reduce the saturation on this
particular group shot to show you what
| | 06:26 | happens when I reduce saturation.
| | 06:28 | To do that, I am going to add a video
effect to it called Fast Color Corrector.
| | 06:33 | I will open that up, go
down to the Saturation line.
| | 06:40 | Now watch what happens to this
little distance from the center as I
| | 06:43 | desaturate this guy.
| | 06:45 | Pulling the saturation, taking the
vividness, the color out, heading towards
| | 06:49 | black and white, I will stop right there
where it's not completely grayscale and
| | 06:52 | you can see that most of the color has
been removed, and that is showing you
| | 06:55 | basically how vivid the color is,
the color in color saturation.
| | 06:58 | We'll go down to the next clip now.
| | 07:00 | This next clip is an RGB clip.
| | 07:03 | That's red, pure red, pure green, pure blue,
and you can see all those guys line up,
| | 07:07 | red, green, and blue, and they are
100% brightness. The saturation is 100%.
| | 07:14 | We'll go to the next clip, which is a
gradient, and you can see how the gradient
| | 07:20 | lines up from absolute black at the
bottom and sliding out to the full 100
| | 07:25 | saturation on each of those three colors.
| | 07:27 | So that's a brief look at the Vectorscope.
| | 07:30 | It is a very important tool in
setting the hue and the saturation for
| | 07:34 | your projects.
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| Using the Waveform monitor| 00:00 | The YC Waveform measures luma and chroma.
| | 00:04 | Y is luma, C is chroma. And the way
I got to this particular scope was by
| | 00:08 | clicking this dropdown menu
and clicking on YC Waveform.
| | 00:12 | I want to change a couple of things here
from the get-go, and I suggest you do the same.
| | 00:15 | You can uncheck Chroma because Chroma
doesn't really work properly inside the
| | 00:19 | YC Waveform scope. I have talked to
Abode about this and they've acknowledged
| | 00:23 | that there are some issues here, and
besides we are never going to use it to
| | 00:25 | look for chroma anyways.
| | 00:26 | We just want to look at it for luma.
So turn that off and now we are
| | 00:30 | looking only at luma.
| | 00:31 | And then the Setup (7.5 IRE) is an old
analog video standard that is used for
| | 00:36 | CRT television set for receiving
analog signals, and we don't need to work in
| | 00:40 | that particular format
anymore, so uncheck that as well.
| | 00:43 | And now we are going to be looking at
it as a clean scope, with nothing being
| | 00:47 | done to change the way it looks to us.
| | 00:50 | And finally this Intensity thing here
talks about how bright the scope is, not
| | 00:53 | how bright the video is.
| | 00:55 | So if you want to ratchet up the
Intensity to help you see the scope
| | 00:58 | better, that's fine.
| | 00:59 | I am going to ratchet up to 100% in this
particular case to show you how it works.
| | 01:02 | Now this Waveform scope shows a luma,
some people might call luminance or
| | 01:07 | brightness, but the technical term is
luma, and luma is a calculated value based
| | 01:11 | on the original red, green, and blue
intensity from the image as it was being shot
| | 01:15 | by a camcorder, and there is a
calculation involved in that.
| | 01:18 | I'll explain that one in a second.
| | 01:19 | Anyway, there is a luma and if you look
at it from left to right, it equals the
| | 01:24 | luma left to right in the image.
For example, this little line right there is
| | 01:29 | the white here, and this little line way
at the bottom here is the black there.
| | 01:34 | Now to help you see this little bit
better, because these images are relatively
| | 01:37 | small in this workspace,
| | 01:39 | I am going to drag them out and look
at the side-by-side, which maybe isn't
| | 01:42 | quite as intuitive, but I think
you'll get a better feel because I can make
| | 01:45 | them larger this way.
| | 01:46 | I will drag out the Program monitor as
well and make it larger, so you can see
| | 01:52 | these guys side by side and you
get a sense for how this all works.
| | 01:56 | So, for example, this little swish
there is the cup, the top of the scope is
| | 02:03 | white, or highlights, matches that
particular highlight there, and then the
| | 02:07 | bottom of the scope, they are the
shadows or the dark areas, the black areas
| | 02:11 | in the image. And this black matches
the shirt here, and this black is this
| | 02:16 | right there, and the gray is right
there, right in the 50% line. See where
| | 02:21 | it's between 60 and 40?
| | 02:23 | This is 50% gray, and by golly
it shows up as 50% gray here.
| | 02:28 | In fact, I adjusted this clip to have
it go from 0 to 50 to 100 using a video
| | 02:34 | effect, because when it was shot it
wasn't quite shot at a full brightness range,
| | 02:38 | and so I expanded the range a bit so
you'd see white at the top, gray in the
| | 02:43 | middle, and black at the bottom.
| | 02:44 | And then the reason these things break
up across the way here is that this is
| | 02:48 | this orange wall back along here, and then
it changes to a different color orange
| | 02:53 | here, and then the person's head right
there is kind of blocking that view for a
| | 02:57 | while, and this person's head is
blocking that view for a while, so this is the
| | 03:00 | orange wall in the back.
| | 03:00 | So that's how you view of the scope.
| | 03:03 | Let me put this image back inside
its original location. There we go.
| | 03:07 | We'll pull this guy down a little bit.
| | 03:07 | I want to switch to another clip
to show you how this also works.
| | 03:11 | Behind here is this, what they call my
little RGB clip that I made inside the titler.
| | 03:16 | If you look at that, it's just solid red,
solid green, solid blue, and if you
| | 03:20 | look over here, you see this line which
remember, left to right, that represents
| | 03:24 | the red, that represents the
green, that represents the blue.
| | 03:28 | We are wondering why is luma at 30 here and the
luma at 60 here and the luma at about 11 there?
| | 03:34 | Well, let me show you that maybe a little
more clearly by showing you the next clip.
| | 03:39 | The next clip has gradients in it.
| | 03:41 | So it goes from 0 luma to 100, or at
least full brightness, you would expect, and
| | 03:48 | notice what happens. In the red area
the luma goes only to about 30, and the
| | 03:53 | green goes to 60, and the blue goes to 11.
| | 03:58 | This is because luma is calculated
based upon how humans see color, which I
| | 04:04 | think is totally fascinating.
| | 04:05 | When the camera captures the red,
green, and blue, using these red, green, and
| | 04:09 | blue receptors inside the camera, it
then converts that signal into YCbCr.
| | 04:15 | I have talked about YCbCr before.
| | 04:18 | Sometimes it's referred to as YUV, but
that would be technically incorrect, but
| | 04:21 | YCbCr, the Y part is luma, and it's calculated.
| | 04:25 | It take the brightness of the red
channel, the brightness of the green channel,
| | 04:28 | the brightness of the blue channel,
sometimes called the intensity, and they
| | 04:31 | multiply these by numbers, .3 for the
red, about .6 for the green, and about .1
| | 04:37 | for the blue, because that's how our eyes
see color. We see green more intensely,
| | 04:43 | more brightly than we see red,
and much brighter than blue.
| | 04:47 | Y is calculated based on human
perception, so that when we work inside the
| | 04:51 | Waveform scope like this, we are seeing
luma as a human would see it, not as a
| | 04:57 | computer would see it or not as a camera
might see it before it calculates luma.
| | 05:01 | So it's important to know that that's
what's going on here. The red colors are
| | 05:05 | seen less intensely than green, and blue
is much less intense than red and green.
| | 05:09 | Let me show you what happens when you
reduce the luma. Move you out of the way a
| | 05:13 | little bit and go to this clip here.
| | 05:16 | I have got Three-Way Color Corrector.
I am going to turn it on.
| | 05:19 | This is effectively used many,
many times in this particular course.
| | 05:23 | Open you up and scroll down to this Levels
Control, and I will use the Master for this one.
| | 05:32 | If I knock down the Output, you can see
that I am knocking down luma on those
| | 05:41 | three channels, making these a little bit darker.
| | 05:44 | If I lift up the output of the
blacks, I will make the bottoms of these
| | 05:49 | guys darker as well.
| | 05:50 | I think it's darker.
| | 05:53 | These controls, you can affect the
intensity using some controls, and you can see
| | 05:57 | how it shows up here inside Waveform scope.
| | 06:00 | One more little thing that comes up
often in the discussions about color
| | 06:04 | correction is broadcast-safe standards.
| | 06:08 | That's this little thing about the 7.5
IRE is one of those things that comes up.
| | 06:12 | Broadcast-safe standards have pretty
much more or less gone by the wayside
| | 06:16 | because there were designed originally
for analog TV and now that we've gone all
| | 06:20 | digital, the standards really are sort
of not standardized. I contacted several
| | 06:24 | TV stations and asked what their
standards were and there weren't any.
| | 06:27 | But they did point me to some companies
that provide advertisements for stations
| | 06:31 | and they use some standards, but for the
most part, your goal in this particular
| | 06:35 | course, and when doing color correction
is to have the best-looking video you
| | 06:39 | can and really not sweat the standard
issue, like when you try to make something
| | 06:43 | good and then make it not quite so
bright or not quite so saturated, as before.
| | 06:47 | You can now aim for full brightness, full blacks,
and full saturation, as long as you overdo it,
| | 06:52 | and no one is going to start
complaining about the fact that you are missing
| | 06:55 | broadcast-safe standards.
| | 06:57 | There was a time when you couldn't
go above 100, couldn't go below 0, which
| | 07:00 | is something you should aim for
in general, but it's okay to go a little
| | 07:03 | bit above and a little bit below.
| | 07:04 | And there was a time when you
couldn't be so saturated, above 75%, but these
| | 07:08 | days you can be up to 100% saturation and not
worry about violating some kind of standard.
| | 07:13 | So you'll use your scopes.
| | 07:15 | You'd be able to see all these things,
how they line up in the scopes, and that
| | 07:17 | will be a huge part of your
color correction workflow.
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| Using the RGB Parade scope| 00:00 | The RGB Parade is used to display color
information in a clip, and this is kind
| | 00:05 | of confusing, because there really
is no term to describe what's going on
| | 00:09 | inside the RGB Parade. And there is
a lot of confusion about this amongst
| | 00:13 | tutorials and books about color
correction, and I'm going to try to set the
| | 00:16 | record as straight as I can.
| | 00:18 | But what you see here is the amount of
red, the amount of green, and the amount
| | 00:23 | of blue inside a clip. Just as in the
Waveform monitor, you look at it from
| | 00:27 | left to right here.
| | 00:28 | So over here on this side is the left
side of this particular clip, and this
| | 00:32 | over here on the right side of the
red is the right side of this clip.
| | 00:35 | This is showing how much red there is in
this clip and how much green and how much blue.
| | 00:40 | And you see this little spot up there.
| | 00:42 | That's equal to this white area.
| | 00:44 | That's how much red there is in the white.
| | 00:45 | And remember, white, when you combine
red, green, and blue together, you get
| | 00:48 | white in this particular world of color.
| | 00:51 | So that's the white area, and there's the
white part of the green, and there's the
| | 00:55 | white part of the blue there.
| | 00:56 | But the thing is, a lot of people refer
to this as the brightness of the color,
| | 01:02 | or the value, or the level of the
color, but it's not any of those things.
| | 01:06 | There really isn't any term.
| | 01:08 | I'm going to call it color intensity.
| | 01:09 | It's the amount of color in there
and it's sort of relates to how the
| | 01:13 | Waveform scope works.
| | 01:15 | If I were to switch over to the YC
Waveform, you'll see that pretty much
| | 01:19 | duplicates that, and it shows
those little waves across there.
| | 01:21 | There's the white again that we saw
over there, and it kind of looks very
| | 01:24 | similar, because it's related to the
brightness of the clip, but it's not truly
| | 01:29 | a one-for-one ratio lineup of how
the luma works with these lines.
| | 01:33 | And let me show you
graphically how that's the case.
| | 01:36 | I'm going to move to another clip.
| | 01:38 | This clip shows these three gradients,
| | 01:41 | red, green, and blue, and shows that we
have full range of color values, color
| | 01:46 | intensity from 100 color intensity to 0.
And by the way, this intensity refers
| | 01:51 | to the brightness of the scope,
not to the intensity of the color.
| | 01:54 | So here we've got from 0-100
for each of these three lines.
| | 01:58 | But if I look at this in the Waveform scope,
which displays true luma, watch the difference.
| | 02:05 | When I go back to Waveform, look what happens.
| | 02:07 | Bam, they are not from the top to the bottom.
| | 02:11 | They show how humans perceive color.
That's the true Luma, how we see color,
| | 02:17 | which is that red is darker than
green and blue is much darker than green.
| | 02:20 | But when you go back to the RGB Parade,
we're going to see it as if they are as
| | 02:26 | intense from 0-100 Luma. They are not.
| | 02:29 | You need to be careful when you work
with the RGB Parade. It really is a
| | 02:32 | measurement of how much color there is
inside a clip, but not the luma, just
| | 02:37 | important to know that.
| | 02:38 | Let me just give you an example of a
practical approach to how one uses the RGB Parade.
| | 02:44 | And to do that I need to move it a
little bit out of the way, so that I can see
| | 02:48 | my color effect here.
| | 02:49 | So let me drag it down a bit.
| | 02:52 | And then I've got this
obviously poorly color-balanced shot.
| | 02:55 | We did this on purpose by color
balancing for the whole room, so it looked at
| | 02:59 | the orange walls and looked
at the skin tones and decided,
| | 03:02 | well, since this is a very orange place,
| | 03:04 | let me make it blue to compensate for that.
| | 03:06 | I've applied something called
the RGB Curves video effect here.
| | 03:10 | So RGB Curves works
specifically in each color channel,
| | 03:14 | red, green, and blue, and this is one
of the main effects I'm going to ask you
| | 03:17 | to work with in this course.
| | 03:19 | When you work in the RGB Parade, it's
helpful to work inside one of the effects
| | 03:25 | that work specifically in the color channels.
| | 03:27 | I mean, look at this clip.
| | 03:29 | It has a lot of blue.
| | 03:30 | If I compare it to the properly shot
clip over here, we can see the blue is down.
| | 03:35 | See that's nicely
balanced there when the blue is down.
| | 03:38 | But if I go back to the clip that was
improperly color balanced, you see there
| | 03:41 | is way too much blue.
| | 03:43 | So when you're working with the RGB
Parade, you typically work with these
| | 03:47 | effects that have color channels in them.
| | 03:49 | So I'm going to bring the blue down.
| | 03:50 | Watch in the scope as the blue starts dropping.
| | 03:53 | What I'm trying to do is more or less
line it up with the other colors here to
| | 03:57 | try to get some kind of a balance, but
I know I'm going to want to raise the
| | 03:59 | red a little bit later.
| | 04:00 | I need to bring this bottom area down a
bit too, kind of line things up a bit.
| | 04:06 | Then I want to bring the red up.
| | 04:09 | I bring it up by dragging it to the left.
| | 04:10 | And I want the red to be a little bit
higher than everybody else, because I know
| | 04:14 | that's where we're going to go with this.
| | 04:15 | And this is basically the approach
you take when you're adjusting color,
| | 04:19 | not luma, but color.
| | 04:20 | Notice just those two little things that
I did took a clip that was way, way out
| | 04:24 | of line, blue was heck, and started
actually fixing it just by making two quick
| | 04:29 | changes and using the
RGB Parade as my reference.
| | 04:33 | So keep in mind that the RGB Parade
represents color intensity, the amount of
| | 04:37 | color in a clip, and not truly represents luma.
| | 04:40 | So your workflow normally would be:
take care of the brightness and the
| | 04:44 | contrast, and then you take care of
color, and so typically you get your
| | 04:47 | tonality taken care of, and then you
start looking at the RGB Parade to start
| | 04:50 | adjusting your color.
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| Using the YCbCr Parade scope| 00:00 | The YCbCr Parade scope is something
that you will probably never use on a
| | 00:05 | practical level, but it does have some
kind of passing interest, and it is part
| | 00:08 | of the four scopes that come with Premiere Pro,
| | 00:10 | so I do want to explain it to you, but
I don't see that you will be using this
| | 00:13 | in your color correction workflow.
| | 00:15 | What it displays is luma and Cb and Cr,
and these are the three components of
| | 00:21 | what is normally the original
signal for almost all video.
| | 00:24 | I explain the way that video
works in a different movie, explaining how
| | 00:29 | Premiere Pro handles color data, but
just take it for now that these are three
| | 00:33 | components of most video signals.
| | 00:35 | The thing is, this scope has some problems.
| | 00:37 | First of all, this luma display is not accurate.
| | 00:40 | Notice how it stops here, just at about
| | 00:43 | let's say the seven or the eighth IRE
level and stops out here at about 90.
| | 00:48 | If I show you the YC Waveform, you
will see that it's different, and the YC
| | 00:51 | Waveform is accurate.
| | 00:52 | Here it goes to 100 and drops down to zero.
| | 00:55 | So right off the bat, the luma part of the YCbCr
Parade is not displaying luma correctly.
| | 01:02 | And then the CbCr part of it--Cb is
blue minus luma and Cr is red minus luma--
| | 01:09 | there really are no effects that
control these directly. Why have them if you
| | 01:13 | can't affect them directly?
| | 01:15 | There is a little confusion. If you go
over here to the Video Effects, and open
| | 01:18 | up let's say Color Correction, and
drag this to the right, you will see that
| | 01:22 | they have these little YUV badges next
to some of the color correction effects
| | 01:26 | and other effects as well.
| | 01:27 | Those badges are sort of shorthand for
YCbCr. YUV is used interchangeably with
| | 01:33 | YCbCr, even though it's not technically correct.
| | 01:35 | Nevertheless they are these badges
that say, oh my gosh, these are YUV effects.
| | 01:39 | But the badges don't mean that these
effects can change these things directly.
| | 01:43 | There aren't going to be Cb and
Cr controls inside this effects.
| | 01:47 | It just means that they work
inside the YUV or the YCbCr colorspace.
| | 01:52 | So in fact, this scope has
only a limited value in that
| | 01:56 | oh, it's kind of interesting
to see that how the video signal is
| | 01:59 | divided up, but it's not likely that
you will ever use it on a practical level.
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| Previewing color correction effects| 00:00 | Premiere Pro has about 40
color correction video effects.
| | 00:03 | I say "about" because there are no
hard-and-fast rules that define whether an
| | 00:07 | effect fits into the Color Correction category.
| | 00:10 | I want to give you a basic overview of
those 40 color correction effects and how
| | 00:14 | they are organized, but it's important
to note that you don't need to work with
| | 00:17 | all 40 or so of these effects.
| | 00:20 | My recommendation is that you work
with only 10 to handle almost all of your
| | 00:24 | color correction work, and I clarify
those 10 in the next movie "Reviewing
| | 00:28 | recommended color correction effects."
| | 00:30 | Let me just take you
through the various effects.
| | 00:31 | We will start by going to
the Video Effects folder.
| | 00:34 | Go down to the bin that the Adobe
engineers placed video effects that they
| | 00:39 | considered to be color correction effects,
and there are about 17 effects in this folder.
| | 00:44 | Now even amongst these 17, I don't
think you need to work with all of them, but
| | 00:48 | the heavy hitters here are these
four: Fast Color Corrector, RGB Color
| | 00:52 | Corrector, RGB Curves, and
Three-Way Color Corrector.
| | 00:55 | Those are the four main color
corrector effects that you will use to handle
| | 00:58 | almost all of your color correction work.
| | 01:01 | And the rest of these guys you
generally don't need to work with.
| | 01:04 | Let me go into another folder.
| | 01:05 | This one is a bunch of
automatic color correction effects.
| | 01:09 | Now you're taking this course because
you want to be able to be in charge and
| | 01:12 | control how you do your video effects
and your color corrections, so why use an
| | 01:16 | automatic color effect, right?
| | 01:17 | There are some other effects here that
are color oriented, but again, those main
| | 01:21 | ones I told you about, plus are six
others that I will list later, will handle
| | 01:24 | work that these guys can do.
| | 01:26 | So you can essentially skip over these
things; there is no reason to use them.
| | 01:30 | Let me go to Blur & Sharpen. Now there are
no true color correction effects here,
| | 01:34 | but you're going to be using Blur in
your color correction work to help focus
| | 01:38 | people's attention on certain areas of
have a clip, and the best Blur effect
| | 01:41 | uses Gaussian blur. And look at that,
it has those three badges as well.
| | 01:45 | The engineers at Adobe recognize that this is
the big hitter when you deal with Blur,
| | 01:49 | so we will be touching this one later.
| | 01:52 | Under Channel, every single effect
here in Channel is a color-oriented
| | 01:55 | effect, but again, most of these
guys are things that you wouldn't be using in
| | 01:58 | your day-to-day work.
| | 02:00 | Two of them are legacy effects that
work only with After Effects projects that
| | 02:05 | were done several versions of After Effects
ago, like Compound Arithmetic and Set Matte.
| | 02:09 | There are a couple here that are kind
of fun, and I will talk about them in a
| | 02:12 | different movie: Arithmetic and Invert.
| | 02:15 | Then the funny thing, there is
another channel style effect called Channel
| | 02:18 | Mixer, but that's down here in Color
Correction, so it is a little confusing.
| | 02:22 | Scroll down a little bit more here.
| | 02:26 | Generate is a collection of effects
that usually create something from scratch.
| | 02:30 | It takes a clip like this one which
has this image in it and immediately
| | 02:34 | changes it into a four-color gradient,
like what happened to the clip, and usually
| | 02:37 | there is a means to see what the clip looks
like underneath this effect that you just applied.
| | 02:42 | You can adjust the opacity, for
example, so it's not like it's
| | 02:45 | obliterating your clip.
| | 02:46 | But generally speaking, a Generate
effect does something pretty dramatic to your
| | 02:51 | clip, and so really none of these guys
would be considered true color correction
| | 02:55 | effects, but the Paint Bucket
effect is one that we will use as a color
| | 02:59 | correction effect, that's a way to change
the color of something in an image, and
| | 03:02 | it works very well, so we will rely on
this guy a couples times down the road.
| | 03:07 | Image Control has color-
correction-orientated effects as well.
| | 03:10 | And what's kind of confusing about
this is that here's Color Balance RGB,
| | 03:15 | here's Color Balance HLS, and Color
Balance with nothing after it in the color
| | 03:19 | correction folder. They are kind of
scattered around, and I don't recommend to
| | 03:22 | use any of these guys, because you
can use these other effects instead.
| | 03:25 | But nonetheless they are kind of in two
different places, which can be a little
| | 03:27 | confusing, and here's a Color Pass,
which does the same thing as Leave Color,
| | 03:31 | and Leave Colors is a better effect,
so we don't need to use that one.
| | 03:34 | And Color Replace is the same as
Change Color and Change to Color.
| | 03:37 | This is the one we are going to
recommend, because it supersedes Change Color.
| | 03:41 | So again, there are some kinds of
confusion to the layout here, but I'll clarify
| | 03:45 | which ones to work best and which ones
you should use in the other movie that
| | 03:48 | follows this one. Let's move
down a little bit farther.
| | 03:51 | Keying could be called color correction
effects, because you're keying out part
| | 03:54 | of the scene and changing it, but we
are not really call them color correction
| | 03:57 | effects. But there is one effect here
that you will use a lot, and that's the
| | 04:01 | Track Matte Key, because this allows
you isolate part of the image and change
| | 04:04 | it in many ways, so we use the Track
Matte Key over and over again when you do
| | 04:08 | what is called secondary color correction,
when you are correcting part of a clip.
| | 04:13 | Noise and Grain are not truly any
color correction effects either, but
| | 04:16 | there are things that you might use here,
like Noise, to make your clips look a
| | 04:20 | little gritty, like you're trying to
make an urban scene, so we will rely on
| | 04:24 | Noise for that down the road.
| | 04:26 | And then Transform usually talks about
how you adjust the entire shape of a
| | 04:30 | clip, but we are going to use Crop a lot,
when we analyze color inside a clip
| | 04:34 | where we are cropping down to a certain spot
within a clip and then trying to figure
| | 04:38 | out what color is there.
| | 04:39 | So color correction effects are
scattered all over the place, and there are
| | 04:43 | several effects with functionality and
features found in other effects, and I
| | 04:46 | will straighten things out in the next movie.
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| Reviewing recommended color correction effects| 00:00 | I tested all the color-correction-
oriented effects in Premiere Pro.
| | 00:03 | I use scopes to see exactly how
they work, and I compared them on a
| | 00:08 | feature-by-feature basis.
| | 00:09 | I concluded that of the 40 or so color
correction effects you need to work with
| | 00:13 | only four to do the bulk of your color
correction work, and only six others to do
| | 00:18 | some higher-level work.
| | 00:19 | I was afraid I might be stepping on
some toes at Adobe, so I presented my list
| | 00:23 | of recommended and not-recommend
effects to the Premiere Pro Product Management
| | 00:27 | team, and they passed it along to
an Adobe color correction engineer.
| | 00:31 | We discussed my list and he
agreed with my take on it.
| | 00:34 | So I created a PDF of my
recommended and not-recommended effects and my
| | 00:38 | reasoning why I put them on those two
categories. You can download that PDF
| | 00:42 | from the lynda.com web site for free.
| | 00:44 | So with that in mind, here's my
list of the four principal recommended
| | 00:48 | color correction effects:
| | 00:51 | Fast Color Corrector, RGB Color Corrector,
RGB Curves, and Three-Way Color Corrector.
| | 00:58 | Let me give you a brief
overview on how they work.
| | 01:02 | I have this one shot here with the four
principal color effects applied to it.
| | 01:06 | We will do them one at a time.
| | 01:07 | RGB Color Corrector here at the
top, I have not turned on yet.
| | 01:10 | I will turn it on in a second.
Here is how it looks.
| | 01:13 | It affects the tonality, or it works
in tonality with something called Gamma,
| | 01:16 | Pedestal, and Gain, which particular
approach to working with tonality is
| | 01:20 | different than all the other
effects that you'll work with.
| | 01:22 | It takes a slightly different
workflow, but I'll explain this one later.
| | 01:25 | Then underneath here you've got RGB,
so you can work with the levels of the
| | 01:29 | color intensity on each channel
separately down here, and finally, it has
| | 01:33 | something called Secondary Color
Correction which allows you to isolate a
| | 01:37 | particular area in the clip based on
color and saturation and luma, and then
| | 01:41 | you can work specifically in that
little location, and the secondary color
| | 01:44 | correction thing is in all the
major color correction effects.
| | 01:47 | Let me show you just by turning this on
a little quick work I did to fix that
| | 01:51 | particular clip, so from that to
that using the RGB Color Corrector.
| | 01:56 | RGB Curves is a lot like
curves inside Photoshop.
| | 02:00 | It has a master curve for the luma for
the entire clip on all color channels
| | 02:04 | together and separate controls for
the red, green, and blue channels.
| | 02:10 | And if you look again at this kind of
bluish-cast clip here, if I turn on RGB
| | 02:15 | Curves, there you go, it makes a
little change there, and it looks pretty good,
| | 02:18 | and by just adjusting the curves for
the red and the blue, now adjusting some
| | 02:23 | tonality here as well.
| | 02:24 | And you turn that off.
Go on to the Fast Color Corrector.
| | 02:29 | The Fast Color Corrector uses the color wheel.
| | 02:31 | This is one color wheel.
| | 02:33 | This allows you to pull color in a
particular direction or rotate color in
| | 02:37 | a direction as well.
| | 02:38 | So in this particular case I pulled
color away from the blue, so I'll turn that
| | 02:42 | one on, and that's how it
looks when you pull it away.
| | 02:45 | I could've pulled it in a different direction.
| | 02:48 | That would affect the color as well,
but that's pulling it away from blue,
| | 02:52 | which takes the blue out and puts
orange in, the complement of blue, and causes
| | 02:55 | that change as well.
| | 02:56 | And I also adjusted the levels.
| | 02:58 | There are some Levels controls here
that adjust the luma, and these are
| | 03:02 | different than the Gamma and the Gain and the
Pedestal that you saw in the RGB Color Corrector.
| | 03:07 | That's a Level Style Control.
| | 03:08 | We are finally on to the big daddy of
all the color correction effects, the
| | 03:12 | Three-Way Color Corrector.
| | 03:13 | It works with three color wheels,
a wheel for the shadows, or the blacks, and
| | 03:19 | midtones, or the grays, and
the highlights, or the whites.
| | 03:22 | And you can adjust the color pull,
| | 03:24 | if you want to call it that, on the color
wheel for each of those areas in the clip, as
| | 03:28 | well as doing it for what's called the
Master, which looks like the Fast Color
| | 03:32 | Corrector but kind of works in
the center of all the tonality.
| | 03:36 | I will go back to those three.
| | 03:37 | Then you can adjust the levels
individually, levels for the shadow, levels for
| | 03:41 | the midtones and levels for the
highlights as well, and it too has a secondary
| | 03:45 | color correction as to all these four guys.
| | 03:46 | I will just turn that one on for you,
and that's how that looks by pulling it
| | 03:51 | just along those directions.
| | 03:52 | So I just did this really quickly.
| | 03:54 | We would adjust this in more detail down the
road when we are working on this clip specifically.
| | 03:58 | And here are the six other
recommended color correction-oriented effects:
| | 04:02 | Change to Color, Crop, Leave Color,
Paint Bucket, Tint, and the Track Matte Key.
| | 04:08 | I've got three other clips here that
have those effects on it, and the first clip
| | 04:12 | has the Crop effect on it,
so let me go to that one.
| | 04:17 | The Crop effect you will use frequently
to analyze a specific area within the clip.
| | 04:22 | So I turn that on, I can analyze this
particular spot, and if I want to use the
| | 04:26 | Fast Color Corrector, I can let's say
try to compensate for that blue by pulling
| | 04:31 | it away from blue and try to make it
gray, because I know that that is a gray
| | 04:35 | card and should end up being gray,
so I can pull away from the blue
| | 04:38 | and kind of see it as I work on it.
And I can use the scope as well--pull the
| | 04:42 | scope out for a second--
| | 04:44 | the Vectorscope, to see if I'm in the
neutral zone, if I have managed to find gray,
| | 04:48 | and I have here. That's a good thing.
| | 04:49 | So just by isolating a particular area
and shifting that towards a neutral gray
| | 04:53 | that helps me then color correct that
particular clip, and we will take a look
| | 04:57 | at how that worked overall by
turning off the crop now and seeing how the
| | 05:00 | whole clip got fixed.
| | 05:01 | So that little simple thing, by analyzing
just that little part of the gray, I am
| | 05:04 | focusing on that and looking at the
Vectorscope allowed me to basically fix the
| | 05:07 | colorcast there without too much work.
| | 05:10 | Let me move on to this next clip.
| | 05:11 | It has three effects applied to it, the
Change to Color, Leave Color, and the Paint Bucket.
| | 05:16 | Change to color takes a
color, and well, changes it.
| | 05:20 | So I pick the pink and we changed it to blue.
| | 05:23 | Leave Color takes a color and then
desaturates all the other colors.
| | 05:28 | So I click on that, and then I can make
everything else desaturated. And you can
| | 05:32 | obviously use less than a
full desaturation amount.
| | 05:34 | There are all kinds of ways that you
can keyframe the variables inside, or the
| | 05:38 | properties inside, these effects.
| | 05:40 | Let me go down to the last one, Paint
Bucket, which is in the Generate folder, and
| | 05:43 | wouldn't normally be considered a color
correction effect, works really well in
| | 05:47 | some cases, change a color inside a color.
| | 05:49 | It works better than Change to Color in
certain circumstances, but I like to use it a
| | 05:52 | lot, and it allows you to kind of
adjust though the blending mode too, which is
| | 05:56 | very nice there when you put a
color inside, let's say, the flower.
| | 05:59 | So these guys work with individual colors.
| | 06:01 | You've probably seen sepia-tone
prints many, many times, and the Tint effects
| | 06:05 | allows you to do that pretty
easily here inside Premiere Pro.
| | 06:08 | And then finally we'll
look at the Track Matte Key.
| | 06:10 | I applied it to this clip in the middle.
| | 06:12 | Track mattes are kind of hard
for people to grasp sometimes.
| | 06:15 | I will explain it pretty carefully later.
But the track matte you apply to a clip
above another one usually, and then you
| | 06:21 | say, what mask are we
going to connect to this clip?
| | 06:24 | And so here is the Track Matte Key, and I
said I want to apply this mask up here.
| | 06:29 | If we look at the mask, it's just a
little white spot that I applied over this
| | 06:35 | image because I wanted to highlight it.
| | 06:40 | And then you connect the two
together with the Track Matte Key here.
| | 06:43 | Now what I wanted to do was highlight
this area where this man is working.
| | 06:47 | If I didn't use a Track Matte Key, I
wouldn't be able to highlight it, because the
| | 06:50 | original clip was like that;
| | 06:52 | it was dark. And if I want to bring up
just that area, just that section of the
| | 06:56 | dark area, I need to use a mask and
connect it with a Track Matte Key so that I
| | 07:00 | can then highlight that area--I will
turn off this bottom one so you can see
| | 07:03 | it--and then I can increase the brightness of
that area and have it blend with the clip below it.
| | 07:08 | So that's the Track Matte Key.
| | 07:09 | So ten effects, ten color correction
video effects, and basically all the
| | 07:13 | effects that you'll need to do a
full range of color correction and
| | 07:16 | enhancement in Premiere Pro.
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| Putting recommended effects in a custom folder| 00:00 | Rather than try to remember which folders
my ten recommended effects reside in,
| | 00:04 | you can make your life a whole lot
easier by creating a custom effects folder
| | 00:08 | and putting those ten effects in that folder.
| | 00:10 | Here is how you do that.
| | 00:12 | I have already got a custom effects
folder that I made earlier in a previous
| | 00:14 | movie, but let me show you how to make
this in case you didn't see that movie.
| | 00:18 | You go to the dropdown menu here in the
Effects panel and select New Custom Bin
| | 00:23 | and the type in whatever you want to
call, call it Correction Effects.
| | 00:25 | And they do like to call
folders Bins inside Premiere Pro.
| | 00:28 | So we already got this guy,
so we will just leave it as is.
| | 00:31 | Now we want to start putting
effects in that bin.
| | 00:34 | Open up the Video Effects, and go
to Color Correction, where most of my
| | 00:38 | recommended effects reside. Scroll down a
bit here, and we will start dragging some
| | 00:42 | effects into this folder.
| | 00:44 | The main effects we are going to put
it in are the top four: the Fast Color
| | 00:47 | Corrector, one, and the RGB Color
Corrector, two, RGB Curves, three, and the
| | 00:55 | Three-Way Color Corrector, four. These are
the four biggies and let me show you how
| | 00:58 | they look there. There they are.
| | 01:00 | You don't remove them
from their resident folder;
| | 01:03 | you just put basically links to them here.
| | 01:06 | You notice that the badges
show up here as they do up here.
| | 01:09 | But once you save this project and
come back to it later, those badges might
| | 01:14 | disappear, but don't let that bother you.
| | 01:15 | They still have the same
characteristics with the acceleration and 32-bit and
| | 01:20 | YUV editing, so don't sweat that.
| | 01:22 | Let's go get the rest of the guys.
| | 01:24 | Go to Change To Color and the Leave Color
and Tint, so seven effects from there.
| | 01:33 | Let me close the Color Correction.
| | 01:36 | We have got the three more to fully
flesh out the ten effects that belong here,
| | 01:40 | so I go to Keying, get my Track Matte Key.
| | 01:44 | I've got to drag it to the word right down
here at name a bin, go to Transform, get
| | 01:52 | the Crop, and finally go to
Generate to get the Paint Bucket.
| | 01:59 | You've got to scroll down to be able
to see this guy to drag it in to it.
| | 02:02 | So there we go, and that's that.
| | 02:05 | We now have these ten effects inside
here and from now on, as we work with
| | 02:10 | Premiere Pro's color correction effects, I
will access them from this custom Folder.
| | 02:15 | To make sure we are on the same page,
I suggest you access them from the custom
| | 02:19 | effects folder as well.
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|
|
3. Adjusting Tonality: Brightness and ContrastUnderstanding why to adjust tonality| 00:00 | Your first task when doing any color
correction work is to adjust tonality, the
| | 00:04 | contrast and brightness.
| | 00:06 | You tackle tonality before color
because many times fixing tonality causes
| | 00:10 | changes in the color.
| | 00:11 | In addition, human eyes are much
more attuned to luminance than color.
| | 00:16 | So you want to adjust tonality first.
| | 00:18 | You adjust tonality for a variety of reasons.
| | 00:21 | For example, you might want to fix
low-contrast clips that look kind of dull to
| | 00:25 | make them look brighter;
| | 00:26 | fix underexposed clips that are
generally too dark, and you want to bring them
| | 00:30 | in brightness as well;
| | 00:32 | fix some overexposed clips if
there is too much overexposure.
| | 00:36 | If there are areas that are just too
bright and you've lost the details and
| | 00:39 | the highlights, you really can't
bring those details back, but you can fix
| | 00:41 | some overexposed clips.
| | 00:43 | Add punch to otherwise sort of
lifeless clips, make them sort of jump off
| | 00:47 | the screen at folks.
| | 00:48 | You want to darken muddy shadows.
| | 00:50 | These are shadows that are just
going to dark gray instead of black.
| | 00:53 | You want to make them black. That way it just punches
up the contrast a bit. Or simulate the time of day,
| | 00:58 | let's say you shot midday, but you want
to make it look like it's the afternoon,
| | 01:01 | or you shot in the morning and you
want to make them look like it's midday,
| | 01:03 | something like that.
| | 01:04 | Usually when adjusting tonality,
your goal is to maximize the breadth of
| | 01:08 | contrast and brightness in your video,
make the darkest shadows down here in
| | 01:12 | this particular scope black and make
the brightest highlights, the ones up here
| | 01:16 | in the scope white; in other
words, increase the contrast ratio.
| | 01:21 | Other times, such as with subjects shot
in fog, you don't want to have a full
| | 01:25 | range of luminance. That would
sort of destroy the effect.
| | 01:27 | Once you have adjusted the shadows and
highlights, you fine-tune this adjustment
| | 01:32 | with the midtones to create a complete
total range with a pleasing contrast.
| | 01:36 | Let me show you a few examples.
| | 01:37 | This first one is the shot
of this coastline which looks
| | 01:40 | reasonably well exposed.
| | 01:41 | But if I look at the scope here, I see
that it doesn't have really any blacks
| | 01:44 | down at the bottom down by zero.
| | 01:46 | It doesn't have any
brights up here by the 100 line.
| | 01:49 | So I can expand the contrast by using
this Fast Color Corrector, which I have
| | 01:53 | already set up, and
that's how it looks different.
| | 01:55 | Let me move on to these vines.
| | 01:58 | Way dark here because I exposed
this particular clip for the sunset, and
| | 02:02 | when you expose it for the brightness to
the sunset and this area was in deep shadows,
| | 02:06 | it will have the sort of dark look to it.
Well, I can try to punch up those dark
| | 02:10 | areas of the clip, like so.
| | 02:12 | Now you don't want to do too much, but at
least you can see those narrow lines better.
| | 02:18 | This train shot has this bright area
in the sky, which you can see up here.
| | 02:22 | It's way overexposed, but I can capture
the details in there with an effect.
| | 02:26 | I can tell here that it's not blown
out, that the details are still present.
| | 02:30 | This is too bright to see them here.
| | 02:31 | So I can bring them down, show the sky,
and I can bring up this dark area here a
| | 02:36 | little bit to avoid having it be too dark.
| | 02:39 | This building is just kind of dull.
| | 02:41 | It's sort of lifeless.
| | 02:42 | I want to give it some punch and darken
up these indistinguishable shadows and
| | 02:47 | if I look here, I can see that
everything is kind of in the middle. There's nothing
| | 02:50 | down here in the dark area and
nothing up in the light area.
| | 02:51 | So I can spread things out and make
those shadows a little more dramatic, give
| | 02:55 | that some more punch.
| | 02:59 | This bridge has shot in fog, so I don't
want to go too far with this particular
| | 03:03 | bridge, and I don't want to work too
much to change the fog, but I do want to
| | 03:06 | bring up the shadows of these pushes
here, because they are closer to the
| | 03:10 | camera, and when you shoot something
in the fog, things close to the camera
| | 03:12 | tend to be a little more dramatic
looking than things farther away, and you want
| | 03:15 | to make sure that happens in your final project.
| | 03:17 | So I can punch up those guys a little
bit to bring out little bit more of the
| | 03:20 | contrast in the picture without
taking away the feeling of fog.
| | 03:25 | And finally I want to change
the time of day that I shot this.
| | 03:28 | I waited for a car to go by with lights on, even
it was the middle of the day. This guy obliged.
| | 03:32 | So now that he's got his lights on, I
can sort of change the time of day, make
| | 03:36 | it look like evening, and the lights
sort of further amplify that. And if I were
| | 03:40 | to take this further, doing what's
called the secondary color correction where I
| | 03:43 | adjust part of the clip,
| | 03:45 | I would make the sky darker to
further to enhance this effect.
| | 03:48 | So before fixing color, take care
of tonality--brightness and contrast.
| | 03:53 | Many times that will solve most
of your color correction issues.
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| Analyzing clips for tonality issues| 00:00 | Before adjusting tonality, you need
to take a look at your video clips and
| | 00:04 | analyze them using the YC Waveform scope.
| | 00:07 | That way you can figure out what
needs to be done to fix tonality issues.
| | 00:11 | So I'm going to look at a few clips
here and give you my take on them.
| | 00:13 | This first one is pretty well exposed.
| | 00:15 | I can see here on the Waveform scope
that it has deep shadows, although not
| | 00:19 | right down to 0--and your goal is to bring
the darkest shadows right down to the 0 line.
| | 00:24 | You don't want to go below it.
| | 00:25 | You can go a little bit below it if
there aren't very many dark shadows, but
| | 00:28 | basically you want to bring these down
to 0, so that would be plan one: get the
| | 00:32 | blacks taken care of first.
| | 00:33 | Then you want the
Highlights down at the 100 line.
| | 00:37 | You don't want them above the 100 line,
but again, you can have some small
| | 00:40 | highlights being above there in case
you want little pieces of highlights.
| | 00:44 | My concern here is whether these bright
areas here, these highlights up to the
| | 00:48 | 110 line are going to be
blown out in their details.
| | 00:52 | The thing about high-def camcorders
these days is that they record in what's
| | 00:55 | called super white, that's from 100 to
110 IRE, and they retain the details in
| | 01:00 | this zone, which is a really good thing,
| | 01:02 | such that when you get them in Premiere
Pro you can still retain the highlights
| | 01:05 | and bring these guys down.
| | 01:07 | I'm wondering right there whether I've
blown out the details of the highlights,
| | 01:10 | and I don't think I have--I would check
this later to make sure--but if I had,
| | 01:13 | they would be kind of crushed up
against this line, and they're not.
| | 01:16 | So that tells me that this little area
here along the ledge and these details in the
| | 01:20 | hair will probably look better
when I do bring these highlights down.
| | 01:24 | Then finally, I might want to bring the
midtones, which are just hovering here
| | 01:27 | at the 50% line or below, maybe bring
them up a little bit to kind of brighten
| | 01:30 | the overall look of this clip.
| | 01:32 | So that would be my plan of
attack for this particular clip.
| | 01:34 | Let's move on to the next one.
| | 01:36 | Now, I'm looking at this, and right
away my eyeballs tell me that that is way,
| | 01:43 | way underexposed, and I actually
purposely way underexposed it for this
| | 01:47 | particular exercise.
| | 01:48 | It you look at it here, you can see
just everything is down near 0,. There
| | 01:52 | actually aren't any true blacks here.
| | 01:54 | They're just sort of hovering close to 0.
| | 01:56 | And then the only highlights are these two
cloud areas here, and they're way down about 40.
| | 02:01 | So my plan of attack with a really
seriously underexposed clip like this is to
| | 02:05 | bring the highlights up pretty high,
but not to 100, because that would stretch
| | 02:09 | these guys out way too much and just
make it look kind of strange and muddy.
| | 02:12 | And also, when you take something
that's underexposed like this and expand it
| | 02:16 | out, it tends to look really
desaturated, so you're going to have to kind of
| | 02:19 | bring up the saturation at the same
time, and the farther you spread it the
| | 02:22 | more you need to bring up the
saturation, and that tends to throw things off.
| | 02:25 | But my goal here would be to bring up
these highlights to maybe around 90 or 85,
| | 02:28 | something like that, and that
would spread out these midtones a bit.
| | 02:32 | And then I also want to make
sure I bring down the blacks to 0.
| | 02:34 | And that I think will repair this clip
pretty well. It may not look perfect, but
| | 02:40 | it will be a heck of a lot
better than it looks now.
| | 02:41 | This coastal shot is, I think you might
look at it and go, that's a pretty nice
| | 02:44 | picture, but in fact, if you kind of
sit there and look at it for a while, you
| | 02:47 | begin to see that it's just a little dull.
| | 02:49 | And if you look at the scope then that
confirms that, because there are no blacks.
| | 02:54 | The shadows here and the rocks are just
kind of like dark, dark gray, but not black.
| | 02:59 | So I want to bring these
guys down to the 0 line.
| | 03:02 | And now, look at the highlights here.
| | 03:03 | This is the sky right along there.
| | 03:05 | As you see, as it gets toward the
right side, it gets a little bit brighter,
| | 03:08 | matching that brightness.
| | 03:10 | But holy cow, the sky
right there maxes out at 90.
| | 03:12 | So I'm going to want to bring the sky
up to about 101 or 102, just to get that
| | 03:17 | little tip of highlight there, and
that will maximize the contrast ratio and
| | 03:21 | make this look much better
when I do that. Next clip.
| | 03:26 | Okay, now this is a problem.
| | 03:27 | If I'm going to try to make these
gnarled vines a little more obvious, I need to
| | 03:32 | bring them up, but look at the
highlights here. The highlights for the sky are
| | 03:35 | right there, peaked out already
at 100, maybe a little bit above.
| | 03:39 | And so if I started lifting up these
midtones to show the gnarled vines, I'm going
| | 03:44 | to lift up these highlights too.
| | 03:45 | And so when I do my tonality
correction I'm going to lift up the midtones
| | 03:50 | and not the highlights.
| | 03:51 | I can isolate the midtones and lift
them up only, and that will bring up these
| | 03:55 | values here a little bit without
bringing up the highlights of the sky.
| | 03:58 | So that will be my approach to that one.
| | 04:01 | These trains, look at the difference here.
| | 04:02 | We have a lot of dark area. Everything
is below 40%, lots of dark stuff on this
| | 04:07 | clip, which you can obviously see.
| | 04:09 | These green areas here are
these edges of the highlights.
| | 04:12 | You can see the plants
kind of sticking up like that.
| | 04:15 | This is an equivalent of the midtone
highlights, if you want to call them that.
| | 04:19 | Then there is nothing here in the middle.
| | 04:20 | Then you've got these super-whites here,
above the 100 line and below the 110
| | 04:24 | line, which tells me that, oh gosh, I can
capture detail in this line. It is still there.
| | 04:29 | Thank you to the super-whites.
| | 04:31 | So my plan here would be to
isolate this area using a secondary color
| | 04:35 | correction technique, which I talk
about in a different chapter, and bring down
| | 04:39 | this brightness, and the detail will
suddenly show up there, which is really
| | 04:42 | exciting, because you think, oh my gosh,
there is nothing there, but you can
| | 04:45 | make the detail show up.
| | 04:46 | Then I probably want to spread out
these midtones a little bit, just to make
| | 04:51 | them jump off the screen a bit more.
| | 04:54 | This is a case where you've got some
whites that can't be recovered. See how
| | 04:58 | they're all crushed up
against the 110 line there?
| | 05:00 | That means there are no details there.
| | 05:02 | You can't suddenly see sky out
there or clouds or trees or whatever.
| | 05:06 | It's just blown out.
| | 05:07 | Now, also if you look down here, you see that
there are no shadows down toward the 0 area.
| | 05:11 | In fact, the Shadows, if we
looked them, are kind of purple.
| | 05:13 | So my work is cut out for me here.
| | 05:15 | I need to bring these guys down, and then
I need to do something about that window.
| | 05:19 | And what I would do about that
window is it's easy to isolate this bright
| | 05:22 | highlight, as I mentioned before, using
a secondary color correction technique.
| | 05:26 | I'll just bring down the brightness a
little bit and then add a little bit of
| | 05:29 | color to it, and that's about the best I can do.
| | 05:30 | I can't bring back
highlights that are not there.
| | 05:34 | This clip is just flat and boring.
| | 05:37 | That's because they're just
aren't any dark shadows here.
| | 05:39 | And I can see that here in the Waveform monitor.
| | 05:42 | There is nothing here below, let's say,
15, which means I've got to bring these
| | 05:46 | guys way down to get some
blacks here in the shadow.
| | 05:48 | And the highlights are up to
about 88 or something like that,
| | 05:51 | so I've got to bring them way up to
get the sky a lot brighter. So I can
| | 05:55 | spread this guy out a lot.
| | 05:55 | The one kind of neat thing to look at
here is, see those little blocky things
| | 05:59 | there in that little area of the
highlights? Those are the equivalent of where
| | 06:03 | these guys are cutting into the sky.
| | 06:05 | You notice that there is nothing here,
and that's not because there is nothing
| | 06:07 | here in the picture.
| | 06:08 | That just means that this area here is a
low midtone, a sort of darkish midtone.
| | 06:13 | So we need to lift up the highlights and
drop the blacks, and that will make this
| | 06:16 | thing jump off the screen at you.
| | 06:17 | Here we are in the fog, and there is the fog.
| | 06:20 | You can see the
brightness of the fog right there.
| | 06:23 | And usually when you're working with fog
you don't want to get it much higher
| | 06:27 | than 80, so it's already at about 80.
| | 06:29 | If you bring it above that, it's
going to start looking like a bright shiny
| | 06:33 | thing, and that's not really how fog looks.
| | 06:35 | So you don't want to mess with the
highlight here at the top too much.
| | 06:38 | You want to bring up a little bit.
| | 06:39 | But you do want to bring down these dark areas.
| | 06:41 | So I want to look at these dark areas
and say, oh yeah, there is room to bring
| | 06:44 | those guys down, so that
would be my plan of attack.
| | 06:47 | Finally, this is a bridge that I shot
purposely to create a day-for-night shot.
| | 06:52 | My goal here is to, first of all,
darken it, which I can do fairly easily, but
| | 06:57 | then what do I do about
all these highlights up here?
| | 06:58 | The highlights are all these shots up hare
and they'll look weird in a day-for-night shot.
| | 07:02 | This is a bright sky.
| | 07:04 | Well, again, I can use a secondary
technique to isolate that bright area.
| | 07:06 | It's very simple, because there is
nothing close to it in brightness, so it's
| | 07:09 | easy to isolate something that sits
out there by itself, but I have one extra
| | 07:12 | little challenge here.
| | 07:14 | Those little lights are bright too.
| | 07:17 | Now, I don't want those little
lights to be put in the secondary color
| | 07:20 | correction and have them get dark.
| | 07:21 | So I need to use another method where I
put a mask on those lights to make sure
| | 07:25 | they do not come down when I
bring down the rest of the highlights.
| | 07:28 | So basically once you see what you
need to do, then it's pretty easy to have
| | 07:33 | a plan to fix it.
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| Adjusting tonality with levels-style controls| 00:00 | I want to talk about adjusting tonality
using what I call levels-style controls,
| | 00:05 | and we will start that
process by looking at Photoshop.
| | 00:08 | Here's Photoshop with the Levels
Adjustment layer open on this particular
| | 00:12 | clip, which is this still frame from
the video back there in Premiere Pro.
| | 00:17 | When you work with levels inside
Photoshop, that's kind of a standard working
| | 00:20 | process of taking the blacks input, so-
called slider and dragging it to the
| | 00:25 | bottom of the hill basically and then
drag the white input slider to the bottom
| | 00:29 | of the highlight side, so that you make
the brightest highlights show up right
| | 00:33 | there and the darkest areas show up there,
so that really is truly black instead
| | 00:36 | of dark gray, and this is truly
white instead of sort of light gray.
| | 00:40 | That automatically brings up the
contrast, and then you adjust the gamma, the
| | 00:44 | midtones, to make it a
pleasing shot, something like that.
| | 00:49 | These are input sliders and that's gamma.
| | 00:51 | Down here are output Levels, which
means you can do all this work and get
| | 00:54 | the nice contrast, and then you can
actually reduce the blacks and make them
| | 00:57 | a little less dark, which you don't
usually need to do, or make the whites a
| | 01:01 | little less bright.
| | 01:02 | That's input up here and output up there.
| | 01:04 | That's how Levels works inside Photoshop.
| | 01:07 | Over here in Premiere Pro
there is a Levels effect.
| | 01:10 | If I click on this, you will see that I
have got the Levels effect already loaded up.
| | 01:13 | And I don't recommend you work with
Levels effect or the Levels effect in Premiere.
| | 01:17 | I will show you why. Here we are.
| | 01:19 | It's got the Input Levels,
| | 01:20 | Black and White, and it's got Output,
Black and White and Gamma, just as it did
| | 01:24 | over there in Photoshop.
| | 01:25 | It has input levels for
each channel and output levels
| | 01:29 | red, green, and blue, which is all
very good, which is pretty helpful.
| | 01:33 | The trouble is the histogram doesn't work.
| | 01:35 | There is the histogram, which isn't even
close to the histogram you saw over here.
| | 01:40 | The histogram is basically nonfunctional.
| | 01:42 | It has the same kind of Input and
Output controls, but there's really nothing
| | 01:44 | to relate to relative to the working
with the histogram, which Adobe is aware
| | 01:50 | of, and they're kind of just
letting this guy slide by, because Levels
| | 01:53 | basically has been superseded by other
effects that have levels-style controls,
| | 01:57 | and besides, the histogram is not
really as useful as working with this
| | 02:01 | particular Waveform scope.
| | 02:02 | So we're going to switch to the Fast
Color Corrector, which has a levels-style
| | 02:06 | control in it, and use that instead.
| | 02:09 | I am going to scroll down the Fast Color
Corrector, which has a color wheel, and
| | 02:14 | below the color wheel is Input Levels,
Output Levels, Black, White, Midtones,
| | 02:21 | and Black and White Output Levels,
the exact same thing you saw inside the
| | 02:25 | Levels effect in Photoshop.
| | 02:26 | So this is what we're going to work with.
| | 02:28 | We're going to use the scope as our
guide, so let me drag the scope out a bit.
| | 02:32 | Let's make it a little bit larger
so we can see it a little bit better.
| | 02:37 | So to work with this levels-style
control here inside Premiere Pro, it is tucked
| | 02:42 | away inside the Fast Color
Corrector. So here we go.
| | 02:44 | I want to bring down, first
of all, the blacks, down to 0.
| | 02:49 | So I take the input of the blacks and
I'm saying, look at the darkest thing
| | 02:53 | here, which is currently at about 8 IRE.
| | 02:55 | I want to bring that down to here.
| | 02:57 | See how it's going down in the Waveform monitor?
| | 02:59 | I am just having it touch 0
line to make the black areas, the dark
| | 03:04 | areas, here truly black.
| | 03:05 | Now I need to bring up the highlights,
so I use this slider to bring up the
| | 03:09 | highlights, just as I did in Photoshop.
| | 03:12 | You can see them going up, and it's so
much easier here, because the Waveform
| | 03:16 | monitor is interactive.
| | 03:17 | It immediately responds to your changes.
| | 03:19 | It's dynamic, whereas
even in Photoshop it's not.
| | 03:21 | It just hits there.
| | 03:22 | Right away we've already made
those fixes, and it looks much better.
| | 03:26 | Now I can adjust the midtones, so I want to
lift them up a little bit, not that much,
| | 03:30 | maybe just 1.1 here, or something like that.
| | 03:33 | And that is basically how you make
changes using your levels-styles control
| | 03:38 | inside the Fast Color Corrector.
| | 03:40 | There's something else
inside the Fast Color Corrector.
| | 03:42 | I am going to undo all that work by clicking
on this Reset button right up here in the upper-right corner.
| | 03:46 | There are a couple of little things here
called Black Level, Gray Level, and White Level.
| | 03:50 | What the Black Level and Gray Level and
White Level Eyedropper tools do is you
| | 03:55 | say I'm going to click on something
inside the picture and I want you to have
| | 03:59 | that be the darkest thing in the picture.
| | 04:02 | This is not like a color balance.
| | 04:03 | This just says make that black that
you see there, which is kind of a dark
| | 04:06 | gray, make that black. So it does.
| | 04:09 | It slides the Input slider for the blacks over.
| | 04:12 | Now, I want you to use the
Eyedropper tool for something bright.
| | 04:15 | So let's make let's say this
the brightest area in the picture.
| | 04:19 | That immediately slides this guy over.
| | 04:20 | That's sort of an automatic tool
to find the bright and the darks,
| | 04:24 | not necessarily the best way,
but that's another way to do it.
| | 04:26 | Then this little guy, I want you to find
something that's like half gray, middle
| | 04:29 | gray, 50 here, and boy, how to
pick something out of the picture that's
| | 04:33 | exactly 50 gray is pretty tough.
| | 04:35 | But I'll just say, let's
say this is 50 right there.
| | 04:38 | We'll make that gray.
| | 04:38 | Well, that turns out of
course to be way too dark.
| | 04:41 | It's hard to pick 50% gray out of just
some picture you took, unless you've got
| | 04:44 | a 50% gray card sitting in the middle of it.
| | 04:47 | You can use the automated tools to kind
of get you going in the right direction,
| | 04:50 | but eventually you'll want to use these guys.
| | 04:53 | And by the way, the Auto Black Level, Auto
Contrast, and Auto White Level don't work.
| | 04:57 | It's a bug inside the effect.
| | 04:59 | If I click Auto Black Level, it just
knocks this guy back to its starting point,
| | 05:03 | and Auto White knocks it back to
its starting point; it doesn't actually
| | 05:05 | automatically do anything.
| | 05:06 | It just puts it back to 0, and Auto
Contrast doesn't change at all. And besides
| | 05:10 | you don't want to use auto tools anyways.
| | 05:12 | Let's move on to the other levels-style control.
| | 05:15 | It's called the RGB Color Corrector.
| | 05:18 | RGB Color Corrector uses a different process.
| | 05:21 | These are what's called
Gamma, Pedestal, and Gain.
| | 05:23 | I'll open up those sliders so you can
see them. It's not quite as intuitive as using
| | 05:27 | blacks, midtones, and highlights.
| | 05:30 | Pedestal is like thinking about let's say
a pedestal in which you've got a statue.
| | 05:34 | When you lift the pedestal,
you're lifting the entire statue.
| | 05:37 | So if I lift it to the right, the
whole thing goes up. Watch the waveform,
| | 05:41 | see, everything goes up.
| | 05:42 | I am making everything brighter.
| | 05:44 | If I drop it, I am making everything darker.
| | 05:46 | So if you think about Pedestal as like
this thing on which the video resides
| | 05:50 | then you can see that you're
lifting all up or all down.
| | 05:52 | So in this case I want to bring it down first.
| | 05:54 | That's usually the process with Pedestal.
| | 05:55 | You get the blacks all the
way down to the black area.
| | 05:59 | Then Gain lifts the top
without moving the bottom too much.
| | 06:03 | It's one of these things, this
particular effect that requires you kind of
| | 06:06 | tweaking it back and forth a bit, but we'll
take the Gain up now to lift the highlights up.
| | 06:10 | And you notice that it stretches them out,
as you'd expect, and get them right up to 100.
| | 06:17 | Or I can hold down the Ctrl
key to fine-tune these moves.
| | 06:20 | Good enough for now!
| | 06:21 | And what it does is lift the
blacks a little bit, but not much.
| | 06:24 | And now you work with the Gamma,
which is in the middle to make sure it's
| | 06:28 | adjusting how bright you
want it in the midtones.
| | 06:30 | So that's how you use the
levels-styles controls and the RGB Color Corrector.
| | 06:35 | Let me turn that off now.
| | 06:36 | I've got two other effects on here,
because I want to show them to you briefly.
| | 06:40 | The Three-Way Color Corrector
uses three different controls.
| | 06:43 | You can control the Highlights Input
and Output, the Midtones Input and Output,
| | 06:47 | and the Blacks Input and Output, and
it's very confusing, and I do recommend
| | 06:51 | that you do not use this to adjust tonality.
| | 06:53 | It's just way too confusing.
| | 06:54 | You've got to go up here and change
from Highlights to Midtones to Shadows,
| | 06:57 | and then you go down and adjust them one
at a time here in these sliders, and it
| | 07:00 | becomes really cumbersome.
| | 07:02 | They are there, but I
don't recommend using them.
| | 07:04 | And then the other RGB effect that I
do recommend you use is RGB Curves, and
| | 07:09 | I'll talk about RGB Curves in the next
movie, because it's a whole different
| | 07:12 | approach than sliders.
| | 07:13 | It's this graphical approach, and it takes a
little different kind of process to do your work.
| | 07:17 | Now that you see basically how that
goes, let me move on to the next clip, and
| | 07:20 | I'll show you a couple of more examples
how to use these guys, and I will do it a
| | 07:23 | little more quickly
rather than explain everything.
| | 07:25 | So obviously this building needs
to have its black spot down, its
| | 07:29 | highlights brought up.
| | 07:30 | It needs the Fast Color Corrector.
| | 07:31 | Go down to the
levels-styles controls right there.
| | 07:35 | I could use these automatic guides, but I
can see here in the scope what I want to do.
| | 07:38 | I want to bring the blacks down to
about 0, to really punch up those shadows.
| | 07:43 | I am just going to go a touch
below 0 for the darkest areas.
| | 07:46 | That's okay to do that.
| | 07:47 | I need to bring the highlights
way up, so they touch the 100 line.
| | 07:51 | Bring the brightest highlights, kind of
crush them up against the line, and it
| | 07:54 | will make it a little bit brighter.
| | 07:55 | And the midtones are kind of just
all smashed down here in the bottom.
| | 07:58 | We're pretty dark, because it is dark down
here, but I can make it a little bit brighter.
| | 08:01 | The kind of Gamma adjustment thing is
really an eyeball thing for the most part,
| | 08:06 | what looks pleasing to you on the screen.
| | 08:08 | Let me move on to the RGB Color Corrector, just
to walk you through that kind of process again.
| | 08:13 | Well, I'll turn off the Fast Color
Corrector and turn on the RGB Color Corrector.
| | 08:16 | Down here under the Gamma, Pedestal,
and Gain, let's open those guys up again.
| | 08:19 | Gamma, Pedestal, and Gain.
| | 08:20 | Again, you work with Pedestal first
because you're moving the entire thing, and
| | 08:24 | you always take it down to the
blacks first and work with Pedestal.
| | 08:29 | And to fine-tune it, I hold
down the Ctrl or the Command key.
| | 08:32 | Now, I want to lift up the highlights.
| | 08:34 | I do that with Gain.
| | 08:35 | I'm holding down the Ctrl key, again,
and kind of let go a little bit slowly.
| | 08:41 | Got the highlights right about there.
| | 08:43 | That's a good spot to be, and
already the picture is looking much better.
| | 08:46 | Then you can adjust the Gamma
to suit your purposes basically.
| | 08:49 | You want to lift up the
Gamma a little bit or not?
| | 08:51 | When you do that, notice when you lift
the Gamma, it does bring up the whole
| | 08:54 | bottom again, so that's one of the
problems with using Pedestal, Gain, and Gamma
| | 08:58 | is that sometimes when you adjust the
Gamma later, it sort of lifts up stuff or
| | 09:02 | moves stuff around a little bit more
than you might like, so you need to tweak
| | 09:05 | the Pedestal again later
to finally finish your work.
| | 09:07 | And so there is a different problem
that I'm facing with this particular clip.
| | 09:10 | I'm looking at it and I'm seeing that
highlights right there above the 100 line.
| | 09:15 | I need to bring them down,
different kind of a process now.
| | 09:19 | Now you need to bring the
blacks down a little bit.
| | 09:21 | So let me open up the Fast Color Corrector.
| | 09:22 | I am facing a different problem now.
| | 09:24 | I don't need to bring the highlights up.
| | 09:25 | I need to bring them down.
| | 09:27 | So we'll start with the blacks though,
because that's always the order of your
| | 09:30 | work is to bring the blacks down to the 0 line.
| | 09:33 | And now I need to bring these highlights down.
| | 09:35 | If I move this guy, this guy is the Input,
| | 09:37 | it brings things up as I move it left.
| | 09:39 | That's not what we want to do.
| | 09:41 | So I need to adjust the Output,
slide it to the left and bring those
| | 09:44 | highlights down, right to the 100 line.
| | 09:48 | The hopeful conclusion is that when I
get them down to 100, the sort of blown-
| | 09:53 | out areas in the highlights and the
hair and here on the deck actually do show
| | 09:56 | up with detail, which is what I
thought would happen, because they don't look
| | 09:59 | like they're crushed up here.
| | 10:00 | They look like there's still some detail
there, so that's a good thing.
| | 10:03 | We've now spread the highlights out and
we have detail in highlights. Now if
| | 10:07 | I want to adjust the Gamma a little
bit by lifting up maybe the brightness
| | 10:10 | inside the room just a touch,
| | 10:11 | I can use the Gamma slider here.
| | 10:13 | So I adjusted the Output to bring down to 100.
| | 10:16 | If you look at the RGB corrector--let
me just turn this one off and go to the
| | 10:20 | RGB corrector and turn it on--
| | 10:23 | this is a little different.
| | 10:24 | It's a little bit more of a
challenge now. Open up Pedestal.
| | 10:28 | I need to bring this thing down.
| | 10:29 | If I look at the Gain as well, the
Gain is usually the thing that brings
| | 10:34 | things down. So the first order of
business is to use Pedestal. So it's not a
| | 10:39 | separate output control;
| | 10:40 | it's all contained inside here.
| | 10:41 | First thing I do is bring the Pedestal
down a touch, get these things down to
| | 10:45 | the bottom, and then I bring the Gain
down, which brings down the top, not
| | 10:50 | the bottom, but sometimes affects the
bottom a little bit, and then I adjust my Gamma.
| | 10:55 | You might see some little lines here.
| | 10:57 | That's actually gaps and luminance.
| | 10:58 | There is only so much luminance you can
spread out here and some of the effects cause
| | 11:01 | these little gaps, but you don't see them
showing up in the image necessarily. Okay.
| | 11:05 | Finally, one last little guy here, the bridge.
| | 11:08 | This is the time where I don't
want to bring up the highlights.
| | 11:12 | I just want to bring down the blacks.
| | 11:14 | So I go to the Fast Color Corrector,
I bring down the blacks, the Input Level,
| | 11:21 | to the 0 line more or less,
and that does darken my shadows.
| | 11:25 | If I bring up the fog a little bit,
it might make it look just a little too bright.
| | 11:32 | So that's how I do that inside the
levels-styles control, inside the Fast Color Corrector.
| | 11:37 | And now finally, with the RGB Color Corrector,
again, it's the Gamma, Pedestal and Gain.
| | 11:43 | Both these guys have advantages and
disadvantages, but I like working with both of them.
| | 11:47 | I'll bring these guys down a little bit,
bring the Pedestal down first, because
| | 11:50 | I'm bringing down the whole clip. There we go!
| | 11:54 | And notice how the
highlights are coming down with it.
| | 11:56 | Now I need to use Gain to lift the
highlights up a little bit, to bring
| | 11:59 | them to about 85 or so.
| | 12:00 | So that's basically how you use
levels-styles controls to take care of
| | 12:04 | your tonality issues.
| | Collapse this transcript |
| Adjusting tonality using RGB Curves| 00:00 | Instead of using levels-styles slider
controls to adjust tonality, you might
| | 00:04 | want to try Curves.
| | 00:05 | Curves-based effects coupled with the
YC waveform scope are a helpful means
| | 00:09 | to adjust contrast.
| | 00:11 | The downside is that it's difficult
to make precise fixes and you can't
| | 00:15 | keyframe the settings.
| | 00:16 | Sometimes you want to have your
brightness change over time, and you can't
| | 00:19 | do that with Curves.
| | 00:20 | There are two
Curves-based effects inside Premiere.
| | 00:23 | One is called RGB Curves and
the other is called Luma Curve.
| | 00:27 | Luma Curve is a subset of RGB Curves.
| | 00:29 | Let me show you that.
| | 00:30 | Luma Curve adjusts only the luma part of
the clip, not the color part and that's
| | 00:36 | not necessarily bad.
| | 00:38 | But the thing is the RGB Curves effect
has luma here, plus you can adjust the
| | 00:43 | individual color channels.
| | 00:45 | We talk about working with the
color channels in a separate chapter on
| | 00:48 | color, but for the time being we want to deal
only with the master, which is the same as luma.
| | 00:53 | One little drawback to working with RGB
Curves is that this little box might be
| | 00:57 | kind of small. Well, you can expand the
view by just dragging it off to one side,
| | 01:01 | and that will expand the view.
| | 01:02 | Understanding Curves is a just a bit
of disconnect at first, but then I think
| | 01:06 | you'll see how this works pretty quickly.
| | 01:08 | Looking at this first picture, the
coast picture which we've seen before,
| | 01:11 | I want to bring the blacks down
and I want to lift the highlights up.
| | 01:16 | So in Curves, you know black is
down here and highlights are up here.
| | 01:20 | And then there is input and output.
| | 01:23 | Now if I lift this up, that changes
the output. That makes it less dark;
| | 01:28 | it's lifting the blacks.
| | 01:29 | I don't want to change the output.
| | 01:32 | I want to change the input.
| | 01:33 | So I want to bring the blacks down.
| | 01:36 | So if you think about up or down,
up is obvious. So what's down?
| | 01:40 | It's just the other direction.
| | 01:41 | So I am going to bring it down like this,
| | 01:42 | and you see it's not a really precise thing.
| | 01:46 | You can't type in a number or
drag a slider to a particular number.
| | 01:49 | You've got to kind of nudge it along there just to
get it exactly where you want to get it.
| | 01:53 | That's sort of the downside to doing this.
| | 01:55 | Now I want to lift the highlights.
| | 01:56 | We'll think about it again.
This is the output.
| | 01:58 | If I bring this down, that's
bringing the highlights down, that's output.
| | 02:02 | I want to bring them up and so this
is obviously down, so the left is up.
| | 02:06 | So I am going to drag this kind of
left to bring the highlights up to about
| | 02:09 | 100, which is where you want to go typically, and
again it kind of just sort of jumps along there.
| | 02:14 | Okay, we've taken care of the shadows,
the blacks, and the highlights, the bright
| | 02:19 | areas, the white areas.
| | 02:21 | Now I want to adjust the gamma and the
gamma is adjusting someplace on this curve.
| | 02:26 | The steepness of the curve defines the contrast.
| | 02:29 | So you can see its a little bit steeper
now, so you have more contrast, which is
| | 02:31 | what we just ended up with, but
you can at steep areas of the curve.
| | 02:35 | Os typically what you do when you
adjust gamma is you find the midpoint of the
| | 02:38 | curve, or the midpoint of this
particular line, which is right about there.
| | 02:41 | You look at these little bars here.
| | 02:43 | They are not in degrees of 10, not 10, 20, 30.
| | 02:45 | They are 12.5, 25, 37.5. It's weird how
that works, but that's a 50% line. I click that.
| | 02:52 | That adds a point.
| | 02:52 | You can add up to 16 points.
| | 02:54 | And as you decide you don't like a
point you've added, you can just drag it off
| | 02:57 | like that and that will get rid of it.
| | 02:58 | So here is a point and I typically want
to lift it a little bit to lift the gamma.
| | 03:03 | Watch how the scope shows the gamma going up.
| | 03:06 | When you work with curves, it's a
little bit goes a long way, so that little
| | 03:09 | difference has just improved the gamma
just enough to bring this picture up.
| | 03:13 | So that's kind of the basic approach
to how you your work with the luma side,
| | 03:17 | or in this particular case it's called Master,
but it's the luma side with the RGB Curves effect.
| | 03:22 | Let's try it on a couple of other clips.
| | 03:24 | And this building, you look at the scope
and you say oh gosh, okay, it's not dark
| | 03:30 | and it's not bright. How do we fix that?
| | 03:32 | So we go to Curves again and we want to
look RGB Curves, that is, and I want to say
| | 03:37 | okay, let's bring down the blacks.
| | 03:40 | So if I drag it up, that's obviously
going up, so down is the other direction.
| | 03:43 | So I am bringing it downs to about zero,
and I am going to now drag this guy to
| | 03:49 | the left, because down is
obviously down, so left is up.
| | 03:51 | I bring up the highlights
just so they touch 100 line.
| | 03:56 | And now the question is, what do
I do about all the stuff here?
| | 03:59 | There isn't much in terms of midtones.
| | 04:01 | Well, one of the cool things about
curves is that you can fine-tune the area
| | 04:06 | that you want to adjust.
| | 04:07 | I want to bring this little
area of the midtones up a bit.
| | 04:11 | So with Curves I can say okay, here I am going
to put a little button there and I don't
| | 04:15 | want things below that to change.
| | 04:16 | So I put another one right next to it.
The cross sign tells me I can add another
| | 04:20 | point. If I drag it closer, it turns
into this little four-arrow thing.
| | 04:23 | So the four-arrow thing says
you're too close to add a point.
| | 04:25 | There I can add a point.
| | 04:26 | So now when I drag something around here
it won't affect anything below here.
| | 04:30 | I am looking at there, it's
right about the 40 line.
| | 04:34 | So the 40 line here is right around
here is the 40 line, so I click there and I click
| | 04:39 | little bit above it.
| | 04:41 | Now I want to drag up that line, and I
can just limit my work to just this area.
| | 04:46 | See how that just stayed within that
area, just to bring up this one spot.
| | 04:51 | If I decide oh, that didn't quite work, I
can drag that off, do another point up here,
| | 04:55 | and expand the area that I am working in.
| | 04:58 | So you can limit the area that
you are changing luma and so on.
| | 05:00 | That's one of the cool things about
curve that's just a little less easy to do
| | 05:06 | when you are working with sliders,
so that's a good little trick.
| | 05:08 | I'll move on to the next guy here.
| | 05:12 | This is the picture where I've got
to bring down the highlights.
| | 05:15 | So let's go to RGB Curves. Instead of
working with the Input, we are going to
| | 05:19 | work with the Output.
| | 05:20 | So first all we do work
with Output to bring the black down.
| | 05:22 | So I don't want to go up. I want to go down.
| | 05:26 | So that means go to right.
I am going to bring down the blackest areas.
| | 05:28 | Now this is too bright, so I need to
bring it down, and down obviously is, well,
| | 05:32 | down by golly, and that brings
down the highlights to the 100 line.
| | 05:37 | And now we've accomplished basically all
we want to accomplish here, but I might
| | 05:40 | want to bring up the gamma a bit.
| | 05:41 | So I click on the center line to bring
up the gamma just a touch. A little
| | 05:46 | bit of work goes along ways
when you are dealing with Curves.
| | 05:49 | Finally, we look at this bridge, the
foggy bridge, and I want to bring this down
| | 05:55 | and not to affect this too much.
| | 05:57 | So we'll go to the RGB Curves again.
| | 06:01 | I need to bring the blacks down,
so I bring it to the right.
| | 06:03 | Now I want to bring the
highlights up just a touch,
| | 06:07 | so I drag it to the left.
| | 06:08 | Another thing is I want to maybe make
these guys a little bit brighter and to do
| | 06:14 | that, I can see the bushes here basically.
| | 06:16 | I can see they are in this range of
about oh 35 down to zero. This is 12.5, 25. 35
| | 06:25 | is about there, so I go a little
bit above it and add a point below that,
| | 06:28 | go here to kind of hold things steady,
and I can then lift this guy up a little
| | 06:31 | bit to adjust the bushes, just to make
them a little bit more obvious, and that's
| | 06:37 | one of the cool things again
about working with curves:
| | 06:39 | you can limit the area that you're
adjusting if you want to adjust just that
| | 06:43 | region, just that part of the
mid-tones, or just part of the highlights.
| | 06:47 | So again if you want to work with
curves, it takes a little while to kind of
| | 06:49 | get used to the whether it goes up
and down or left and right and where you
| | 06:54 | put the points on the line, and there
are drawbacks because you can't keyframe
| | 06:57 | these things, but I think in the end
it's a little bit more intuitive than
| | 07:00 | working with the sliders.
| | Collapse this transcript |
| Fixing overexposed and underexposed clips| 00:00 | It's relatively easy to fix most
underexposed clips, but it's not so easy to fix
| | 00:05 | most overexposed clips.
| | 00:06 | I am going to show you methods to work
with both here in this particular movie.
| | 00:10 | I am going to show you
here an underexposed clip.
| | 00:12 | We'll fix that. And then here is one
that's underexposed, but only in a region.
| | 00:15 | I am going to show you a little trick
to do that. And then here's another clip
| | 00:19 | that's overexposed in this region, and
then a clip that's overexposed and can't
| | 00:24 | be really fixed using what are
called primary color correction methods.
| | 00:27 | I'll show you secondary method just to
kind of give you a taste for what that's like.
| | 00:30 | So let's start with this underexposed
clip, and we are looking at the YC Waveform
| | 00:35 | monitor just with luma turned on.
Again you don't want the chroma on;
| | 00:38 | that's just confusing, and you
don't want this little guy on either.
| | 00:41 | That doesn't show you the true readout.
| | 00:42 | So here we are, and you can see that
it's way dark and the highlights here
| | 00:47 | only hovering around 40.
| | 00:48 | So first order of business is
always to get the blacks set, so I am going
| | 00:52 | to use the RGB Color Corrector first, and
let me work with the Pedestal, Gain, and the Gamma.
| | 00:57 | So I've got to start with Pedestal first
to list the entire clip or move it down.
| | 01:01 | I want it to go down just a little
tiny because I want the blacks to be right
| | 01:04 | there on the bottom.
| | 01:05 | They are just almost touching, no big deal,
but I'm just going to take them down just a smidgen.
| | 01:09 | Now I want to lift this guy up.
| | 01:12 | Now when you got something that's so
underexposed like this, you don't
| | 01:15 | want to lift too much, but I'm going to
bring this guy up, up, up, up. Use the Gain next.
| | 01:20 | Lift it up and get it to right around
so that the highlights, those two little
| | 01:25 | sky areas, are hovering around 85
or so. And that right, off the bat,
| | 01:30 | did a pretty good job of bringing some
life back to what was apparently a dead-on-
| | 01:35 | arrival clip, and then we'll
finally work a little bit on the gamma.
| | 01:38 | Let me just notch the camera up and make it a
little bit brighter, and you can watch the
| | 01:42 | scope as the scope moves up towards
in the center there. And now I think
| | 01:45 | we've done a pretty good job, and
the RGB Color Corrector is a fairly easy
| | 01:49 | process to make that happen. I'll turn that off.
| | 01:52 | We can work on the next one.
| | 01:54 | Let's look on the Fast Color Corrector,
which has the levels-style control, the
| | 01:58 | Input and Output, Blacks and Whites.
| | 01:59 | Here, the same routine, I want to bring
the blacks down a little bit. Now you
| | 02:07 | need to bring the white up, so use
the Input for the whites and bring that
| | 02:10 | way up, the highlights.
| | 02:13 | A little more intuitive I think when you are
working with the Fast Color Corrector.
| | 02:15 | It's a little bit smoother to drag these
guys around, instead of dragging the gain
| | 02:19 | in RGB Color Corrector, but
it's not that big a difference.
| | 02:22 | But notice the way the Fast Color
Corrector behaves versus the RGB Color Corrector.
| | 02:26 | It has essentially de-saturated this clip.
| | 02:29 | Let me finish off by just
brightening it up just a little bit more in the
| | 02:32 | midtones, and by doing that I've lifted
up the blacks a bit, so I need to take
| | 02:36 | blacks down a little bit more.
| | 02:39 | There we go, but more we've kind
of de-saturated this guy a bit.
| | 02:41 | Well, one of the advantages of the Fast
Color Corrector is that lo and behold,
| | 02:45 | it has a aaturation control built
in; the RGB Color Corrector does not.
| | 02:48 | So we'll take the saturation over and bring
some color back into this clip and
| | 02:53 | lo and behold I think we've
done a pretty good job there.
| | 02:56 | I hope you agree. Let me turn that guy off and
| | 02:58 | go to RGB Curves now, and with
Curves it's kind of nice to spread things
| | 03:02 | out a bit and get a little more room to
work with the Master or the luma part of RGB Curves.
| | 03:07 | I've got the same little problem as before.
| | 03:09 | We need to bring the blacks down a bit,
so we can drag this to the right; right
| | 03:12 | is down when you are talking about
blacks. I need to bring the highlights up,
| | 03:16 | and up is left when you are talking
about highlights, so way left and
| | 03:20 | again, one of the advantages of working with the
curves, I sort of isolate the dark areas here.
| | 03:25 | Notice that it didn't bring the
highlights up more than about 80, so this would
| | 03:29 | be extreme to try to fix it
if I brought them higher than 80.
| | 03:32 | We'll just kind of lift up those areas
down here just a bit to kind of brighten them.
| | 03:35 | You have to be careful with curves.
You can kind of get this sort of
| | 03:38 | super-saturated look, but that's
basically the process to work with
| | 03:41 | an underexposed clip.
| | 03:42 | Let's move on down to the next one.
| | 03:46 | This is a little bit of a problem,
because the sky is plenty bright, as you can
| | 03:49 | see right here; it touches the 100 level.
But how do we then bring up the dark
| | 03:54 | areas here separately? And you would
typically do that using a secondary color
| | 03:58 | correction technique, and I'll give you
a taste of that now, knowing that we have
| | 04:02 | an entire chapter on secondary techniques.
| | 04:05 | Let's start with the RGB Color
Corrector, and I want you to see something.
| | 04:08 | Watch the YC waveform when I
turned the RGB Color Corrector on.
| | 04:13 | Watch what happens to the top, where
you've got a little bit of traces,
| | 04:16 | they call it, above 100, and you can see
this line here. It's actually going to 110.
| | 04:19 | That means that even though those traces
are not showing up here, there actually
| | 04:23 | are areas in the clip that go up to 110.
| | 04:26 | What happens when you use the RGB
Color Corrector and turn it on, it immediately
| | 04:29 | clips, meaning cuts everything, down to
100 or less, which is not a good thing.
| | 04:36 | You don't want effects, just
by turning them on, to do this.
| | 04:39 | So this is a drawback to the RGB Color
Corrector when you are dealing with highlights.
| | 04:43 | When you've got some bright areas that
are above 100, it immediately cuts them
| | 04:46 | down to 100, and it also lifts the
bottom up to zero, if you've got something
| | 04:51 | that's darker than zero, but
most times that won't be an issue.
| | 04:53 | The most times issue is highlights.
| | 04:55 | That's one little drawback
with the RGB Color Corrector.
| | 04:57 | It immediately clips your highlights and
brings them down. Not a good thing.
| | 05:02 | But what we want to do is we want to
try to make this dark area brighter.
| | 05:06 | So let's see how we can do that.
| | 05:07 | The only thing we can do really, we've
got the black areas already fighting
| | 05:10 | down as far as it can go. We don't
need to bring the Pedestal anymore.
| | 05:13 | The highlights are basically as high as
they can go because of the way that they
| | 05:16 | dropped it, but we will lift them a
little bit just to get the highlights kind
| | 05:19 | of back up toward 100,
| | 05:20 | even though they kind of clipped them up for us.
And now we need to try to lift this part
| | 05:25 | just a touch, lift the
gamma and see what happens.
| | 05:27 | What will happen is that it
will make the whole clip brighter.
| | 05:33 | It took a while for that to happen, but
you can see that suddenly the whole clip is
| | 05:36 | brighter, and it looks kind of washed out.
| | 05:38 | That's one of the problems. You really can't just
select this area to make it brighter using what are called
| | 05:43 | primary color correction techniques.
| | 05:45 | Primary means you are working with the
entire region of the frame, the entire
| | 05:48 | area of the frame, every pixel in the frame.
| | 05:50 | Secondary techniques work
with areas inside of the frames.
| | 05:53 | Let me just kind of give you a brief
taste of that, knowing that we are going to
| | 05:56 | work with secondary later.
| | 05:57 | I've got the RGB Color Corrector again,
and watch what happens here. Just this
| | 06:01 | area got brighter, not
the sky. I'll turn it off.
| | 06:05 | Turn it on.
| | 06:06 | The way I did that, I used the
secondary color correction technique.
| | 06:10 | I'll just show it to you.
| | 06:11 | The bottom of RGB Color Corrector is I
think called Secondary Color Correction,
| | 06:16 | and it allows you to select the color
and then select the luminosity and the
| | 06:19 | saturation of that color
to say this is the area
| | 06:22 | I want to make into a mask.
| | 06:24 | I can see the mask here.
| | 06:25 | I made it kind of blurred, so that
the edges would be soft on the mask.
| | 06:29 | I made that mask by selecting a color
here and then by adjusting the luma here
| | 06:35 | and adjusting the softness down here.
| | 06:37 | That creates that mask and then
anything I do inside this particular effect
| | 06:41 | affects only the area in the mask.
And so if I looked down here, with the Gain, I
| | 06:46 | raise the Gain just for the region.
| | 06:49 | It doesn't touch the sky.
| | 06:50 | That's a secondary technique.
| | 06:52 | So when you look at the clips and you see gosh,
| | 06:53 | I want to make that one area brighter,
| | 06:55 | you will use the secondary
technique like that to make that brighter.
| | 06:58 | Let's move on to the Fast Color Corrector.
| | 07:00 | Notice when I click it these guys do
stay put. They don't move down, the
| | 07:05 | way things happen when you worked with the
RGB Color Corrector, and that's a good thing.
| | 07:08 | You don't want to mess with
things before you do anything.
| | 07:11 | So I need to do two things.
| | 07:13 | I need to bring the blacks down just a
little bit, so I take the Input down to
| | 07:16 | the bottom just to touch.
| | 07:19 | I don't really need to
bring the highlights any higher.
| | 07:22 | I could probably bring them down just a
touch, but now I need to worry about the
| | 07:25 | midtones here. The only way I can do
that is a slider to deal the gamma and
| | 07:29 | make the things brighter, but as with the
RGB Color Corrector, it makes the whole
| | 07:33 | clip brighter rather than just these trees.
| | 07:35 | Well, maybe I could use a secondary
color correction here, but the drawback
| | 07:39 | to Fast Color Corrector is there is no
secondary color correction inside the
| | 07:43 | Fast Color Corrector.
| | 07:45 | One little drawback.
| | 07:46 | If you're going to do secondary color
correction and you want to use it with
| | 07:49 | something like the levels control, you use
the Three-Way Color Corrector to do that.
| | 07:53 | The Three-Way Color Corrector has
Secondary Color Correction down here at the bottom.
| | 07:57 | So just for your information, if you are
looking for something like that later,
| | 08:00 | I'll explain it more later.
| | 08:02 | It won't be secondary color inside
Fast, but it is inside Three-Way.
| | 08:05 | Finally, going to the RGB Curves, RGB
Curves gives you a little bit of ability to
| | 08:09 | deal with a particular tonal region
in a clip because you can identify it here on the curve.
| | 08:14 | So again we are going to try to
lift this area right there, and to do that
| | 08:17 | you just kind of define the area by
setting a couple of points and try to lift
| | 08:22 | the area inside those points, not
affecting too much of the rest of the clip.
| | 08:26 | And that will lift this up, as you
just saw, and it too, by the way, has a
| | 08:31 | secondary color correction that allows you
to identify a particular areas within the
| | 08:34 | clip based on the color and the luminosity.
| | 08:37 | Let's move on down to
things that are overexposed.
| | 08:40 | We've got this region here that's
overexposed, and you can see it here on the YC waveform.
| | 08:45 | There is that super-white that I've
talked about before that high-definition
| | 08:49 | cameras can capture, and there is
still detail inside it, but you don't see
| | 08:52 | the detail right now.
| | 08:53 | Watch what happens again when I turn on
the RGB Color Corrector. That super-white
| | 08:57 | is going to go--and it's going to get crushed.
| | 08:59 | They all get all slammed in
this little spot. That's not a good thing.
| | 09:04 | That's one little problem with the RGB
Color Corrector, but there it is.
| | 09:07 | The highlights are already knocked down.
| | 09:09 | Now that they are down there.
You should be able to see them, right?
| | 09:11 | Well, not really. You've got to kind of
work on bringing down the gain a bit, but
| | 09:16 | the detail won't be quite as good as
it should be, because it crushed all of
| | 09:20 | those highlights, a problem with the RGB Color
corrector when you are working with highlights.
| | 09:24 | So I'll go the Fast Color Corrector
instead, and it doesn't affect those highlights.
| | 09:29 | Go to the Inputs slider,
which works pretty well in here.
| | 09:33 | I look at the bottom.
| | 09:34 | It's basically pretty much maxed out
on the black Level, but I'll just knock
| | 09:37 | it down just to touch here.
| | 09:39 | Now I want to bring this guy down, and I
hope that I can bring it down and get details.
| | 09:43 | Well, that's going to work easily here
inside the Fast Color Corrector, because I
| | 09:47 | just need to bring the
output for highlights down.
| | 09:50 | I get that down to just below 100, and
that's saved our little skin there by
| | 09:57 | bringing out some detail in the
clouds. And I can use secondary color
| | 10:01 | correction if I want to add a little
bit of blue to that. I can use Secondary
| | 10:04 | color correction inside RGB Color
Corrector or the RGB Curves Color Corrector
| | 10:08 | or the Three-Way Color Corrector and add a
little bit of blue if I want to do that later.
| | 10:12 | Look at RGB Curves here.
| | 10:14 | Let me turn this guy off.
| | 10:15 | So when I click RGB Curves, by the way,
notice it does not clip or compress or
| | 10:20 | crush the highlights.
| | 10:21 | It does what it is supposed to do, which
means leave them alone until you work
| | 10:24 | with them. I can bring down the blacks
like that, maybe too much, but we'll just
| | 10:29 | let it sit there for now.
| | 10:30 | I can bring the highlights
down by dragging it down,
| | 10:33 | bringing down the rest of the clip too,
but notice the details are still there.
| | 10:36 | Now I can isolate those low-level
midtones that I wanted to and bring them
| | 10:41 | up a little bit if I wanted to.
| | 10:43 | That's a pretty quick way to deal with
that particular overexposure, which is
| | 10:46 | fairly easy to fix because the
details actually still existed there.
| | 10:50 | We can work in the highlight area.
| | 10:52 | Let's move on to this
last one where, oh my gosh,
| | 10:56 | you can see right there the traces
along the 110 line are all crushed up
| | 10:59 | against there, meaning there is
no detail inside that window.
| | 11:01 | It's just cannot be repaired,
| | 11:04 | at least with the primary
color correction techniques.
| | 11:06 | So I am going to use some way to bring
that guy down while still maintaining
| | 11:11 | the overall contrast of this clip.
| | 11:12 | I'll try RGB Color
Corrector and watch what it does.
| | 11:14 | It knocks it immediately down to 100,
again crushes that area, but in this
| | 11:19 | particular case, it doesn't make any
difference because it is already crushed.
| | 11:22 | Now we just to need to say okay, we
need to make these blacks blacker because
| | 11:26 | they are kind of gray right now.
| | 11:27 | So I need to take the Pedestal first
and bring everything down because that moves
| | 11:31 | everything down, and then by doing that
we brought the highlights down of course
| | 11:37 | because that's how that works when we work
pedestal. Move the Gain back up slightly, and
| | 11:43 | that's about the best we can do in
terms of dealing with this window.
| | 11:47 | So I can bring the whole Gain down,
but that brings everything else down too.
| | 11:51 | It's not really an effective way to
deal with that little problem there.
| | 11:53 | So how are we going to deal with that
problem? Well, we try the Fast Color Corrector.
| | 11:57 | This one does not drop
this guy down, which is good.
| | 11:59 | I will take the output, which is how you
deal with something that's too bright,
| | 12:05 | bring the Output down, which pretty much
takes care of that highlight, but again
| | 12:09 | it doesn't bring up any clouds,
it doesn't bring up the details.
| | 12:11 | It is not too bright, but again nothing happens.
| | 12:14 | So hmm, what can I do here?
| | 12:16 | Well, I can use secondary color
correction techniques on this one as well.
| | 12:19 | Here is the Three-Way Color Corrector.
| | 12:21 | It has secondary controls at bottom here.
| | 12:24 | I have selected this area.
| | 12:26 | I made a mask, as I did
before. Here is the mask.
| | 12:29 | It highlights just the bright area.
| | 12:33 | I've got to turn it on
to see it. There we go.
| | 12:37 | And so I'll turn the mask off, so you
can see the effect that we'll do to this.
| | 12:41 | The effect is I added blue to the highlight
and I took the Output for the highlight
| | 12:48 | and dropped it down so it wasn't so
bright, and that's just a quick look at what
| | 12:52 | you can do. Even though something is
overexposed and looks impossible to fix,
| | 12:55 | there are methods to do it, the
secondary methods which we talk about in
| | 12:58 | the separate chapter.
| | 12:59 | So basically, you can fix
most underexposed clips,
| | 13:02 | you can fix some overexposed clips,
and then you can use some secondary
| | 13:06 | techniques to take care of real problem areas.
| | Collapse this transcript |
| Making some specialized tonality edits| 00:00 | You can use color correction effects
to do a few specialized tonality edits.
| | 00:04 | I will explain how you can give a
scene a particular time of day--like make it
| | 00:07 | look like it's in the morning or the
afternoon or midday--fix some muddy
| | 00:11 | shadows, increase the definition in a
scene that has some diffuse lighting,
| | 00:16 | darken a scene that has diffuse
lighting, enhance the edges of subjects, and
| | 00:20 | brighten a narrow range of highlights,
all using the color correction effects
| | 00:24 | we've been working with.
| | 00:26 | Let me start with this first scene that
was shot with some artificial lighting
| | 00:29 | and some sunlight coming through the window.
| | 00:30 | I want to make it look like it was
shot during the middle of the day.
| | 00:33 | Now in the middle of the day the sun
is bright and the shadows are darker.
| | 00:37 | So I just grab this guy, I turn on the
Fast Color Corrector, which is a go-to
| | 00:41 | tool when I work with levels-styles properties.
| | 00:44 | And I want to darken the shadows.
| | 00:46 | So to darken the shadows I need to
increase the Input Level of the shadows.
| | 00:50 | That makes the shadows get deeper.
| | 00:52 | So let's drop them down a little
bit to make the shadows deeper.
| | 00:54 | So I am not trying to give really hard shadows.
| | 00:58 | I am going to drop the
shadows a little bit like that.
| | 00:59 | When I do that I need to kind of counter that
by increasing the brightness of the midtones.
| | 01:04 | So I will just bring them up a little bit.
| | 01:06 | That little simple move there
retains the same contrast ratio.
| | 01:10 | In other words, I dropped the shadow,
then lifted overall a little bit to
| | 01:13 | maintain the contrast ratio, but it
does make the shadows a little bit darker
| | 01:17 | and then brightens the scene.
| | 01:18 | So it looks more like it's the
middle of the day. Let me undo that.
| | 01:22 | Not a huge thing, but it's kind of subtle.
| | 01:25 | Let me try the next thing.
| | 01:26 | I want to try to make this look like
it's in early morning or a late afternoon
| | 01:30 | look, when the sun isn't so
high in the sky basically.
| | 01:33 | So let me just try to do that for you.
| | 01:34 | When I want to make the shadows
less dark then I use the Output Levels.
| | 01:41 | I am going to lift the shadows as it's called.
| | 01:45 | Instead of black, I am going to make them
dark gray, so they're not quite as deep.
| | 01:50 | And then I want to increase the highlights.
| | 01:51 | So the way you make highlights brighter
is by taking the Input for the highlights
| | 01:56 | and lift the highlights a little bit.
| | 01:59 | So again I am sort of maintaining
the contrast ratio, and we still have
| | 02:03 | bright here and dark here, but it's not quite
as dark and it's just a little bit brighter.
| | 02:06 | So we still have the
same maximized contrast ratio.
| | 02:09 | Then I want to drop the midtones.
| | 02:11 | So we will make it a little bit darker.
| | 02:13 | That alone gives it kind of a
late afternoon look. It's subtle.
| | 02:18 | It's not that big of a deal, but it
does make it more realistic, as if you just
| | 02:21 | went through the end of the day
and the sun is beginning to set.
| | 02:24 | Now we haven't talked about color work yet.
| | 02:26 | We've only talked about working with
tonality, but if I were to take this one
| | 02:30 | step further, which I would if I was
trying to make an afternoon look, I would
| | 02:33 | use the Three-Way Color Corrector.
| | 02:34 | I haven't turned it on yet, but what I
would like to do with the Three-Way Color
| | 02:36 | Corrector is increase the orange with
the warmth inside the highlights on the
| | 02:41 | hair and the warmth in the midtones.
| | 02:43 | You might not have even seen that, but
it does add a little bit of warmth to the
| | 02:49 | scene to give it a sense that, okay,
we are heading towards the afternoon.
| | 02:52 | I could even give it a little bit more
warmth in the highlights there in the hair.
| | 02:55 | So that's something we do later
when we talk about working with color.
| | 02:58 | Let's move on to the next clip.
| | 03:00 | This is a shot in the fog, and I've
shown this kind of clip before where I want
| | 03:06 | to darken the shadows, but I
want to take one step further.
| | 03:08 | There are muddy shadows down here,
but it's a good thing to increased those
| | 03:11 | guys without making the fog look
suddenly bright or more contrasty.
| | 03:16 | So what I want to do there is darken the
blacks and slightly darken the midtones.
| | 03:21 | It's kind of hard to do that with the
Fast Color Corrector, because the midtones
| | 03:25 | are like from here, about let's
say 80%, down to about total 25% or so.
| | 03:30 | That's a big range, and that includes the fog.
| | 03:33 | So the Fast Color Corrector may not do
this right, but I will show you the RGB
| | 03:36 | Curves as the alternative for this.
| | 03:38 | Let's go to the Fast
Color Corrector first though.
| | 03:40 | If I want to deepen shadows, all I need
to do is take my input for my black up,
| | 03:45 | which I've already done.
| | 03:47 | It took us from here to there.
| | 03:49 | That makes the blacks darker.
| | 03:51 | Then I want to also deepen the midtones,
| | 03:53 | so I need to drop them down a little bit.
| | 03:55 | Well, that kind of creates this
overall darkness in the midtones.
| | 04:01 | So while it goes from here to here,
it does lose some of the impact of a foggy
| | 04:07 | day, because I'm changing the
midtones in kind of a wide range.
| | 04:11 | You don't want to affect the
midtones in such a wide range.
| | 04:14 | You may want to try RGB Curves instead,
because you can limit the area that
| | 04:20 | you're going to lift or
move, in this case drop.
| | 04:23 | So first of all, let's try to darken the
shadows a little bit by going down here.
| | 04:27 | If I lift this, it's
going to make them brighter,
| | 04:28 | so I am going to go this
way to make them darker.
| | 04:30 | Bring the shadows down.
| | 04:33 | Now I want to deepen the midtones right
around here without making the fog too dark.
| | 04:39 | So I limit the area that
I am going to make darker.
| | 04:42 | So I put a couple of
little points here on the curve.
| | 04:45 | That kind of locks it in a little bit,
and then I can pull just this area of the
| | 04:49 | midtones down to make them a little deeper.
| | 04:52 | You have to be very careful with curves,
because a little movement goes a long
| | 04:54 | way. But if you watch the Waveform
monitor to the right, mostly it's the darker
| | 05:00 | area that's moving down the most dramatically.
| | 05:03 | So let me just show you
before and the after there.
| | 05:06 | So the fog is a little bit darker, but
not much, and we affected mainly these
| | 05:10 | areas of the midtones, not the
higher end of the midtones, the fog.
| | 05:14 | So if we want to limit what you're making darker,
| | 05:17 | RGB Curves is probably your best bet,
because you can just limit the area here
| | 05:21 | that you are bringing down.
| | 05:22 | Let's move on to this shot.
| | 05:25 | Here are some turkeys
walking through the forest.
| | 05:28 | It was an overcast day when I shot
this, and so the shadows are diffuse.
| | 05:33 | In fact, I challenge you to find a shadow.
| | 05:35 | But I want to increase the
definition of the turkeys.
| | 05:38 | They kind of blend into the background.
| | 05:40 | So what you do is you can try to keep
the soft look, but to increase definition
| | 05:44 | I darken only the midtones.
| | 05:45 | It's not a very difficult thing to do.
| | 05:47 | But if I just take the midtones here
and darken them a little bit, then the
| | 05:54 | turkeys begin to kind of stand out from the background.
| | 05:57 | Not that big of a deal to do that.
| | 05:59 | To make things in a diffuse
lighting situation stand out, just drop the
| | 06:02 | midtones a little bit.
| | 06:03 | I am going to come back to this
little turkey shot in just a little while.
| | 06:07 | So I am going to undo this and
I apply some other tip to it.
| | 06:12 | Let's move on to this group shot.
| | 06:14 | We've seen this shot several times.
| | 06:15 | This is the well-exposed, the well-
color balanced shot, and we've always kept
| | 06:19 | this little card here in all of our
shots and reviews of this group, because
| | 06:22 | sometimes you want to refer to it.
| | 06:24 | So when the lynda.com folks were
shooting this particular thing I asked them
| | 06:27 | please do keep the card there, because
we will just be bouncing back and forth.
| | 06:30 | Sometimes we use it, sometimes we don't.
This particular time I want to darken the scene.
| | 06:34 | This too has diffuse lighting.
| | 06:35 | If you look around there are
shadows, but they're light shadows.
| | 06:38 | They're not really distinct hard shadows.
| | 06:39 | So it's just kind of diffuse lighting,
| | 06:40 | not as diffuse as the forest,
| | 06:42 | but I want to darken this
scene with some diffuse lighting.
| | 06:45 | So I'd lighten the shadows a bit to do that.
| | 06:47 | So let's just go to this particular clip,
go in the Fast Color Corrector, turn it on.
| | 06:51 | And to lighten the shadows, remember we
are going to lift the shadows up like this.
| | 06:54 | If I am darkening the scene, why
am I lifting the shadows, right?
| | 06:58 | But I don't want to make the
shadows so dark, because it's diffuse.
| | 07:02 | It doesn't make much sense visually to
take a diffuse lighting scene and make
| | 07:06 | the shadows really deep,
because it just doesn't compute.
| | 07:08 | So you lift the shadows a little bit,
but then you compensate for the fact that
| | 07:12 | you lifted the shadows by dropping the midtones.
| | 07:15 | That'll darken the scene, make it a
little bit more dramatic without sort of
| | 07:18 | overdoing the shadows.
| | 07:19 | That's just a good way to take a
diffuse lighting scene and give it a
| | 07:22 | little more punch to it.
| | 07:24 | If you notice that this kind of enhances
the edges of the objects, but I want to
| | 07:28 | go back to the turkeys and try to
emphasize the edges, not just bring them out a
| | 07:32 | little bit, but I want to try to have
them have more of a sharper edge to it.
| | 07:35 | So when you try to typically deepen
the blacks and lighten the whites, that
| | 07:39 | increases the contrast.
| | 07:40 | So let me go back here.
| | 07:41 | When I am deepening something
I am making the blacks blacker.
| | 07:47 | So I am going to take the Input Level
to make them black, or bring them down.
| | 07:51 | Then I make the highlights whiter.
| | 07:53 | If there are any kind of differences
along the edges of a subject then they
| | 07:58 | will start showing up.
| | 08:01 | Then the turkeys will
become a little more obvious.
| | 08:04 | There is an alternative to this
| | 08:05 | if that doesn't work, and they don't
always work when you just increase the
| | 08:09 | contrast sort of a little more dramatically by
just changing the highlights and the shadows.
| | 08:13 | You can always use an effect called Sharpen.
| | 08:15 | Let's just run over to there and find it.
Sharpen is inside the Blur & Sharpen folder.
| | 08:19 | Let's go to Sharpen and add Sharpen.
| | 08:21 | What Sharpen does, it looks for color
differences and increases the contrast
| | 08:26 | where there are color differences,
or go from this black to that green.
| | 08:29 | So you can always try to fall back the
Sharpen if you can't get things to be
| | 08:33 | sharp along the edges using just
simply the Fast Color Corrector where you're
| | 08:36 | changing the contrast.
| | 08:37 | So sharpen just begins to find edges.
| | 08:40 | It adds a little bit of noise to your
picture, but you can see a little bit of
| | 08:43 | difference there as I used Sharpen just
to kind of make those turkeys stand out.
| | 08:46 | I want to do the same
thing for the group shot here.
| | 08:49 | Let me undo that Fast Color Corrector for a
second, and I am going to restart that guy.
| | 08:53 | I am going to try the same thing.
| | 08:55 | I am going to deepen the blacks and
lighten the whites to try to make the edge
| | 08:58 | of these guys stand out a bit.
| | 09:00 | So I'm just going to roll down there to try
to make them stand out by deepening the
| | 09:04 | blacks and increasing the highlights.
| | 09:07 | In this particular case, because the
room is so evenly lit, the walls are kind of flat.
| | 09:13 | I am not so sure that they
really jump off the page,
| | 09:17 | but that's the basic approach you would take.
| | 09:19 | So again the fallback is always to
try Sharpen and see how that works.
| | 09:23 | We look for color differences now
instead of contrast differences, and that
| | 09:28 | would just do a little bit of
an improvement around the edges.
| | 09:30 | You begin to see it also in
this little gray card here.
| | 09:32 | So that's the typical way to sharpen
something, either by increasing contrast
| | 09:35 | of the highlights and the shadows or trying
to fall back here in the old Sharpen effect.
| | 09:41 | Move on to this last shot.
| | 09:43 | I want to increase the highlights of
this young lady's hair without making
| | 09:48 | everything else get brighter, and there
are secondary color correction ways to do
| | 09:53 | that, but we are not to that point yet.
| | 09:55 | We will talk about secondary color
correction tools in another chapter, but I
| | 09:59 | want to it try to use one of the tools
you've already worked with, and that's RGB
| | 10:03 | Curves, to just limit the
area that I want to highlight.
| | 10:07 | Now if you think about, okay, those
highlights are probably at the very top end
| | 10:11 | of the highlights zone, so I should be
able to increase them without increasing
| | 10:16 | other bright areas in the picture, by
just limiting my work to this part of the
| | 10:21 | tonal range, the highlight range.
| | 10:22 | We are at the top end of highlight range.
| | 10:24 | We showed you before how we darkened
just the low end of the tonal range before.
| | 10:28 | We'll try to increase the
brightness of the high end here.
| | 10:30 | Let me first just start by
making the things brighter.
| | 10:33 | That makes the whole thing brighter.
| | 10:36 | But now I want to try to limit it by
bringing it back down, try to keep the rest
| | 10:42 | of the curve straight.
| | 10:43 | So let me just see how that worked,
| | 10:45 | just quickly doing this without fine-tuning it.
| | 10:49 | A little bit too much of
the room going on there.
| | 10:51 | But this is the deal:
| | 10:53 | you can limit the area that you make
brighter by just having the rest of the
| | 10:58 | curve kind of staying where it started.
| | 11:00 | Certainly by raising her
highlights I am going to raise some of the
| | 11:03 | brightness in the room.
| | 11:04 | I am trying to make it jump out a little
bit by limiting what is brightened here.
| | 11:09 | Again, we can use a secondary color
correction effect to fine-tune this, just
| | 11:12 | for now at this point in your instruction you
can try to limit areas using the RGB Curves.
| | 11:17 | That's probably the best way to do it.
| | 11:19 | So there are various ways that you can
use the effects that you've worked with
| | 11:22 | so far to do some specialized tonality edits.
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|
|
4. Adjusting ColorUnderstanding how Premiere Pro handles color data| 00:00 | Out eyes have three types of color receptors:
| | 00:02 | red, green, and blue.
| | 00:04 | TV sets and computer monitors display
color using red, green, and blue pixels,
| | 00:08 | but most video data is stored and
transmitted using only two color channels
| | 00:13 | and one luma channel.
| | 00:15 | Let me give you a sense for how that works.
| | 00:16 | This photograph is from Wikipedia Commons.
| | 00:18 | It's a publicly available photograph,
where it takes an original image like this
| | 00:22 | and then splits it into the luma
channel and two color channels.
| | 00:26 | This is called YCbCr. I'm going to give you
sense for that works in just a moment.
| | 00:30 | I have taken this still image, put on the
timeline, and used keyframes to be able
| | 00:35 | to jump from one to the next, like that.
| | 00:37 | Let's look at here in the RGB Parade,
and you can see that there's red, green,
| | 00:41 | and blue information inside
this image, as you would expect.
| | 00:43 | Each of these channels have some
brightness component to it, some luma component
| | 00:47 | to it, and that's one of the things
that this particular method, the YCbCr
| | 00:51 | method, takes care of.
| | 00:53 | Why have luma in three different channels
when you can put it in one, which saves space?
| | 00:57 | Another reason to use this particular
method is that back in the early days of
| | 01:00 | color television you needed of some
way to send a black-and-white signal to a
| | 01:04 | black-and-white TV set, so they
decided here, we put all the black and white
| | 01:07 | information here, all the luma information here.
| | 01:10 | Then the black and white TV sets don't
need worry about these two components
| | 01:12 | down here. A great fix and
also way to save data space.
| | 01:16 | Now look at this thing using the YC Waveform.
| | 01:20 | There, as you expect, it's got some
nicely highlights on the top, some dark
| | 01:23 | shadows at the bottom,
and some nice midtones here.
| | 01:26 | It's really nicely exposed clip.
| | 01:28 | If I move to only the luma portion,
this portion over here, if I jump ahead,
| | 01:33 | what's going to happen here?
| | 01:34 | If this scope is doing the right thing,
if it's working properly, this should
| | 01:38 | show luma data only.
| | 01:39 | When I go to the portion of the clip that is
just luma data, then this shouldn't change.
| | 01:44 | Let's take a look.
| | 01:44 | Lo and behold, it doesn't change.
| | 01:47 | A little bit has shifted just because of
the nature of the clip, but you can see
| | 01:49 | that it shows the same luma information.
| | 01:52 | That's a good thing.
| | 01:54 | If I go down to the next part of the
clip, the Cb component, which stands for
| | 01:58 | Blue minus luma, there shouldn't be a
bunch of luma spikes here. Let's take a look.
| | 02:02 | Lo and behold, there aren't.
| | 02:04 | There is no luma data inside
the Cb channel, the Cb component.
| | 02:08 | It's blue minus luma, and if I go to the
next one, the Cr, that's red minus luma.
| | 02:15 | If I look at this with the RGB Parade--
let's go back there to the RGB Parade--
| | 02:18 | you will see that the red minus luma
has a fair amount of red and a small amount
| | 02:23 | of green data and no blue data.
| | 02:25 | If I go to the one before that, the Cb,
blue minus luma has lots of blue data and
| | 02:31 | a little bit of green data, so the
green data kind of works in both of them.
| | 02:33 | That's how they get the RGB out of the YCbCr.
| | 02:38 | Now I want to show you this little
thing using the one scope that I have told
| | 02:42 | you is really not effective, but in this
particular case it's kind of fun to see how it works.
| | 02:46 | This is the scope, the YCbCr Parade scope.
| | 02:49 | This shows you really how
this thing is broken down.
| | 02:52 | Here is the luma information.
| | 02:54 | Here is the Cb and Cr.
| | 02:56 | Let me just ahead a bit, and we will
show the luma, and that thing shouldn't
| | 02:59 | change when I go to just the
black and white image; it didn't.
| | 03:02 | This one just showed just
the Cb, the blue minus luma.
| | 03:06 | This will show just the Cr,
the red minus luma. There you go.
| | 03:10 | The color is just kind of an
indication of each channel.
| | 03:13 | That doesn't mean that it's yellow.
| | 03:14 | It's just a way to describe it.
| | 03:15 | Now what does this all mean?
It seems like a lot of technical mumbo-jumbo.
| | 03:19 | But the practical side is that Premiere
Pro works with the YCbCr data in a way
| | 03:24 | that's important, because it keeps your video
pristine when you use some of the YUV effects.
| | 03:29 | Let me just drag this back in place here.
| | 03:31 | If you look at the Video Effects,
some of these effects have YUV badges.
| | 03:37 | That means that when this effect is
applied, it does not convert the video to
| | 03:41 | RGB, apply the effect, and
convert it back to YCbCr.
| | 03:45 | It keeps it in the original
YCbCr mode, which is very important.
| | 03:50 | It means that your clips are kept in
their original pristine state, and the big
| | 03:54 | color correctors that we work with--
Fast Color Corrector, RGB Color Corrector,
| | 03:58 | RGB Curves, and Three-Way Color
Corrector--all work in this YUV space, as does
| | 04:03 | the Track Matte Key and the Crop tools.
| | 04:06 | It's important to know that these
effects keep your clips in their
| | 04:09 | original YCbCr format.
| | 04:12 | So one of the real benefits of Premiere
Pro is how much engineering went into it.
| | 04:16 | A lot goes on under the hood to ensure
your videos look as good as possible.
| | Collapse this transcript |
| Analyzing clips for color issues| 00:00 | Sometimes adjusting tonality is all you
need to do to get your video into pretty
| | 00:04 | good shape, but most of the time you
need to take at least one additional step:
| | 00:08 | removing a colorcast, also
knows as color or white balancing.
| | 00:12 | The thing is, determining whether
there is a colorcast, and more importantly
| | 00:16 | what color it is is not something you
could do reliably simply using the good
| | 00:20 | old eyeballing technique.
| | 00:22 | Our eyes play tricks on us.
| | 00:23 | For example, if we see skin tone that
has a blue colorcast, our brains tend to
| | 00:27 | compensate for that.
| | 00:28 | So your first task when doing color
balancing is to analyze the overall color of the clip.
| | 00:33 | We typically do that using one or
both of the color-oriented scopes.
| | 00:37 | Now here is the Vectorscope, which
shows you hue and saturation, and the other
| | 00:41 | scope is the RGB Parade, which shows
you the color intensity of each channel.
| | 00:47 | The thing is, wouldn't it be nice if
we could view them both at the same time?
| | 00:51 | And the answer is, yeah, it would be.
| | 00:53 | Can we? Well, would we can sort of do it.
| | 00:55 | This little dropdown menu
has three of them together.
| | 00:57 | The Vectorscope, which is nice, and the
RGB Parade that also throws in the YC
| | 01:01 | Waveform, which are the three main
scopes anyways, but it does kind of make it a
| | 01:05 | little cluttered, and the Vectorscope
kind of loses some of its presence there,
| | 01:09 | being kind of small, but there you go.
| | 01:11 | Those are the two main guys,
the two color guys together.
| | 01:13 | So let's look at this first clip here,
and boy, if you can't tell that there is
| | 01:18 | a little bit of a bluish cast to that,
whoa, we've definitely got to rely on the
| | 01:21 | scopes because that's certainly is what it is.
| | 01:23 | We color balanced this for the whole
image, for the whole frame, and including
| | 01:27 | these orange walls and the skin tones,
and so the camera compensated for the
| | 01:31 | overall orange feel by shifting
things to the complement of orange which is
| | 01:35 | blue, so you get this whole
blue cast here. How blue is it?
| | 01:38 | Well, let's look at these
two scopes. The RGB Parade
| | 01:42 | says there is some red.
| | 01:43 | Well, there is more green, and there is
a lot more blue, so much blue that it
| | 01:45 | runs off the top here. You don't even see
how much there is, by how high it goes.
| | 01:48 | If you look at the Vectorscope,
and everything is angled at blue.
| | 01:52 | Blue is right there, and
it's kind of right there between blue and cyan.
| | 01:55 | So definitely you've got some issues here
in terms of how we deal with the colorcast.
| | 01:59 | It's the overall colorcast for this
clip since it should be probably more
| | 02:03 | towards the orange anyways, because of
the room there is a way out of whack.
| | 02:06 | Well, we can kind of narrow things down.
| | 02:08 | Sometimes it's important to take a
small view of a clip and then analyze that
| | 02:13 | small view for a colorcast, and in this
particular case we put this black-gray-
| | 02:17 | and-white card here on purpose
so we could use it as an example.
| | 02:21 | If you use cards like this, that's
solid black, and pure white, and then 50%
| | 02:25 | gray, you can use these guys to help you
later if you want to do some color correcting.
| | 02:29 | And usually you'll put it in the clip
for a second and then pull it out, or
| | 02:32 | you might have your camera panned off
to one side and then shoot that and then
| | 02:35 | pan in. But at any rate, you have it some
place in the clip where you can do a color
| | 02:39 | balance, and then you can either trim it out or
just keep it there I suppose, if it's tilted up.
| | 02:43 | At any rate, let's take a look at this guy up close.
| | 02:45 | The way I do that is with the Crop tool.
| | 02:47 | I've already added the Crop
effect to this particular clip.
| | 02:50 | I'll just turn it on, and
there is the Crop effect up there.
| | 02:53 | I can say let's turn on the Crop effect,
and we are looking at skin tone now, so
| | 02:57 | how should skin tone look?
| | 02:59 | Skin tone should look like it's
aimed up here towards that little I line,
| | 03:03 | the so-called skin tone line,
and boy oh boy it's not.
| | 03:06 | It's aimed down here.
| | 03:07 | So right away it's telling you that
something needs to be fixed if we are to get
| | 03:09 | skin tone really working here.
| | 03:10 | We can see here at the RGB Parade
that there is a way too much blue and not
| | 03:14 | enough red; skin tone would have more red.
| | 03:16 | So we would use both of these guys to
make our analysis, and then we would use
| | 03:19 | some kind of color
correction effect to adjust that.
| | 03:22 | Now typically, when you want to just pull
something in a direction, the Three-Way
| | 03:25 | Color Corrector or the Fast Color
Corrector allows you to use a color wheel to pull
| | 03:28 | something in a direction.
| | 03:29 | But if you like to work with individual
red, green, and blue channels, you can use
| | 03:32 | the RGB Color Corrector or the RGB
Curves effect, and you can pull the blue down
| | 03:37 | and lift the red up and see how that works.
| | 03:39 | Let's take a look at how the gray part of the
card should look, and you can see when
| | 03:45 | it's isolated like this you can really
tell that it's blue, And if you look at
| | 03:48 | the RGB Parade, look at that. The blue
is way up here, green here and red down
| | 03:52 | there, and these guys should be on
a straight line, not off like that.
| | 03:55 | And if you look at the Vectorscope,
you can see whoa, we are tilting towards blue,
| | 03:58 | so we clearly have a blue colorcast here.
| | 04:01 | We've used a couple of methods, our
basically overall look, looking at skin tone,
| | 04:05 | and looking at gray card, and that tells
us we've got a blue colorcast and we
| | 04:08 | need to deal with that
using some kind of effect.
| | 04:10 | Let's move down to the vineyard.
| | 04:11 | I shot this vineyard purposely to have
that kind of purple look to it, and again
| | 04:15 | looking at it here it's not quite so
obvious as the other guy because there's so
| | 04:18 | much other color information here, but
look at here. You've got red right there
| | 04:21 | and green, pretty much equal, and then
blue, where the heck is the top of
| | 04:23 | the blue? Off the charts again.
| | 04:25 | That's one of the little
issues about the RGB Parade:
| | 04:27 | it just disappears off the top.
| | 04:29 | And you can see that it's tilted down
here to the right again, so there is this
| | 04:32 | blue colorcast here overall.
| | 04:34 | Now you've got some blue sky, but the
rest of the stuff shouldn't be blue.
| | 04:37 | And so obviously, for us to fix this, we
want to try to pull it away from the blue.
| | 04:41 | I'll show you how to do that in some
other movies when we talk about actually
| | 04:43 | correcting the color as
opposed to analyzing the color.
| | 04:45 | Let's move done down to this
coast shot. Oh, that's nice.
| | 04:48 | Now this has that warm feel,
which is technically, scientifically cold.
| | 04:52 | We will call it warm, because that's the
aesthetic view we are looking for here,
| | 04:55 | and do we want to mess with that?
| | 04:56 | Let's take a look here. We can see that
| | 04:58 | right there on the orange, red there on
the skin tone line, with a little bit of
| | 05:02 | a tilt towards the yellow. Really nice!
| | 05:04 | Do we want to pull down the red?
| | 05:06 | If we were to pull down the red here
and pull down the green and maybe bring up
| | 05:09 | the blue and we did that,
| | 05:10 | we would make everything gray.
| | 05:11 | So sometimes you've got a colorcast and
you don't want to get rid of it, just to
| | 05:15 | make sure you recognize that.
| | 05:16 | If you do want to adjust it, you can sort
of tone down the orange view onto that.
| | 05:19 | I wouldn't want to remove all
that because that's why I shot it.
| | 05:22 | This next shot here,
| | 05:23 | sometimes you want to match shots.
| | 05:25 | So here we've got this lovely tree shot
from a wide view and then the tree shot
| | 05:30 | up close, and whoa, what the heck happened there?
| | 05:32 | Well, here I shot this
with a proper color balance.
| | 05:35 | I used the gray card and got the color
balance this way. And this guy, just for
| | 05:39 | the exercise here, I pointed the
camera at all the leaves and grabbed my color
| | 05:43 | balance using the average of this whole frame.
| | 05:45 | Well, since the whole frame is full of
red leaves, it shifts away from red to
| | 05:48 | blue and averages it up.
| | 05:49 | And if you look at the Vectorscope, lo
and behold the color formation is all
| | 05:53 | pretty much smack in the middle, as it should be.
| | 05:55 | This whole frame was averaged for color balance.
| | 05:58 | It's full of color, but it averages
out to neutral gray, which is what you'd
| | 06:02 | expect if you do an average color
balance on a big scene like that.
| | 06:04 | So what are you going to do?
| | 06:05 | How do you sort of make
that color equal that color?
| | 06:08 | Well, you can analyze the
colors using a couple of techniques.
| | 06:12 | One, you can just look at this guy and
say, okay, I need to make this guy--look
| | 06:15 | I can see that that's red and green
and blue and bring these things down and
| | 06:19 | take the blue out, whatever.
That's one way to eyeball it.
| | 06:21 | The other way to eyeball it is to
get a specific swatch of color here.
| | 06:25 | So I am going to turn on the Crop tool here.
| | 06:27 | I would say, okay that guy, I want to
analyze just the leaves, rather than let
| | 06:32 | the sky affect the image.
| | 06:33 | I can say, okay, that's how much red,
that's how much green, that's how much blue.
| | 06:36 | I go over to this guy.
| | 06:38 | I turn on Crop for it.
| | 06:39 | Just focused just on the leaves and
I can say, okay, there is difference
| | 06:42 | from there to there.
| | 06:43 | I can see some general differences as
to what I need to do the match this up.
| | 06:46 | I can also be a little more specific.
| | 06:48 | I can actually sample the
color using a color picker.
| | 06:51 | Now one little drawback to Premiere Pro
is that it does not have a color picker
| | 06:55 | built into the system as a separable
little tool, as you can find in Photoshop or
| | 07:00 | After Effects, so you have to sort of
work out a little workaround for that.
| | 07:03 | So I use the Leave Color effect.
| | 07:05 | If I want to pick a color out of a
scene, I put the Leave Color effect inside
| | 07:09 | the scene and I just turn it off, and it
has a color picker built in here, this
| | 07:13 | little Eyedropper tool.
| | 07:14 | So I take the Eyedropper tool, select
it, and I want to pick a color out of
| | 07:17 | the scene, the representative color of that
scene, and then compare it to the other one.
| | 07:22 | The way I do that is by hovering the
Eyedropper tool over an area I want to select.
| | 07:25 | I hold down the Ctrl key on Windows, or
Command on the Mac, and then notice that
| | 07:29 | gets fatter when I do that.
| | 07:30 | If you don't press down the Ctrl key
or the Command key, you're selecting one
| | 07:34 | pixel, and boy, one pixel is
kind of a shot in the dark.
| | 07:37 | It could be this bright one over there, or
it could be a dark one. It could be red.
| | 07:41 | It could be yellow.
| | 07:41 | So it's best to hold down the Ctrl or
the Command key to get a 5 x 5 selection, a
| | 07:46 | much bigger selection, so you can
average selection there. I will click that.
| | 07:50 | Now that I have clicked it, I
can click on this color swatch.
| | 07:53 | I'm going to see a rectangle of the color, and
it's called the color swatch, and you open
| | 07:55 | that up, and it displays the color here,
and it gives you this color information.
| | 07:59 | The red is 158, the green is 40, the blue is 25.
| | 08:02 | It also gives you the HSB, the
Hue-Saturation-Brightness and the HSL,
| | 08:06 | Hue-Saturation-Lightness, and gives you
the Y,U, and V, which is the Y, CB, and CR
| | 08:11 | values we have talked about before. Notice
that the CB is negative and the CR is positive.
| | 08:17 | That's just how those guys are
represented. Then the second Y that's the luma.
| | 08:20 | So at any rate, that's the way to get a
color, and basically you would write down
| | 08:23 | these numbers 158, 40, 25, and
then go over to your other clip,
| | 08:27 | grab a sample of that clip with the same
little Color tool again that you had over here.
| | 08:34 | Let's just open that up.
| | 08:35 | I'll click a little
Eyedropper tool and sample an area here.
| | 08:40 | I'll hold down the Ctrl key or the Command
key to get a big sample, and I can look at
| | 08:43 | that and see oh, my gosh,
| | 08:45 | those numbers are so much different.
| | 08:46 | I need to bring up the red, bring down
the blue, or something like that, and you
| | 08:49 | can use the individual RGB channels
inside the RGB Color Corrector or the RGB
| | 08:54 | Curve to adjust those, or I can use a
color Wheel to pull the color in the
| | 08:58 | direction you want it to go.
| | 08:58 | So that's the quick way to analyze
things, and there are multiple means to get to
| | 09:04 | a conclusion about what kind of
color cast there is, but once you figure that
| | 09:08 | out then you have a good
roadmap to fixing that colorcast.
| | Collapse this transcript |
| Presenting some color concepts| 00:00 | Before we can analyze clips for color
issues, I think it's a good idea to have
| | 00:03 | some fundamental knowledge about color:
color temperatures, hue, and saturation.
| | 00:08 | So here is a brief overview.
| | 00:10 | We use contradictory terms
when characterizing color.
| | 00:13 | We describe the scene aesthetically,
like this sunset is warm. Let me play
| | 00:17 | this for you, because I just
get a kick out of watching it.
| | 00:23 | Who knew that seagull would fly into the frame?
| | 00:25 | And then we describe this
scene as cool because it's blue.
| | 00:29 | But in fact when you talk about it
scientifically, the reverse is true.
| | 00:34 | A blue star which is a hot star,
averages about 15,000 degrees K. That's
| | 00:39 | called a color temperature. A red star,
which is much cooler than blue, is about
| | 00:44 | 3500 degrees K. So even though the red
feel warm right and blue feel is cool,
| | 00:48 | quite the opposite is
true on the scientific level.
| | 00:51 | A midday sky is a bright sky, and it's
pretty hot in terms of color temperature,
| | 00:56 | about 6000 degrees, K whereas
a sunset is cooler. But oh!
| | 00:59 | but aesthetically it's warmer, 3500
degrees K. A fluorescent light bulb which
| | 01:04 | has kind of a green colorcast to it
averages about 7000 degrees K, in terms of
| | 01:09 | color temperature, and a tungsten light
bulb which is quite a bit cooler but has
| | 01:12 | that warm feel, right, is much cooler.
| | 01:15 | It's 2500 degrees K.
| | 01:16 | So what does this all mean?
| | 01:17 | Well, this come down to how do you
analyze clips that have let's say
| | 01:21 | mixed lighting like this?
| | 01:22 | This scene was shot in front of the
window, so the sunlight is streaming in, you
| | 01:27 | can see it right there and highlights in
here, yet everybody is orange. What the
| | 01:31 | heck is going on here?
| | 01:32 | Well, the scene was shot, or lit,
with tungsten lights, but it was color
| | 01:36 | balanced for sunlight.
| | 01:38 | So anything that's sunlit has a nice
white or gray or neutral look to it because
| | 01:42 | it was properly color balanced for
sunlight, but the tungsten lights give it
| | 01:46 | this kind of orange glow.
| | 01:47 | It's a mixed lighting thing.
You need to understand, yeah it's got that warm
| | 01:50 | feel against the cold outdoor lighting
and how are we going to work with this
| | 01:54 | when we try to work with
it with color correction?
| | 01:56 | So let's move on now the
components of the video signal.
| | 02:01 | When you talk about chroma, you are
talking about two components: hue and saturation.
| | 02:05 | Let me show you that with this little
collection of red, green, and blue bars.
| | 02:09 | I've got the Vectorscope open here and
you can see that these red, green, and
| | 02:13 | blue bars go along these particular traces.
| | 02:15 | There is the red line there and the
green line down here and the blue line, and
| | 02:20 | those lines match up with the color wheel.
| | 02:22 | I've applied the Fast Color Corrector to that
little RGB clip, and there is the color wheel.
| | 02:27 | If you look at red and green, green and blue
right there, and there is the blue line there.
| | 02:32 | So the color wheel matches the Vectorscope.
| | 02:34 | Kind of the oddity about the color
wheel is in terms of how the degree are
| | 02:38 | measured on the outside here.
| | 02:40 | We talk about red, red normally is kind
of considered to be north, or 0 degrees,
| | 02:45 | but that's not how it's
viewed inside the color wheel.
| | 02:47 | I am going to drag this little guy out
here and start pulling these two colors
| | 02:50 | toward red, and you can see that these
colors are beginning to go toward red.
| | 02:54 | I am going to magnify that
particular movement, make them really red.
| | 02:57 | Now I look at the bottom, and it says
Balance Angle, and it says 110 degrees.
| | 03:03 | red is -110 degrees.
| | 03:05 | It's a little confusing,
but that's how this color wheel works.
| | 03:07 | And so when we go this way the
negative number is going to get larger.
| | 03:10 | So you think that okay, if I am going
one third of the way around then green
| | 03:13 | should be -110, -120. It's -230, right?
| | 03:18 | Not so, when it gets to the 270 degrees
angle that you'd expect, the numbers go
| | 03:23 | from negative to positive. Oh gosh!
| | 03:26 | Talk about being confusing.
Right there at 179, we get to 180,
| | 03:29 | it shifts over to positive
numbers as that's going backwards.
| | 03:31 | It's a little confusing.
| | 03:32 | So green now is going to be 130 more or
less. I didn't quite line that up perfectly.
| | 03:36 | So then blue now, we are going to go -120
to blue, so blue should be like 10, right.
| | 03:42 | So I'll go to blue and
lo and behold blue is 10, yes!
| | 03:46 | Now we drag everybody back to red.
| | 03:48 | Let me undo that little mess that I
just made and talk about this outer wheel.
| | 03:53 | The outer wheel can rotate hue.
As opposed to pulling hue in a direction,
| | 03:58 | it rotates it left or right, rotates it
toward green or toward red in this particular case.
| | 04:02 | So here we've got red, green and blue, red,
green and blue down here in the Vectorscope.
| | 04:07 | I am going to rotate the
red down here to 120 degrees.
| | 04:11 | What's going to happen, the red is
going to shift to green, the green is going
| | 04:14 | to shift to blue, and the
blue is going to shift to red.
| | 04:16 | You can shift color this way.
| | 04:18 | I'm going to go down here 120 degrees more or less.
| | 04:20 | And look at that, red became green,
green became blue, and blue became red.
| | 04:25 | So you can use the color wheel
multiple ways. Lots of times when you have
| | 04:28 | some skin tone that just is a little
bit let's say over to this side of that
| | 04:33 | lovely little line that we
like to call the skin tone line,
| | 04:36 | which is actually the I line,
| | 04:37 | if I want to rotate the skin tone here I
don't necessarily need to pull the color that way.
| | 04:42 | I can just take the skin tone and just
move it that way a little bit and lo and behold the
| | 04:45 | skin tone gets corrected and everything
else in the scene will get correct too.
| | 04:48 | So with these concepts in mind, the
color temperature and chroma which is
| | 04:51 | hue and saturation,
| | 04:52 | I think you will have an easier when
you analyze clips for color correction and
| | 04:56 | then do the corrections themselves.
| | Collapse this transcript |
| Adjusting color channels using RGB Color Corrector and RGB Curves effects| 00:00 | There are two basic
approaches to adjusting colorcast:
| | 00:03 | either change the values within each
individual color channel or use a color
| | 00:07 | wheel to adjust all the color
channels at once. Either method works well.
| | 00:12 | In this movie I'll show you the two
effects that work on the color-channel-by-
| | 00:15 | channel basis: RGB Color
Corrector and RGB Curves.
| | 00:19 | I'll give you a basic sense of how they work.
| | 00:21 | I'll give you more specific details on
working with the particular circumstances
| | 00:25 | in the movie entitled "Fixing color
cast, skin tone, and other color issues."
| | 00:29 | Let's start with the RGB Color Corrector.
| | 00:31 | I'll turn it on, and I've already
apply some tonality fixes to this,
| | 00:35 | because when you do color correction you do
tonality first and then do your color effects.
| | 00:39 | Let me open it up and give you
a sense of what it looks like.
| | 00:42 | At the top here there is a little dropdown menu.
| | 00:44 | It says Composite, Luma, Mask and Tonal Range.
| | 00:48 | I'll explain Mask and Tonal Range in
my secondary color correction chapters.
| | 00:52 | Basically, this allows you to define an
area in the clip that you want to use as
| | 00:56 | a mask and limit your work to that,
and Tonal Range says that you can change
| | 00:59 | what you define as a
midtone, highlight, or shadow.
| | 01:02 | Luma, if I click that, that changes this
to a grayscale image and if you look at
| | 01:07 | the Waveform monitor down here, if I
change it to grayscale, by golly, it
| | 01:10 | shouldn't change, because this is
showing only luma nothing to do with color.
| | 01:13 | Let's check and see if Premiere Pro is
working correctly, and lo and behold it
| | 01:17 | did not move an iota, which is a good thing.
| | 01:20 | Let's go back to Composite.
| | 01:22 | This little box here says Show Split view.
| | 01:24 | This gives you a kind of a before and after.
| | 01:26 | If I click that, let's say make a
dramatic change to a color or something
| | 01:30 | like that, we'll just raise red way like up
there, and you can see, oh there is the before.
| | 01:36 | There is the after.
| | 01:37 | So you can get a view as you work along,
if that's the way you like to work.
| | 01:41 | Turn that guy off. And you can change
the view from Horizontal to Vertical and
| | 01:45 | change which percentage is going to be the
before and which is going to be the after.
| | 01:48 | The Tonal Range definition here is part
of that Secondary color correction thing
| | 01:51 | I mentioned earlier that lets
you define what the tonal range is.
| | 01:55 | I will leave that closed for now
and save that for a later chapter.
| | 01:58 | And then once you pick the Tonal
Range, you could say, do you want to work
| | 02:01 | only on the highlights that you define or
only in the midtones or only in the shadows.
| | 02:04 | Again, we'll save that for later.
| | 02:05 | I've already adjusted the Gamma,
Pedestal, Gain and you've seen these guys in
| | 02:09 | the tonal correction movies.
| | 02:10 | Let's go down to RGB.
| | 02:12 | In RGB you've got a Red
Gamma, Red Pedestal, Red Gain,
| | 02:15 | same thing for green, same thing for blue.
| | 02:17 | This is where you adjust the individual
channels, and you typically want to look
| | 02:22 | at the RGB Parade as you adjust these
channels and then also tangentially look
| | 02:27 | at the Vectorscope to see what the
general, the colorcast is. Right now it's
| | 02:31 | kind of leaning toward blue down there.
| | 02:33 | So as you make your fixes you can watch
them over here, and pretty much you can
| | 02:36 | see that right now, boy,
| | 02:38 | I've got way too much
blue here and not enough red.
| | 02:41 | So typically your workflow would be
I'll take my Blue Pedestal, I'll bring the
| | 02:45 | blue down a bit, so that the Shadows
are a little bit farther down the line, and
| | 02:50 | you can see that's showing
up here in the RGB Parade.
| | 02:53 | And I also bring down my Blue Gain,
which is the top part, the Highlights part.
| | 02:57 | It actually brings down everything, but
it brings down the highlights as well.
| | 03:00 | Then I probably want to bring up
my red, the Red Pedestal is fine.
| | 03:05 | Right now, it's really touching the
bottom so it should be okay, but I need to
| | 03:07 | bring up the red highlights,
so I'll bring up the Red Gain.
| | 03:10 | Eventually that will get up to the
point where it might begin to start
| | 03:13 | balancing this clip.
| | 03:14 | It kind of jumps around, as you can
see, one of the issues about dealing with
| | 03:16 | these guys, but there you go.
| | 03:17 | We pretty much get that settled down.
| | 03:20 | That's the basic way that you would
work with the RGB Color Corrector.
| | 03:24 | Now there are some other ways to work with it.
| | 03:26 | You might want to work with the Crop
tool and just work on a specific area and
| | 03:30 | try to make that become gray, which we
have done a pretty job. But these three
| | 03:33 | things should line up here if it's gray,
and they are pretty close to lining up.
| | 03:37 | You can see we need to raise the red a
little bit, drop the blue a bit, but we are
| | 03:39 | approaching that and that is something
you would try to do with the RGB Color
| | 03:43 | Corrector or RGB Curves.
| | 03:44 | I explained this in more detail on
that movie I mentioned before, "Fixing color
| | 03:47 | cast, skin tone, and other color issues."
| | 03:49 | Let's move on to the RGB Curves, turn
off the Crop, and RGB Curves, And again,
| | 03:55 | I have done the tonality work here already.
You've seen this before in RGB Curve.
| | 03:59 | You have seen and it's got the Master
control, which is luma control, and you've
| | 04:03 | got individual channels red, green, and blue.
| | 04:05 | Let's take a look up in the top first though.
| | 04:07 | Here is that dropdown menu again, and
here is that Split view again, except the
| | 04:09 | dropdown is a little different this time.
| | 04:11 | It has only three things:
| | 04:13 | Composite, Luma, and Mask.
| | 04:14 | It doesn't have a Tonal Range Definition option.
| | 04:16 | Unlike the RGB Color Corrector, this is
like one thing less than RGB Color Corrector.
| | 04:20 | Just keep that in mind when you do
the secondary color correction work.
| | 04:23 | The mask is the same as the other one as well.
| | 04:25 | That allows you to define
an area that you can work in.
| | 04:27 | So we'll stick with Composite.
| | 04:28 | We won't worry about the Split view.
| | 04:30 | It's the same concept.
| | 04:31 | We'll go down here to
these three curve controls,
| | 04:35 | red, green and blue, and it's very much
like working in the RGB Color Corrector,
| | 04:38 | except here you're working with these curves.
| | 04:40 | I want to bring the blue down, so
I'll bring the Pedestal down first.
| | 04:46 | In this particular
case it's not called Pedestal.
| | 04:48 | It's called the shadows or the blacks.
| | 04:49 | So bring them down, and it
goes side ways to the right here.
| | 04:52 | That brings them down.
| | 04:53 | I want to bring down the highlights
as well. I'll bring them down this way.
| | 04:58 | Just like tonality, if you have the
option of going left or down--left would be
| | 05:02 | then up from the opposite of down--
| | 05:04 | if you have the option of going
up or right then right is down.
| | 05:07 | So I could bring these guys a bit.
I'm bringing down the blue, and the thing about
| | 05:12 | working with curves is that
there is no numerical readout.
| | 05:15 | You can type in a number or something like that.
| | 05:17 | It's all just basically dragging until
you think it's lining up okay, but you
| | 05:20 | can't let's say, keyframe a number
and maybe try a different number later.
| | 05:23 | It's all this kind of dragging process,
which sometimes it could be a little bit
| | 05:26 | of problem, because it's hard
to really nail it perfectly.
| | 05:28 | Let's go over to the red.
| | 05:30 | Now I need to lift the highlights, so
this would be down, so left must be up, so
| | 05:35 | I'll go this way, and
lift the highlights on the red.
| | 05:38 | I'll try to compensate for the fact
that they were not high enough before, and
| | 05:42 | lo and behold, we're beginning to
get this guy kind of settled in.
| | 05:46 | Again, that's the process. You watch the
RGB Parade, and as you're working with
| | 05:50 | it, you can sort of see
the effect that you've done.
| | 05:52 | I also notice that the green
is probably a little bit high,
| | 05:54 | so I'll bring the green down just a touch.
| | 05:56 | That's basic approach to using this tool.
| | 05:59 | If you look in the bottom, there is only
one more disclosure triangular for the
| | 06:02 | secondary color correction, so that is all
you have to work with inside the RGB Curves.
| | 06:06 | So these effects work on a color-
channel-by-channel basis, and you work with
| | 06:11 | them one color channel at a time to try
to fix any color problems in your clips.
| | Collapse this transcript |
| Getting a grip on the color wheel| 00:00 | The color correction powerhouses in
Premiere Pro are the Fast Color Corrector
| | 00:04 | and the Three-Way Color Corrector.
| | 00:05 | Both use color wheels.
| | 00:07 | Color wheels emulate color correction hardware.
| | 00:09 | Basically they're
software versions of trackballs.
| | 00:12 | I'm going to show you both of these
effects and give you a general idea about
| | 00:15 | how they work. In terms of specifics
when working with certain circumstances,
| | 00:19 | I'll explain that in the
movie "Fixing colorcast,
| | 00:22 | skin tone and other color issues."
| | 00:23 | Let's start with the Fast Color Corrector.
| | 00:25 | It's the easier to use of
the two. I'll turn it on.
| | 00:28 | I've already applied some tonality
effects or tonality fixes to this particular
| | 00:32 | clip, which has a blue cast to it,
which we're going to fix in a second.
| | 00:36 | Let me switch the Waveform view away
to the Vectorscope and the RGB Parade,
| | 00:41 | which keeps the waveform in the corner here.
| | 00:43 | And you can see, looking at this, it's
got a little bit of a blue cast hanging it
| | 00:46 | down towards the blue and the cyan area.
| | 00:48 | And you can see here in the RGB Parade
| | 00:50 | there's a lot more blue
than there is red and green.
| | 00:52 | Nevertheless, we're going to use
the color wheel to start fixing that.
| | 00:55 | So let's look at the various components of it.
| | 00:57 | There's an Output dropdown menu, and
there are three things in the menu.
| | 01:01 | If I click on luma, it's going to turn
this into a grayscale. There you go.
| | 01:05 | And it does not change the
Waveform scope, which is a good thing.
| | 01:07 | The third thing says Mask, but in fact
there is no true secondary color control
| | 01:12 | down here to make a mask.
| | 01:13 | It turns it white as a mask control
normally would do, but there's no secondary
| | 01:17 | color control effect down there.
| | 01:19 | So that really is a bug, and Adobe is
aware of it, so I'll presume that they'll
| | 01:22 | fix that down the road.
| | 01:23 | The Show Split Screen view, you've
seen this before in other effects.
| | 01:26 | If I click on that, it lets you see
sort of the before and the after, and you
| | 01:30 | can do it horizontally or vertically.
| | 01:31 | Let me just show you some extreme change here,
so you can see that in work. There you go.
| | 01:35 | That's the after and
that's the before down there.
| | 01:37 | Let me undo that by doing, Ctrl+Z or Command+Z.
| | 01:40 | And now, there's a White Balance
tool here, which is kind of cool.
| | 01:44 | It really takes care of a lot of work for you.
| | 01:46 | If you've got something in the screen
that you know is a neutral area--it's
| | 01:50 | either black, gray, or white--
| | 01:51 | it needs to be neutral.
| | 01:52 | It doesn't have to be white, so the
White Balance is kind of a misnomer.
| | 01:55 | But if you have something inside your
clip that you know is neutral, be it gray,
| | 01:59 | white, or black, then you can
hover this little eyedropper over it.
| | 02:03 | And notice as I hover over it, over there
in the color wheel, this guy spins around.
| | 02:06 | If I go over here with this particular color,
it's going to pull the color balance
| | 02:10 | away from that color.
| | 02:11 | Whichever color you pick, it wants to
pull to the complement of that color,
| | 02:15 | which is always kind of fun working in
the color wheel, because the eyedropper
| | 02:17 | tool works on anything you hover it over.
| | 02:19 | I'm going to go hover it over the clip here.
| | 02:21 | Something gray in the clip.
Well, we've got this gray here.
| | 02:23 | We've got that gray there. We've got whites.
| | 02:24 | Notice that the color wheel, the little
reticule here, whatever you want to call
| | 02:28 | this little guy that
moves away, the little circle,
| | 02:30 | notice how it changes over the
white versus the gray versus the black.
| | 02:34 | So there are differences here in how
these guys respond to the light in the room
| | 02:37 | and to the color balance of the camera,
but we're going to choose gray to be our
| | 02:40 | source for our white balance.
| | 02:42 | I'm going to hold down the Ctrl key on
Windows, or the Command key on the Mac, to
| | 02:46 | kind of fatten up the little
Eyedropper tool to say take a 5 x 5 sample area
| | 02:49 | to make it a better
representative sample, and then I'm going to click.
| | 02:52 | That will make that shift towards the
component of blue, and look what happens to our clip.
| | 02:58 | It's like it solved all of
our problems with one easy fix.
| | 03:02 | We usually want to fine-tune fixes that
are done for us on behalf of us, so I'm
| | 03:06 | going to undo that, and I'll do
it manually a little bit later.
| | 03:09 | Going down here, we've got these four numbers:
| | 03:11 | Angle, Magnitude, Gain, and Angle.
| | 03:14 | The Hue angle is how much the wheel
on the outside has been moved relative
| | 03:18 | to its starting point.
| | 03:19 | So if I rotate the wheel here,
you'll notice that the color will begin to
| | 03:22 | shift here on the image.
| | 03:24 | And it also shifts down here in the RGB view.
| | 03:27 | You notice how the red is going up.
| | 03:30 | I'm changing the angle of the outside
wheel relative to its starting point, so 0
| | 03:34 | is the starting point. Plus, minus.
| | 03:37 | That can shift the color overall.
| | 03:39 | A kind of an interesting little
sideline to that, if I go to the second clip,
| | 03:42 | which is actually shot correctly and
color-balanced correctly, and I rotate
| | 03:47 | the wheel on this one,
| | 03:47 | it's really kind of cool to see.
| | 03:49 | These are neutral colors.
| | 03:50 | There's no color in them;
that's white, gray, and black.
| | 03:53 | They're properly balanced.
| | 03:54 | And so as I rotate the Hue here,
rotate the Angle, those guys won't change.
| | 03:59 | Everything else will, but
things that are neutral won't change.
| | 04:02 | They have no saturation in them,
so there's nothing to change.
| | 04:04 | There's no hue in them. They're just
basically unsaturated, so they won't
| | 04:08 | change. Everything else does, but not the
gray, not the initial areas. So I'll go back
| | 04:12 | for that little sideline there,
go back to review this guy. Let's move on
| | 04:15 | down the line here.
| | 04:17 | The Balance Magnitude, Gain, and Angle--
it's kind of confusing, isn't
| | 04:20 | it--Hue Angle, Balance Angle, but the
Balance Angle is this little inner part,
| | 04:24 | this little circle here.
| | 04:25 | As you pull it out, notice how the
Balance Magnitude changes. It increases as I
| | 04:30 | pull it away from the center.
| | 04:31 | And then the Angle is where I'm
pointing it, so I point it right up there.
| | 04:35 | I'm pointing it to 110 degrees.
| | 04:37 | That's red. And down here
that's green, and that's blue.
| | 04:41 | I'm pointing it for those particular
lines, and that's the angle down here.
| | 04:46 | And the Magnitude is how far away I pull it.
| | 04:47 | So then what is Gain?
| | 04:49 | Gain is the coarse control,
| | 04:52 | c-o-a-r-s-e, coarse control.
| | 04:53 | Right now, it's set at a default of 20.00.
| | 04:55 | That's always where it starts.
| | 04:57 | If it was set to 0.00, then as you move this
thing around, nothing is going to happen much.
| | 05:03 | It's just the Angle, but there's no
color change, because this guy controls how
| | 05:06 | much you're moving it.
| | 05:08 | If I make it a big number, then any
change here would be much more dramatic than
| | 05:11 | if we were back to the default level of 20.00.
| | 05:14 | But if you want to make a big change,
then you can change the Balance Gain while
| | 05:17 | you adjust the Magnitude.
| | 05:19 | So we know that when we look at our
little clip here that it's kind of leaning
| | 05:22 | down towards the blue, so we
probably want to pull it away from blue.
| | 05:25 | And if you were working with individual
color channels, you'd have to work with
| | 05:29 | a couple of things.
| | 05:30 | You might want to bring the blues down,
which then brings the red up, or you
| | 05:34 | might want to bring up the little bit
of green, a little bit of red at the same,
| | 05:36 | to pull it up this way.
| | 05:37 | Here you're doing it all at once.
| | 05:39 | And watch the RGB Parade down here.
| | 05:41 | As I move this thing away, watch
the red and the blue work together.
| | 05:45 | The red goes up, the blue goes down.
And the green adjusts a little bit because we
| | 05:48 | are leaning towards green a bit here.
| | 05:50 | So you're doing three channels at
once when you work with the color wheel.
| | 05:55 | One other control here is Saturation, and I
can open it up and you can see the slider for it.
| | 05:59 | It goes from 0.00 to 200.00,
and 100.00 is the starting point--
| | 06:02 | it's neutral basically.
| | 06:03 | That's the actual
current saturation of the clip.
| | 06:06 | You can increase the saturation this
way by making the colors more vivid,
| | 06:09 | this way taking colors out,
beginning to desaturate the clip.
| | 06:12 | And I'm showing you the
Saturation tool here for a reason:
| | 06:15 | it's easy to use the Saturation
tool in the Fast Color Corrector;
| | 06:19 | it's a complex process to use a
Saturation tool in the Three-Way Color Corrector.
| | 06:23 | So this is kind of your source for
working in saturation when you're
| | 06:27 | desaturating or saturating the entire
clip, as opposed to just the midtones or
| | 06:31 | just the highlights or something like that.
| | 06:32 | So this is your go-to guy when
you want to do saturation overall.
| | 06:35 | Down here, we've already talked about
Levels before. Just a reminder though,
| | 06:38 | even though we've got the black
swatch, gray swatch, and white swatch,
| | 06:40 | this is not color balance.
| | 06:42 | This is setting the Level.
| | 06:43 | What if I click here? I'm saying
that's the whitest thing in the screen.
| | 06:47 | So we're not talking about color balance there.
| | 06:49 | So that's basically how the
Fast Color Corrector works.
| | 06:51 | Let me turn that off, go to
the Three-Way Color Corrector.
| | 06:53 | Now, this is a bigger guy.
| | 06:55 | This is the granddaddy.
| | 06:56 | This has got everything in it.
| | 06:57 | We'll open this thing up.
| | 06:58 | It's got Luma, as we've seen before.
| | 07:00 | It really has a mask.
| | 07:01 | It really does have the
secondary color control down here.
| | 07:04 | And it also has something called Tonal
Range, which allows you to define the
| | 07:08 | tonal range, and there's the
Define Tonal Range area there.
| | 07:11 | This is a secondary color correction
control, which we talk about in that
| | 07:15 | chapter on secondary colors, so
we'll just leave that for now.
| | 07:17 | It also has a Split Screen view.
| | 07:19 | Leave that for now. But look at this.
| | 07:20 | It's got three color balance tools:
| | 07:23 | Black, Gray, and White.
| | 07:25 | Now what's going on here?
| | 07:26 | Let me shift over from the Master view,
which looks like a single wheel, like
| | 07:30 | the Fast Color Corrector but in fact
doesn't quite work like the Fast Color Corrector.
| | 07:34 | Click on either Shadows, Midtones, or
Highlights; it doesn't make a difference
| | 07:36 | which one I click on,
| | 07:36 | it will show the three wheels.
| | 07:38 | If I click on the black eyedropper
if I hover over something, only this
| | 07:44 | shadow wheel will work.
| | 07:48 | I'm saying that whenever I click on here,
have all the shadows shift to that color.
| | 07:53 | I can click on anything.
| | 07:55 | It doesn't have to be white or black or gray.
| | 07:56 | I'm just saying shift the shadows in
that direction, no matter what I pick.
| | 08:00 | I don't have to pick something black to
have this happen, although I usually do that.
| | 08:04 | I want to compensate for
problems in the shadows.
| | 08:06 | But you don't have to click on a shadow to
shift the color away from blue in the shadows.
| | 08:11 | If I click on the gray Eyedropper tool,
I'm saying, anything I click on, shift
| | 08:16 | the midtones in that direction.
| | 08:18 | Click on something gray.
| | 08:19 | I click on something black, or even this light
midtone thing, I'm saying, shift it that way.
| | 08:24 | I don't want to really screw things up
too badly, so I'll go to the gray there
| | 08:28 | and click on that, and that will
shift the midtones in that direction,
| | 08:31 | just the midtones, not the
highlights, not the shadows.
| | 08:33 | And finally here, I'll click on this
one and say, look, shift the whites away
| | 08:37 | from the colorcast of this clip.
| | 08:38 | And those three guys together did a
pretty good job of taking care of the color-
| | 08:43 | cast here, and that really is a
pretty simplified way of doing things.
| | 08:45 | But there is no Master control as
there is in the Fast Color Corrector.
| | 08:49 | And in fact, when you go to the
Master view, you still have those same
| | 08:53 | three things there.
| | 08:54 | And the Fast Color Corrector is pretty
good at doing one overall fix, whereas
| | 08:59 | these three guys don't really do it overall.
| | 09:00 | So there's some kind of pluses and
minuses to working with both of them.
| | 09:03 | Let me go back to this view.
| | 09:05 | So here you work with
each color wheel separately.
| | 09:07 | You can adjust the color, the hue,
inside the shadows, midtones, or
| | 09:11 | highlights separately.
| | 09:12 | And typically you do that when you're
trying to create what's called a look,
| | 09:15 | like a Hollywood look, like the actors'
faces are warmer but the background is
| | 09:18 | colder, so you'd make the actors a
little bit oranger and then the background
| | 09:22 | a little bit bluer.
| | 09:23 | So that's something you do
typically when you're doing secondary color
| | 09:26 | correction and giving a look.
| | 09:27 | And the same things apply here.
| | 09:29 | The Magnitude, Balance, and those
kinds of things, the same terms apply.
| | 09:32 | You access them by using this dropdown menu.
| | 09:34 | If you want to work here with those
numbers, you click one of these guys to work
| | 09:39 | with the midtones, and that
changes those things here.
| | 09:40 | But you can use these guys and not
worry about the numbers. Whether midtone is
| | 09:44 | selected or highlights are
selected or shadow is selected,
| | 09:47 | these guys will still work, and you
won't see the numbers change because Midtone
| | 09:51 | is selected, but you can still
work in these color wheels directly.
| | 09:54 | Again, there are those three
eyedroppers which do not apply to color correction
| | 09:57 | but apply to the levels.
| | 09:58 | So that's basically how these two
fairly powerful color correction tools work
| | 10:03 | here in Premiere Pro.
| | Collapse this transcript |
| Fixing color cast, skin tone, and other color issues| 00:00 | Now for some practical color correction
situations that you will encounter on a regular basis.
| | 00:05 | We will start by removing a colorcast.
| | 00:07 | Now you've seen this clip before--at
least you think you have--but this is a
| | 00:10 | slightly different one that
I threw in here on purpose.
| | 00:13 | This was shot with what's called
a preset, a color balance preset.
| | 00:16 | This is a 3,200 degree Kelvin preset.
| | 00:19 | That's a standard preset on many
camcorders because lots of studio lights are
| | 00:23 | 3,200 degree Kelvin, and so that's an
easy match when you just hit the preset--
| | 00:27 | except this was not a
3,200-degree-Kelvin situation.
| | 00:31 | This was some natural room lighting
that was kind of close to 3,200 degrees
| | 00:35 | Kelvin but not exactly, so we tossed in the
preset and in fact the color is a little bit off.
| | 00:40 | Well, we can use this little gray card to
be our reference in this particular case.
| | 00:45 | You won't always have a gray card,
but we will use it this time
| | 00:48 | as our source to see how we
are doing in terms of the colorcast.
| | 00:51 | So I have a Crop effect here.
| | 00:52 | I am going to turn it on.
| | 00:53 | And that highlights the gray area,
right there, and so let's use one of
| | 00:57 | these two effects here.
| | 00:59 | We will start with the Fast Color
Corrector because this is really like the easy
| | 01:01 | way to fix the colorcast.
| | 01:02 | I am going to click that guy that on.
| | 01:03 | I have already adjusted for the tonality,
so now we're just worried about color.
| | 01:08 | When I work with the color wheel like
this and I work with a crop like that
| | 01:11 | where I am highlighting a particular
area, the best monitor to use, the best
| | 01:15 | scope to use is the
Vectorscope because it shows hue.
| | 01:19 | Right now, the Hue is kind of
leaning just a little bit away from red.
| | 01:23 | You can see it's almost neutral.
| | 01:25 | It's almost gray, but that's because the
lighting was just a little bit off from the preset.
| | 01:29 | So I will take this guy and move it
just a little bit towards orange, and
| | 01:33 | notice how I now have centered that little guy
there in the Vectorscope, that little adjustment.
| | 01:40 | Now I am going to turn off the
crop and see how that turned out.
| | 01:45 | And now I think we have the right colorcast.
| | 01:47 | It was a fairly simple fix
to get that guy repaired.
| | 01:50 | Let's try that one more
time with the RGB Curves.
| | 01:53 | I will turn off the Fast Color Corrector.
| | 01:56 | I will go down to RGB Curves and turn
that on--again I have adjusted tonality
| | 02:00 | first--hit the Crop tool to highlight
that particular area. And now with RGB
| | 02:05 | Curves it serves a different
approach then using the color wheel.
| | 02:08 | A color wheel is simple just
pulling in a particular direction.
| | 02:11 | Here we are going to use the
graphs to pull in the direction.
| | 02:13 | I need to pull toward red a little
bit and maybe a little bit towards green.
| | 02:17 | We want to go up toward this general
direction to pull away from cyan, maybe just red.
| | 02:22 | So we will just that first.
| | 02:23 | We'll just pull toward red a little
bit in the midtones, and that actually
| | 02:26 | maybe all we need to do.
| | 02:28 | See like set it up there nicely?
| | 02:29 | Let's go back and turn off the
Crop tool and see how that looks.
| | 02:33 | Again, I think we've done a pretty
good job of just fixing that little
| | 02:36 | itty-bitty colorcast
inside this particular clip.
| | 02:39 | Let's move on to the next clip.
| | 02:41 | There is a pretty obvious green colorcast.
| | 02:45 | I have already adjusted the tonality here.
| | 02:47 | We're going to use a
different approach this time.
| | 02:48 | There is no nice little gray card
for our purposes this time, so is there
| | 02:53 | anything in the clip where we know what
the color is? Well, we know that the trees
| | 02:55 | are green, but the whole darn thing
is green, so how much green do we want?
| | 03:00 | So I know that this golden retriever is
first probably yellowish, so I am going
| | 03:04 | to crop there and I am
going to just eyeball it.
| | 03:08 | Looking on here I can see that it
looks like it's leaning down towards green,
| | 03:12 | which we sort of expect.
I need it to pull it toward yellow.
| | 03:16 | I am going to use the scope
and use this little crop as well.
| | 03:19 | So I will start with the Fast Color
Corrector, turn that on, which again
| | 03:23 | has already been adjusted for tonality.
| | 03:25 | Now I want to pull kind of away from
the green--and here is the green down here--
| | 03:29 | I am going to pull more this
direction to kind of make it yellow.
| | 03:32 | Notice how you can watch the
Vectorscope kind of go in that direction.
| | 03:35 | One of the great things about working
in a color wheel, as opposed to working
| | 03:38 | with let's say RGB Color Corrector, is
that we are not adjusting the brightness.
| | 03:42 | We are just adjusting the
hue with the color wheel.
| | 03:45 | We are not making the image brighter or darker.
| | 03:47 | That's one of the really good
advantages of working with the color wheel.
| | 03:49 | Let me just kind of go up here a
little bit. So I am kind of guessing the
| | 03:51 | golden retriever color is right around there.
| | 03:54 | Let's turn off the old Crop tool and
see how we did. Oh wow, much better.
| | 03:59 | That little step alone kind of got us
going in the right direction, and I may
| | 04:02 | want to tweak this a bit more just
kind of looking at it, but there is no
| | 04:05 | other reference area.
| | 04:06 | Those rocks are probably not gray;
they're probably dark brown or something.
| | 04:09 | So that's a pretty good guess I did there.
| | 04:11 | Turn off the Fast Color Corrector and
go to the RGB Color Corrector, and I will
| | 04:15 | show you this is a little bit different
when we work with this guy. I'll adjust its
| | 04:18 | tonality again, turn on the Crop tool
again, and we need to try to see if we can
| | 04:21 | use the RGB Color Corrector
to shift things toward yellow.
| | 04:24 | Now it's a little bit more difficult.
| | 04:26 | I think I am going to pull the
midtones, which is the gamma--
| | 04:29 | it's probably my best bet here.
| | 04:31 | I am going to pull toward red a
little bit, making a little bit more on the
| | 04:33 | red side of things.
| | 04:35 | You can see it started beginning to
move toward the yellow, and we'll take a
| | 04:37 | little bit of the green gamma
out, when we are removing green,
| | 04:41 | I am actually adding red and blue;
| | 04:43 | when you remove something you
basically add the complement.
| | 04:47 | So here is green and so the compliment
is at the side here, which is magenta, so
| | 04:50 | red and blue are the two
primary colors that are being added there.
| | 04:53 | It's kind of leaning little bit too
much toward red now I think, so we probably
| | 04:56 | don't want to knock that down too much.
| | 04:59 | I can see this is too red over here, so
the red gamma is probably way too high.
| | 05:03 | That's probably more like it there.
| | 05:05 | So we will just go with gamma for now,
maybe a little bit of brightness, a
| | 05:08 | little bit of Red Gain. Again, we'll pull it
a little bit towards yellow. There we go.
| | 05:12 | Let's take a look at that.
| | 05:14 | I have a feeling that's not going
to be as slick as using the Fast color
| | 05:18 | Corrector, but we headed in the right direction.
| | 05:19 | Now it looks we need to maybe saturate
little bit or maybe add a little bit more
| | 05:22 | red, but at least we're headed in the right direction.
| | 05:24 | That's the basic way to go when you
want to try to make a color fix with the
| | 05:29 | RGB Color Corrector.
| | 05:30 | It's kind of curious, so I
want to see what this color is.
| | 05:32 | I always have the Leave Color tool
laying around sometimes, so I can check
| | 05:37 | what the real color is.
| | 05:38 | So I click on this, I can sort of see,
analyze my color and say okay, that looks like
| | 05:44 | the color that I would expect to
see in the fur of a golden retriever.
| | 05:49 | Let's move on to the next clip.
| | 05:50 | Now this one you have seen before.
| | 05:52 | Oh my gosh, it's that blue one again, oh no!
| | 05:54 | Except this time I want to work with
skin tone, as opposed to using this lovely
| | 05:58 | easy-to-use reference card.
| | 05:59 | So skin tone, you almost always work
with the Vectorscope when you are trying to
| | 06:04 | nail skin tone, because this lovely
little I line here basically mimics the skin
| | 06:09 | tone that you would expect to see.
| | 06:10 | But skin tone should fall somewhere
close to that line, or on that line.
| | 06:14 | So let me just click on the Crop tool
where I've identified that one person.
| | 06:17 | I want to shift to the person in
the scene that has like a midtone.
| | 06:21 | That's darker, lighter, and this is midtone.
| | 06:23 | We all have basically the same hue to our skin.
| | 06:27 | But either darker or lighter, we have
more or less saturation, but all these
| | 06:30 | nationalities have basically the same
hue, and it's largely because of our red
| | 06:33 | blood cells, which are all of the same color,
| | 06:35 | just coursing around in the capillaries
right below our skin surface, so I guess
| | 06:39 | in the end we are all of the same color.
| | 06:41 | You would notice that if you were to
line up a bunch of people and check their
| | 06:43 | skin tone with tools like this, you see
they are all going to hover right around
| | 06:47 | there, little deviations, but
pretty much all about the same.
| | 06:51 | So I am going to try the
Fast Color Corrector first.
| | 06:54 | I think that's at the bottom of the list here.
| | 06:56 | That one first because it's pretty
easy with the Fast Color Corrector to pull
| | 06:59 | away on that blue cast on his face
and aim toward the skin tone line.
| | 07:05 | So let's just kind of move that away, and
there, we're heading in the right direction.
| | 07:09 | I think I want to increase this coarse control here.
| | 07:12 | And that is a pretty simple way to
aim towards that particular line.
| | 07:16 | But if I turn off Crop, let's see
how we did there. Pretty good!
| | 07:21 | It looks a little light, but that's
kind of the right concept, and I
| | 07:24 | think you get the concept.
| | 07:25 | What I'd like to do now is, just the
heck of it, see, what is skin tone?
| | 07:28 | What do we think skin tone is?
| | 07:29 | If click on the Eyedropper tool,
hover over his face, hold down the Ctrl or
| | 07:33 | the Command key, I get a larger sample, and
there is skin tone, more or less, 153, 108, 113.
| | 07:39 | This is kind of red, green, and blue;
| | 07:41 | more red, less green, a little bit of blue.
| | 07:43 | We'll try somebody else
here with a different effect.
| | 07:46 | Let me go onto the next one. So I'll
turn off the Fast Color Corrector.
| | 07:49 | We'll try RGB Curves.
| | 07:51 | Again, curves are kind of intuitive
because you pull something in a direction
| | 07:55 | to add the color and you pull something in
the opposite direction to take the color out.
| | 07:59 | So let's just try the reverse
thinking here to begin with.
| | 08:01 | We want to remove blue, so I'll just start
with a gamma of blue and remove some blue.
| | 08:06 | You notice how the trace is
beginning to move in the opposite direction away
| | 08:09 | from blue toward the complement of blue.
| | 08:11 | Let's add some red. There we go.
| | 08:14 | Now we're heading towards
the skin tone line there.
| | 08:17 | The thing is, when you work with these
guys, you're dealing with brightness as
| | 08:20 | opposed to just hue, so there are some
issues about adding brightness and taking
| | 08:23 | the brightness away.
| | 08:25 | The complement of blue is red, and so
you aim towards red and add a little bit
| | 08:28 | of red at the same time, and I
think we pretty much lined it up.
| | 08:31 | Let's just see what the old Crop tool tells us.
| | 08:34 | Again, pretty good.
| | 08:35 | I'm going to try to just check the skin
tone and remember, this one was 153, 108, 113.
| | 08:42 | That's going down the line here.
Turn off RGB Curves. And I'll try RGB
| | 08:47 | Color Corrector, which for me is a
little less intuitive because I'm not
| | 08:50 | pulling things away.
| | 08:52 | Again, I've adjusted the tonality here.
| | 08:53 | Let's move on down to the RGB part of it.
| | 08:55 | And here we want to again take some of
the blue out and add some red, so let me
| | 09:01 | turn on the Crop tool.
| | 09:02 | I'll work on the third person here
who has the lightest skin in the group.
| | 09:07 | And again, the skin tone would be
similar, so now we're leaning towards blue
| | 09:11 | again, and again, I'll work with these guys.
| | 09:14 | So I can either add red or take away
blue or do both, so I'm going to start by
| | 09:17 | taking away some blue.
| | 09:19 | Add a little bit of Red Gamma now, maybe
a little bit too much Red Gain. Maybe I
| | 09:27 | need to go a little but away from blue somehow.
| | 09:29 | So again, this is a little less
intuitive when you're using these little sliders
| | 09:33 | here as opposed to the
graphs or the color wheel.
| | 09:35 | And we might end up in the end of this
thing having to add a little bit more
| | 09:38 | red, a little bit of green,
but that's the basic process.
| | 09:41 | I think this one won't be as
effective as other two guys
| | 09:44 | we've done, but you can you see we're
heading in the direction anyways. It's pretty close.
| | 09:48 | So that's how you work with skin tone.
| | 09:50 | I'd like to use the Crop tool, zoom in on
it, and then use the Vectorscope to line
| | 09:54 | things up along that so-called skin tone line.
| | 09:57 | Let's look at this one.
| | 09:57 | It's sort of a specialized effect.
| | 10:00 | We've got this bright highlight here.
| | 10:03 | There's no detail in there.
| | 10:04 | I can show you that under the Waveform scope.
| | 10:05 | You can see it goes to 110,
and it's all crushed up there.
| | 10:09 | Those highlights have no detail because
they're all crushed up against the 110 line.
| | 10:12 | So how do we fix that? Well, you can't;
| | 10:14 | you can't get detail in this.
| | 10:15 | What you can try to do is try to
isolate the highlights and add some color to
| | 10:20 | them and knock them down a little bit.
So I'll use the RGB Color Corrector here.
| | 10:24 | We want to take the Gain down probably
a little bit more, so that I have some
| | 10:28 | room to work with here at the top.
| | 10:30 | So I'm going to knock it down a little
bit more, so that the bright areas are
| | 10:34 | not so warmly bright.
| | 10:35 | And now I'm going to knock the Gain up a
little bit, so this, the high end, goes
| | 10:41 | up a little bit in the blue area and
knock it up a little bit in the red to kind
| | 10:48 | of give the sky a little color.
| | 10:51 | Of course when I do red and blue
| | 10:52 | I venture into this so-called magenta
zone, so we have to be careful. We don't
| | 10:56 | have too much magenta in our picture.
| | 10:58 | But that's basically we want to add
a little bit of color, so I can add a
| | 11:00 | little bit of red or little bit of blue to
simulate like an afternoon sky or just a midday sky.
| | 11:05 | So I'll just go with blue for
now to have a midday sky.
| | 11:08 | And if I already used the little Leave
Color guy and check the color there, we've
| | 11:12 | get a blue sky, 254, and then we've
knocked the red and the green down a little bit.
| | 11:16 | So we have a little bit of blue there.
| | 11:18 | I'll turn it off, so you can see the
before and the after. There's the after.
| | 11:22 | There's the before.
| | 11:23 | So we've got a little bit
of blue in the highlights.
| | 11:25 | Now I couldn't isolate the highlights
using this technique, but I'll use a
| | 11:29 | secondary technique in a different
chapter where we can actually adjust the
| | 11:32 | highlights, and then you don't have
to worry about this guy's shirt sort of
| | 11:35 | shifting color, but your goal is to sort
of just take a bright, bright white out
| | 11:40 | of that area and make it a little bit
more of a color to it, so it doesn't look
| | 11:43 | so obviously blown out.
| | 11:45 | And again this is a primary
technique we're doing here;
| | 11:47 | a secondary technique would have a
little bit more fine-tuning there.
| | 11:51 | Let's look finally at this last shot.
| | 11:53 | This is a mixed lighting situation, but
I'm not worried about the mixed lighting
| | 11:56 | at this particular point.
| | 11:58 | The mixed lighting is not so obvious
anyway as we've got little sunlight and we've
| | 12:00 | got some interior lighting that we
actually use blue gels on to match, so it's
| | 12:03 | just a little mixed, not too bad.
| | 12:04 | But what I'd like to do when I work
with contrast, here we are working with
| | 12:08 | tonality, and working with color contrast
| | 12:10 | you can use color to increase contrast as well.
| | 12:13 | We've talked about tonality being
brightness and contrast and then worrying about
| | 12:17 | color, but we haven't talked about how
we can use color to create contrast, and
| | 12:22 | so we're going to use the Three-
Way Color Corrector to do that.
| | 12:24 | Now I've already used the Fast color
Corrector to set the tonality, and the
| | 12:29 | Three-Way Color Corrector
has tonality controls too,
| | 12:31 | level-style control, but boy, they're so
complicated, because you've got to work in
| | 12:34 | three different places.
| | 12:35 | You've got work in the shadows, midtones,
and highlights, each one individually,
| | 12:38 | to adjust the levels-style
controls to do tonality.
| | 12:41 | So I typically do tonality in the Fast
Color Corrector and don't worry about
| | 12:44 | using it here.
| | 12:46 | But I use the Three-Way Color Corrector
to handle color issues in those specific
| | 12:49 | zones: the highlights, and
the midtones, and the shadows.
| | 12:52 | So typically, when you're trying to
create some color contrast you want to have
| | 12:56 | color and the highlights and the
midtones be one direction and the color and
| | 13:00 | the shadows be another direction, and
that creates a little bit of contrast.
| | 13:03 | So I'm going to add a little bit of orange
to kind of give it an afternoon look here.
| | 13:07 | Add a little bit more orange in the midtones,
| | 13:08 | but not quite as much. The highlights
are really where you get the color from
| | 13:12 | the sun, if that's what
we're trying to simulate here.
| | 13:13 | And now that I've added the orange
overall, I'm going to knock a little bit, sort
| | 13:17 | of in the complementary direction, by
pulling towards the blue in the shadows.
| | 13:23 | Let me just--I'll turn that on and
turn that off, just so you can see what's going on.
| | 13:26 | Here's the after and here's the before.
| | 13:28 | You notice how, if you look at the
areas like around here, and you'll watch
| | 13:31 | that suddenly things are a little more
distinct there. The color is a little bit deeper suddenly.
| | 13:36 | And this happens when you do pull
towards the complement and the shadows.
| | 13:40 | It gives it this sort of this
purple-edged hue, which is not a good thing.
| | 13:44 | You want to create an obvious color
difference for the contrast, so you can
| | 13:48 | take care of that sort of purple-
edged hue in the shadows by reducing the
| | 13:52 | saturation in the shadows.
| | 13:53 | And using saturation is a great
control, and I talk about that in the next
| | 13:57 | chapter, but let's just select the
Shadows here, and we work with the Shadows
| | 14:01 | Saturation right here, and knock the
saturation in the shadows down so that
| | 14:06 | little sort of purple cast in
the shadows won't start showing up.
| | 14:09 | And now the before and the after.
| | 14:11 | Let's see, there is after, before,
after, before. Just watch how the shadows
| | 14:14 | get a little deeper, and then using--
basically just using color increases the contrast.
| | 14:19 | Just another tool in how you can use
your various color correction controls to
| | 14:23 | fix colorcasts, skin tone, and deal
with these other issues like this contrast.
| | Collapse this transcript |
|
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5. Secondary Tonality and Color CorrectionUnderstanding secondary color correction concepts| 00:00 | Sometimes you need to make tonality and
color fixes to regions within a clip's frame.
| | 00:05 | You might want to change the color
or saturation of an object, increase
| | 00:08 | brightness on selected highlights,
repair overly bright areas, lighten dark
| | 00:15 | subject matter, or adjust a
colorcast in a portion of the scene to match
| | 00:18 | the rest of the shot.
| | 00:19 | You create those areas that you want to
change using any of several techniques:
| | 00:23 | a tonality range you define, masks
created using secondary color correction
| | 00:28 | features built into some effects,
and graphical mattes that you create.
| | 00:32 | Here are a few examples.
| | 00:33 | I've got several clips here.
| | 00:34 | I've done some of those
secondary effects on each one of those.
| | 00:37 | Let me just go through them one at a time.
| | 00:39 | The gulls here I thought looked
just a little on the dull side.
| | 00:43 | I wish I could kind of make
their white areas jump out a bit.
| | 00:47 | But if I just increased the highlights,
it would increase only little bits of
| | 00:51 | them, because the highlights are
really all these little white area there,
| | 00:54 | not all of this white.
| | 00:55 | That's really a midtones in terms
of how Premiere Pro views midtones.
| | 00:59 | So I change the Tonal Range Definition to
increase the area that's considered a highlight.
| | 01:04 | Let me turn it on to show you the end result.
| | 01:05 | It made them kind of stand out like that.
| | 01:08 | And the way I look at it is by looking
at this Tonal Range and going down to the
| | 01:12 | Tonal Range Definition and
making some adjustments here.
| | 01:14 | I explain how to do that in the "Using
tonality range controls" movie coming up next.
| | 01:19 | Let's go on to the next clip.
| | 01:23 | In this interview shot I wanted to
somehow increase the glow on the hair and
| | 01:29 | highlights in the hair. I didn't
want to accept just the sort of narrow view
| | 01:34 | of the highlights defined by Premiere Pro.
| | 01:36 | I wanted to expand the
view again using this control.
| | 01:39 | So if I just click on this, the result is that:
just a little bit more area in the highlights.
| | 01:45 | This is the after;
that's the before. After, before.
| | 01:48 | I use the Tonality control to help
expand the area of highlights so that when
| | 01:52 | I increase the brightness a little bit
more area was included in the brightness zone.
| | 01:57 | Using the same clip here, the same
interview clip, I wanted to use a
| | 02:01 | different secondary color control
feature, and the Three-Way Color Corrector
| | 02:04 | down at the bottom.
| | 02:06 | There is a secondary color correction.
| | 02:09 | And notice the difference.
| | 02:10 | I wanted to, again, increase the
highlights in the hair using a different method.
| | 02:13 | So there is the before, and there is the after.
| | 02:16 | This gives it a little more
brightness and punch and zip and pizzazz.
| | 02:22 | I did that down here in the Secondary
Color Correction by selecting the bright
| | 02:25 | color, adjusting the luma, and saying,
only this area is the area I want to work in.
| | 02:31 | That's how the Secondary Color Corrector works.
| | 02:33 | I can show you the mask that it creates.
| | 02:35 | Just that area is the area
that this effect will change.
| | 02:39 | And I add a little blur to kind of
make it a more of a glow when I applied the
| | 02:43 | increase in brightness.
| | 02:46 | Move on to the next clip.
| | 02:48 | This train poses a little bit of an issue.
| | 02:50 | I want to bring out the detail here, and I
also want to make this a little bit brighter.
| | 02:56 | So if I bring out the detail here
then this will be too bright.
| | 03:00 | So I actually use two different
secondary color correction features here.
| | 03:04 | The first one brings out the blue sky, or the
clouds and a little bit of blue in the sky.
| | 03:09 | Then the second one increases
the brightness of the trains.
| | 03:12 | So whether you think this is the right
way or not, whether you think this is an
| | 03:16 | effective means to bring
out this particular clip,
| | 03:19 | this is what you can do.
| | 03:20 | You can take two different secondary
features, secondary color correction
| | 03:24 | features, using the same effect twice.
| | 03:27 | So the bottom effect here I used a secondary
color correction to identify just the clouds--
| | 03:33 | here is the secondary color correction--
and then I made them a little bit more
| | 03:36 | blue and made them a little bit darker.
| | 03:38 | The other one I used the secondary
color correction feature to select all the
| | 03:42 | dark areas, and then I made just the
low midtones a little bit brighter to
| | 03:47 | bring those guys out.
| | 03:49 | Let's move on to the next clip.
| | 03:55 | This guy is a little bit of a problem,
because this window is so, so bright.
| | 03:59 | It's too bright to have any details.
| | 04:00 | You can tell by how crushed the
highlights are right up there.
| | 04:04 | But I can at least bring those
down and give them a little color.
| | 04:07 | So in the Three-Way Color Corrector let
me just show you the before and the after.
| | 04:10 | Here is the before, and there is the after.
| | 04:13 | Just a little bit of a blue feel to it
and a little bit darker. And I do that
| | 04:17 | using the Secondary Color Correction
feature down at the bottom, where I selected
| | 04:22 | the brightness in the window and the
color in the window, which was white,
| | 04:25 | adjusted the luma, so I had only the
bright areas, and then I used the Color
| | 04:29 | Corrector wheel here to change the
hue of the window to a light blue.
| | 04:36 | Let's close that one and go to the other.
| | 04:38 | You can also use the Fast Color Corrector
to help make the whole scene look right.
| | 04:44 | So the scene was kind of purple
and also a little bit kind of dull,
| | 04:47 | so I used the Fast Color Corrector to
deal with bringing up the contrast ratio
| | 04:51 | here, and then I use the Three-Way
Color Corrector to deal with this area here.
| | 04:55 | You can certainly use two different
effects, and it's harder for the Three-Way
| | 04:57 | Color Corrector to deal with tonality
issues, because you have three or four
| | 05:01 | different sets of controls, whereas the Fast
Color Corrector has just one set of controls.
| | 05:04 | Moving on to the next shot,
| | 05:08 | these tomatoes, I think, look well,
darn tasty, but I can make them look
| | 05:13 | tastier, I think, if I adjust the saturation.
| | 05:16 | Now, if I just increase the saturation
of the entire clip, then it would affect
| | 05:19 | everything in the clip, but I can
select the tomatoes and make just the
| | 05:24 | tomatoes more saturated.
| | 05:26 | Again, I use the Secondary Color
Correction feature down here, select the tomatoes
| | 05:30 | based on their color and their
brightness, and then I can use the Saturation
| | 05:34 | controls here in the shadows, and then
I can switch over to the midtones and
| | 05:41 | adjust the saturation of both of the
shadows and the midtones to bring out the
| | 05:45 | saturation of those tomatoes, or bring
them up actually, and not affect the
| | 05:49 | saturation of the rest of the scene.
| | 05:52 | Similar with this particular shot of
this villa. I am thinking the villa just
| | 05:56 | needs a little bit more punch to it,
but I just want to affect just the villa.
| | 06:01 | So again I use the same thing where I
select the villa based on its color and
| | 06:05 | then I add a little bit of saturation to it.
| | 06:07 | And if you just looked there, I think
you might have noticed the difference, the
| | 06:09 | before and after, depending on the
quality of your screen, and if you're online
| | 06:13 | how that looks, but that's the before,
kind of dull, and that's the after, a
| | 06:17 | little more deeply saturated.
| | 06:19 | Moving on to these last two clips,
| | 06:20 | these last two clips use what are
called masks, track mattes, sometimes
| | 06:24 | referred to as mask.
| | 06:25 | The original shot is this shot of a
farrier, a horseshoer, at work at this farm.
| | 06:31 | Now, you're saying to
yourself, what farrier, right?
| | 06:33 | Well, he is here in this deep, deep shadow.
| | 06:36 | So how can I bring him out?
| | 06:38 | How can I make him visible?
| | 06:39 | I can make him visible by creating a
graphic called a mask, which I created
| | 06:43 | inside the titler, and I made it over
the pictures, so I could see how it fit,
| | 06:49 | and it's just this white graphic.
| | 06:51 | And then I take this particular clip
below there, I apply the Track Matte Key,
| | 06:57 | and connect that matte to this clip.
| | 06:59 | When I do that I am
isolating just that area in this clip.
| | 07:03 | Let me turn that on so you can see it.
| | 07:05 | Now we can see the farrier.
| | 07:06 | I'll make him a little bit brighter by
using the Fast Color Corrector here to
| | 07:10 | bring him up a little bit, to
adjust the tonality of that farrier.
| | 07:14 | So that's how I can take something where, "Where
is this guy, I can't see him?""There he is, good!"
| | 07:20 | Next clip, same kind of thing.
| | 07:21 | We turn off the view of this second
track so we can start with the before and
| | 07:24 | then show you the after.
| | 07:26 | Here's something with mixed lighting,
and this is not an unusual circumstance.
| | 07:29 | I lit this woodturner, a guy who
makes bowls from burl, and a burl is a
| | 07:34 | big kind of like a gnarled part of the
piece of wood, and he turns them into
| | 07:38 | these lovely bowls.
| | 07:39 | And he is working back there where I
have lit him using studio tungsten lights,
| | 07:44 | and they have this kind of orange glow
when compared to the exterior. This is an open
| | 07:48 | garage door here, so the
sunlight is streaming in.
| | 07:50 | So how do I deal with that sort of orange
glow back there and this kind of blue glow here?
| | 07:55 | If I create a mask again,
| | 07:56 | that basically covers up the area
where the orange glow is right there.
| | 08:00 | So I can retain the orange glow and I
can use the color correction feature on
| | 08:04 | the area around it to make it
match the rest of the scene, like so.
| | 08:09 | So secondary color correction plays an
important role in your color correction
| | 08:13 | workflow, and I explain these
various techniques in the next few movies.
| | Collapse this transcript |
| Using tonality range controls| 00:00 | Two color correction effects of my
four recommended color correction effects
| | 00:04 | have a feature called Tonal Range Definition.
| | 00:06 | You use it to change the default
breakdown of which areas the effect should
| | 00:10 | treat as shadows, midtones, and highlights.
| | 00:12 | Then you can apply adjustments
within one or more of those zones.
| | 00:16 | You'll find the Tonal Range Definition
feature in the RGB Color Corrector and
| | 00:20 | the Three-Way Color Corrector.
| | 00:22 | It's also in the Luma Corrector, but
that effect is essentially a subset of the
| | 00:25 | RGB Color Corrector, so we will take
a pass on working with that effect.
| | 00:28 | But the feature works the same in both effects.
| | 00:30 | I have two clips here. One will have
the RGB Color Corrector effect applied to
| | 00:34 | it, and the other one has the Three-
Way Color Corrector Effect applied to it,
| | 00:37 | so you can see how they both work and what
you can do within each one of those effects.
| | 00:41 | We will start with the gulls, and my
goal here with the gulls is to make those
| | 00:45 | white areas just a little bit brighter,
and the thing is, the highlights here,
| | 00:50 | according to this effect, are
just a little itty-bitty spots here.
| | 00:54 | We are not really the whole white area,
and I need to expand the zone that the
| | 00:58 | RGB Color Corrector considers to be a highlight.
| | 01:00 | So here is how we do that.
| | 01:02 | I have my Effects Control panel here opened wide.
| | 01:05 | That's how I normally work when
I am not working with keyframes.
| | 01:07 | I do want to show you this little
chevron allows you to show the timeline when
| | 01:10 | you are working with keyframes and
this one closes it, and some people may
| | 01:14 | wonder why it's always been open like
this, because normally that's the default
| | 01:17 | view. But this is how I have been working here
| | 01:19 | in these various movies to keep this wide
thing open, to give you a full expanse here.
| | 01:23 | Let's just take a look at what the RGB
Color Corrector considers to be the tonal
| | 01:28 | values here inside this clip.
| | 01:29 | I click on the Tonal Range and there you go.
| | 01:33 | It says in its little analysis that
these are the highlights, the light gray
| | 01:37 | area here would be the midtones, and
black areas are the shadows, and it does
| | 01:42 | that automatically based upon a
certain percentage of the luma.
| | 01:45 | We want to adjust that.
| | 01:46 | We want to increase the areas
that are considered to be highlights.
| | 01:49 | We do that inside the Tonal Range
Definition. Right now it just looks like a little
| | 01:53 | simple line, but if you open the
disclosure triangle, you get this
| | 01:56 | well, I guess daunting-looking kind of
controlling device, but don't let it throw you off.
| | 02:01 | It's not that difficult.
| | 02:02 | These little four lines and these
little guys here all work together.
| | 02:06 | What this represents is, from this
little box to the right, those are the
| | 02:10 | highlights, this little box to left
defines the shadows, and whatever is in
| | 02:15 | between defines the midtones.
| | 02:17 | And that's the standard default
definition. What I want to do is expand the
| | 02:21 | area that's considered to be a highlight, so
I want to drag this little guy to the left.
| | 02:25 | This little triangle next to it
defines kind of how it falls off from the
| | 02:29 | highlights to the midtones, here from
the shadows to the midtones, and I can
| | 02:33 | drag that closer or farther.
| | 02:35 | Closer decreases the softness, and
farther increases the softness between the two.
| | 02:39 | So let me just expand the highlight
zone by dragging this little puppy to the
| | 02:43 | left, and let's see what happens there.
| | 02:47 | There we go. It's got a little bit
more of the areas considered
| | 02:53 | going to the white zone.
| | 02:55 | Let's do it a little bit more, and
actually we are going to get to a point where
| | 02:58 | stuff starts showing up that I
don't want to be a highlight,
| | 03:01 | like a whole lot of junk around
the ground. But with that, so far so good.
| | 03:05 | We've got some of these little grains
here on the ground are showing up as highlights
| | 03:09 | but that won't be a problem there.
Because they're so small, they won't be too obvious.
| | 03:13 | But there we go.
| | 03:13 | We have now expanded the
definition of what a highlight is here in
| | 03:17 | this particular clip.
| | 03:18 | Now I am going to turn off the
Tonal Range view and go back to the
| | 03:20 | Composite view, which is the normal
view, and now I want to work within
| | 03:26 | that highlight zone.
| | 03:27 | Now the Tonal Range, by default, when
you're working inside the RGB Color
| | 03:31 | Corrector is Master.
| | 03:32 | That means all ranges: highlights,
midtones and shadows. So if I started
| | 03:36 | adjusting Gamma, Pedestal, and Gain,
it would affect all those guys at once,
| | 03:40 | but I don't want to;
I want to effect only the highlights.
| | 03:44 | Now what do I want to do? I want to maybe
increase the brightness here a little bit.
| | 03:47 | So I have got the Gain set here.
| | 03:49 | I am going to bring Gain up a touch
and start bringing up the brightness of
| | 03:54 | these birds, and that was relatively simple.
| | 03:56 | I think I could also adjust the
Gamma a little bit perhaps, because the
| | 03:59 | Gamma effects only midtones, but the top of
the midtones are at the bottom of the highlights,
| | 04:03 | so I can affect that as well to
suit whatever my taste is for how these
| | 04:07 | things should look.
| | 04:08 | So there is the after, and there is the
before, and we've obviously made these
| | 04:13 | birds stand out a little bit more, just
been to the styling salon or something,
| | 04:18 | There we go, from that to that.
| | 04:20 | Let's move on to the next clip.
| | 04:21 | It's an interview shot.
| | 04:24 | My goal here is to increase the
brightness and maybe also change the color a
| | 04:29 | little bit of the highlights in the hair.
| | 04:31 | Now I am using the
Three-Way Color Corrector here.
| | 04:33 | I have already applied that, so I
will open that up. And it's the same basic
| | 04:37 | process. I change the view
from Composite to Tonal Range,
| | 04:43 | and then I look down here little ways
for the Tonal Range Definition line.
| | 04:47 | There it is, towards the top.
Open up its disclosure triangle and there
| | 04:51 | inside interface again that you thought two
seconds ago was daunting, and now you are going, ah
| | 04:55 | that's not so hard.
| | 04:56 | And I'm going to take that little highlight guy
and expand the zone for the highlights
| | 04:59 | again, just get a little bit more
in the hair there, you see that?
| | 05:02 | A little bit showing up in the face,
but those tiny dots really won't show
| | 05:06 | up much as you do your work here.
| | 05:08 | So right about there is where the face
is coming, and probably a little too
| | 05:10 | much, so if I expand this thing
to left here, it brings in a lot more.
| | 05:14 | That kind of sort of softens the
transition between the two, and I don't
| | 05:16 | want to expand that too much.
| | 05:17 | I would rather kind of limit it to the hair.
| | 05:19 | So there you go there.
| | 05:22 | That's about right I think, at least
for our purposes, as we are just going
| | 05:25 | through here kind of quickly.
| | 05:26 | So now that we have adjusted what we
consider to be highlights, I am going to
| | 05:29 | close that view and go back to
Composite, so I can see the original view.
| | 05:33 | Now the thing is, what do I want to do?
| | 05:34 | I can close this Definition out too.
| | 05:36 | I want to work in the highlights.
The Three-Way Color Corrector has this
| | 05:42 | dropdown menu here, similar to what
we just saw on the RGB Color Corrector,
| | 05:46 | but this one by default is set to
Highlights, so you can do Highlights,
| | 05:49 | Midtones, Shadows, or Master, which you can
select, but here by default it selects highlight.
| | 05:53 | So anything we do now in terms of the
tonality will be in the highlights only,
| | 05:58 | and you can see down here it says
Input Levels and Output Levels, but
| | 06:02 | specifically for highlights, as opposed
to for you know just blacks on one side and
| | 06:07 | highlights in the others.
| | 06:08 | There's specifically the Highlight
Input black Level, which if you change that,
| | 06:12 | nothing is going to happen,
because it's a highlight.
| | 06:14 | That's kind of a strange thing about the
way the Three-Way Color Corrector works;
| | 06:16 | it has probably too many controls.
| | 06:18 | But we are going to work here in
the highlight area, in the input of the
| | 06:21 | highlight area, to increase the brightness.
| | 06:23 | Let's just gradually move it up there.
| | 06:31 | You can see it down here in
the scope as it's moving up.
| | 06:35 | At some point it's going to like
too much, but let's do the after,
| | 06:38 | before, after, before.
| | 06:41 | And I think right now the after is
probably a little bit too much, but I am
| | 06:44 | trying to give you a sense of how this works.
| | 06:46 | Now on top of that, you can work here
inside the highlight color wheel, and say,
| | 06:50 | do I want to maybe give this a
little bit of color while I'm at it.
| | 06:52 | So you can give the highlights a little
more color in the yellow direction as
| | 06:57 | you would think it would be.
| | 06:58 | So now we have done this.
| | 07:00 | Here is the before, and here is the after.
| | 07:03 | So we have used two different ways to
use the Tonal Range Definition to define,
| | 07:08 | in this particular case, it's widened
the definition of the highlights, then
| | 07:13 | applied some color correction effects to that.
| | Collapse this transcript |
| Using secondary color correction properties within video effects| 00:00 | Three of my four recommended
principle of color correction effects have a
| | 00:03 | feature called Secondary Color Correction.
| | 00:05 | The one exception is the Fast Color Corrector.
| | 00:07 | It does not have this feature.
| | 00:09 | You use it to create a mask, within which
you can make tonality or color adjustments.
| | 00:14 | You specify the mask boundaries by
selecting a color range and then refine the
| | 00:19 | boundaries using that
color's saturation and luma.
| | 00:22 | Within the mask you can change the
saturation of an object, enhance highlights,
| | 00:26 | or fix overexposed areas.
| | 00:28 | Let me run through a few examples for you.
| | 00:30 | I want to fix the highlights in this
subject's hair, and you've seen me do this
| | 00:35 | before with the Tonal Range Definition,
but this time we're going to use the
| | 00:38 | Secondary Color Correction feature.
| | 00:39 | We'll turn it on and roll on down
the line here, and at the bottom of the
| | 00:44 | effects is where you find
the Secondary Color Correction.
| | 00:47 | When you're working with it though,
you need to have the mask turned on;
| | 00:51 | otherwise you won't see
anything that you're doing.
| | 00:53 | So up at the top we go to Mask, and
your first that will be, holy cow, it's
| | 00:58 | just this white thing.
| | 00:59 | This is not what I was expecting.
| | 01:00 | I was expecting to see something in the mask, right?
| | 01:03 | But don't worry about it.
| | 01:04 | We will fix that in just a second.
| | 01:05 | We will scroll back down here to the
Secondary Color Correction and we will open
| | 01:09 | up the disclosure triangle, and
here's what you see when you do that:
| | 01:13 | three Eyedropper tools,
and then these little guys--
| | 01:16 | Hue, Saturation, and Luma--
and these other two features--
| | 01:18 | Soften and Edge Thinning.
| | 01:19 | What you need to do now is select a
color, and once you select a color, that
| | 01:24 | begins the process to create the mask.
| | 01:26 | So you take the first eyedropper.
| | 01:27 | Now, once you hover away from it, lo and
behold, there comes the picture again. Yay!
| | 01:32 | So all is well in the world.
| | 01:33 | I am going to click on
this bright area of the hair.
| | 01:36 | If it's too bright, it's just going to
be white, so I'll kind of slide over to
| | 01:39 | the right a little bit and get some
yellow there, and that is now the mask.
| | 01:44 | Not much yet, right?
| | 01:45 | The little plus sign here next to this
next eyedropper says you can add more
| | 01:50 | color, you can widen the
width or breadth of the hue.
| | 01:54 | So I will select that guy and
click on the one that says plus.
| | 01:57 | The next time I click it's going
to expand the color to a wider view.
| | 02:01 | As you can see, it has
already begun to expand the hue.
| | 02:04 | Typically, two clicks is how I start my
work when I do secondary color correction.
| | 02:08 | I try to pick two slightly different
colors within the range that I want to work.
| | 02:12 | Next, I can open up the hue and I can
expand the range of the hue this way, but
| | 02:17 | what I found is that if I expand
the hue too much, it starts picking up
| | 02:20 | everything else, but let's see how we do here.
| | 02:22 | That's not too bad.
| | 02:24 | Oops, I just slid this little bar at the bottom.
| | 02:27 | You don't want to do that, so
let's slide these little squares here.
| | 02:30 | And we go down to now luma, which is
the next thing I typically work on.
| | 02:34 | See how much luma, how
much brightness I can include.
| | 02:38 | Pick the color, but then you can also
expand the luma region, or narrow it down,
| | 02:42 | depending on what you're looking for.
| | 02:44 | I want to try to get as much of the
hair as I can without getting other
| | 02:48 | extraneous stuff around the edge there.
| | 02:51 | So far that's pretty darn good.
| | 02:54 | So now we've defined this area as a
mask and a little bit of stuff outside the
| | 02:58 | hair will show up there too, but I'm
not going to sweat that too much there.
| | 03:01 | Now you can try Saturation.
| | 03:03 | Usually Saturation doesn't change
things too much, but there we go.
| | 03:06 | We've got a little too much face there.
| | 03:08 | We don't want to get too
carried away here. There we go.
| | 03:11 | So we've got those three means to adjust
the region that we want to have in the mask.
| | 03:18 | Now we can soften the edges a little
bit, and since we're working with hair,
| | 03:21 | we're going to highlight the hair.
| | 03:22 | We do want to soften the edges a little bit.
| | 03:23 | So I'll show you how this works.
| | 03:24 | It kind of adds a little blur to the
mask, and it tends to make it a little less
| | 03:29 | sharp along the edges here
and along the strands of hair.
| | 03:34 | I found that if I blur it no more than about 3,
that's kind of a safe zone in which to work.
| | 03:41 | Edge Thinning unfortunately
does not work as it should.
| | 03:44 | Edge Thinning should expand the
boundaries of your zone by going to the right,
| | 03:48 | and notice that it doesn't
really expand them a whole heck of a lot.
| | 03:51 | It should narrow the zone, but
it's just only a subtle thing.
| | 03:55 | It would be better if I could expand
it more and cut it down much less, but I
| | 03:59 | want to expand it a little bit,
because that gives a little bit more of a soft
| | 04:02 | glow around the edge.
| | 04:03 | Now that we've done that, we turn off
the mask, because you really can't see
| | 04:08 | what you're doing in terms of applying
color changes or tonality changes with
| | 04:12 | this guy in the Mask mode.
| | 04:14 | So I'm going to switch back to
Composite, and now nothing will have changed.
| | 04:17 | You just made the mask, but you can't
see the mask now on the Composite view.
| | 04:21 | Now you start working in that
particular area, and if I switch on the Tonal
| | 04:26 | Range view for a second, you'll see
that the stuff that we selected is
| | 04:28 | highlights and midtones.
| | 04:30 | So we made this area here in our mask,
and it includes highlights and midtones.
| | 04:36 | It's good to know that it includes both,
because that means you can adjust both
| | 04:39 | the highlights here and the midtones,
and it will affect stuff in the mask.
| | 04:43 | Any change I make here will only
affect stuff that's in the mask.
| | 04:46 | If I do something really extreme,
like turn it blue, see the blue there,
| | 04:50 | it affects only stuff inside the mask zone.
| | 04:53 | Obviously, blue is not what we're
looking for here, but I want to make sure
| | 04:56 | you saw how that works.
| | 04:57 | Typically, when you've got highlights
this is where you make the biggest color
| | 05:01 | change, because as bright as it is, the
color won't show up that dramatically.
| | 05:05 | I just want to bring up the
highlights a little bit and increase that.
| | 05:08 | We've got a little bit more color in there.
| | 05:10 | I can fix both the highlights and
the midtones here in the wheels without
| | 05:14 | switching this little dropdown menu.
| | 05:15 | Now I'm going to go deal with the Tonality.
| | 05:19 | The Tonality, we have highlights
selected up here, which means that the Tonality
| | 05:23 | controls down here will be for highlights.
| | 05:25 | So I'm going to make the highlights
brighter by sliding this guy to the left, a
| | 05:29 | little bit brighter, just in
the zone there for the midtones.
| | 05:36 | We will slide the Gamma for
midtones anyway, make that brighter.
| | 05:45 | You can see it's showing up
down here in the Waveform monitor.
| | 05:48 | It's just a little bit subtle.
| | 05:49 | Let me just go back to the top here and
turn this guy to the after, the before.
| | 05:53 | There is the before.
There is the after.
| | 05:55 | And I'm overdoing it just a bit so that
you can get to see how this thing works.
| | 05:59 | I think I would tone that down just a touch.
| | 06:01 | It looks kind of flaxen now, but I want
you to see that that's the basic process.
| | 06:05 | We make the mask and then make
changes using the controls here inside the
| | 06:09 | Three-Way Color Corrector.
| | 06:11 | Let us move on to this little train.
| | 06:13 | The train has a problem.
| | 06:14 | You've seen the sky maybe before if
you've watched some of the movies. The sky
| | 06:18 | appears to be blown out, but if you
look at the Waveform monitor, you can see
| | 06:22 | that in the super-whites, between 100 and 110,
oh, there is detail, so it's not blown out.
| | 06:26 | We can save the sky.
| | 06:28 | And the way I can do that is by identifying
the sky using the Secondary Color Correction.
| | 06:33 | RGB Curves has that Secondary Color
Correction down at the bottom. It's already open.
| | 06:37 | I'm going to turn on the view on the mask.
| | 06:40 | It's white to begin with.
| | 06:42 | Now, you should not be shocked by that.
| | 06:44 | Click on the Eyedropper tool
and click on some area here.
| | 06:46 | As you can see, it
doesn't select everything yet.
| | 06:49 | I go to my plus tool.
| | 06:51 | So let's expand the range a bit. Okay.
| | 06:53 | Now we're beginning to
see some more range there.
| | 06:57 | Try expanding the Hue a bit.
| | 06:59 | Ah, now we're getting there, too much other stuff.
| | 07:04 | You see little bits and pieces down
here, but that won't be a problem.
| | 07:06 | And the Saturation usually is not much
of an issue with something that bright,
| | 07:10 | but we'll see how that goes. There we go.
| | 07:11 | Again, we've not affected things down here.
| | 07:14 | If we want to work with the Luma, the
luma obviously is the brightest area in
| | 07:18 | the scene, so if I drag the scene
much farther left, we're going to start
| | 07:20 | picking up stuff down here.
| | 07:22 | So I just want to stick with the brightest area.
| | 07:23 | This little zone here is
helping to define the mask.
| | 07:26 | And now I can have a little bit of
softness around the edge here, so I'll roll
| | 07:30 | it to about maybe 1 or 2.
| | 07:32 | That takes care of these guys down here as well.
| | 07:34 | I don't need to worry
about the Edge Thinning here.
| | 07:36 | We've got a pretty good mask there.
| | 07:39 | So I'll go back up and
take a look at the Composite view.
| | 07:43 | Now that we've got the mask selected,
anything we do now in this RGB Curves
| | 07:47 | effect will affect only the areas in the mask.
| | 07:50 | So the first thing I want to do
is bring down the highlights a bit.
| | 07:53 | Now we're seeing much
more definition in the sky.
| | 07:56 | Now, I add maybe a
little bit of blue to the sky.
| | 07:59 | I could add red or whatever, but I
think we'll call it a midday thing.
| | 08:02 | I'll bring up a little bit of the blue.
| | 08:03 | That adds just a touch of blue to the sky.
| | 08:05 | We'll look at the after and now the before.
| | 08:10 | But I want to also affect the train,
and I can't work on the train in this
| | 08:14 | effect here that has that mask for the sky.
| | 08:17 | I have to use another version of the effect.
| | 08:19 | I could use some other effect besides RGB
Curves, but we'll work with Curves here.
| | 08:22 | So I will work in the sky up here.
| | 08:24 | And it's the same process.
| | 08:25 | I go down to the mask, open up Secondary
Color Correction, click on a dark area,
| | 08:32 | click on a second area that's
dark, kind of expand the view. Let's try that again.
| | 08:35 | Let's expand this view a little bit.
| | 08:38 | Well, it's having a little trouble
expanding it, so we'll help it expand it
| | 08:42 | by expanding this guy here.
| | 08:45 | Expand the Luma a bit,
take in all the dark areas.
| | 08:50 | Now we'll take another crack at this thing here.
| | 08:54 | We'll try to go down here, and
now we're beginning to get there.
| | 08:59 | As you see, we can keep on working on
this until we get the black area selected
| | 09:04 | inside the bottom of the clip.
| | 09:06 | Try to pick another area here.
| | 09:12 | It's not being very cooperative. There we go.
| | 09:14 | When in doubt, just keep on plugging away.
| | 09:19 | Eventually I could get this whole mask selected.
| | 09:21 | Again, I can soften it just a touch,
and then I can affect this area separate
| | 09:28 | from the other effects.
| | 09:30 | So if I want to, let's say, bring
up some brightness here, slide
| | 09:35 | brightness a little bit this way.
| | 09:37 | That would bring up the midtones just a touch.
| | 09:43 | And so we'd have these two guys
together, boom, boom, off, bring in the sky,
| | 09:47 | bring in the train, using two different
secondary color correction effect masks.
| | 09:52 | Move over to the woodturner. The wood-
turner would be the same kind of a process.
| | 09:56 | In the clip I want to
affect how this window behaves.
| | 09:59 | I've already applied the Fast color
Corrector to deal with the tonality here.
| | 10:03 | I'll show you the after and then the before.
| | 10:05 | So you can apply different effect to
deal with tonality and then another effect
| | 10:08 | to deal with the secondary color correction.
| | 10:10 | I'm going to use RGB Color Corrector here
just to show you all four of them eventually.
| | 10:13 | Turn that guy on and open it up.
| | 10:16 | It has a same kind of a process.
| | 10:18 | I want to isolate this window.
| | 10:20 | So go down to your mask, scroll down
to the Secondary Color Correction, and
| | 10:26 | select that area in here.
| | 10:27 | Now, with something this bright
sometimes you run into problems getting the
| | 10:32 | darn thing to work.
| | 10:33 | I have noticed when that happens, if I
go to Hue and I expand the Hue, then
| | 10:39 | it starts cooperating.
| | 10:40 | You think Luma would be the thing
that would control this, because it's so
| | 10:43 | bright, but if I expand the Hue, lo and behold,
the guy starts showing up, which is helpful.
| | 10:46 | Let me go back to Luma anyways, just to make
sure that Luma is expanded as far as it can be.
| | 10:51 | There we go.
I think we've got a pretty good mask there.
| | 10:54 | You'll see that little kind of a rough
edge to it, and so I want to soften the
| | 10:58 | edge just a little bit, like so,
maybe down to about 1.5. There we go.
| | 11:04 | Not too soft.
| | 11:05 | Now, I'd like to expand the edge, but
the Edge Thinning thing doesn't really
| | 11:09 | expand it that much, but it
expands it a little bit. There we are.
| | 11:12 | We've got things expanded as far as
we can, and now we want to fix this,
| | 11:16 | so I go back to the Composite view.
| | 11:17 | And how do I fix this thing?
| | 11:19 | It's really hmm--what I am going to do there?
| | 11:21 | Anything I do inside the RGB Color
Corrector will now affect only this.
| | 11:25 | So I want to bring down the Gain on it.
| | 11:29 | That will make that little area darker.
| | 11:31 | I need to go to the highlights
here, bring that area down here.
| | 11:34 | You don't want to bring it down too
much. Hang on a second.
| | 11:36 | Let me just get this thing back to normal here.
| | 11:38 | I brought it down way too much.
| | 11:43 | Now we're talking.
Now, I want to add a little bit of color to it,
| | 11:50 | so I go down to the RGB part of the RGB
Color Corrector, add a little blue to it.
| | 11:56 | So I typically add blue via the Blue Gamma.
| | 11:59 | We'll try that right here.
| | 12:00 | And we'll try the Blue Gain, because it is a
highlight, so we want to add some blue to it.
| | 12:06 | And you're going, "I don't see that there is much blue
there," right? But I'm going to tell you, if I
| | 12:11 | go from there, the after, to
there, just a little bit more blue,
| | 12:15 | and this is basically how you try to
fix something that's just so blown out,
| | 12:22 | there's no detail at all.
| | 12:23 | You can isolate it and then adjust the
color, then adjust the Tonality of it as well.
| | 12:28 | Two more things you can do only
with the Three-Way Color Corrector.
| | 12:32 | You can use secondary color controls
to isolate the color, and then you can
| | 12:37 | change the saturation on it.
| | 12:39 | And only the Three-Way color
Corrector and the Fast Color Corrector have
| | 12:43 | Saturation, but the Three-Way Color
Corrector lets you saturate within zones,
| | 12:47 | which is helpful, because you don't
want to necessarily saturate the shadows.
| | 12:50 | So turn this guy on, and we'll go
down here to the mask. It turns white.
| | 12:55 | We're going to select the red tomatoes.
| | 12:58 | There is that part.
| | 12:59 | And we want to select maybe a darker part of
the tomato to kind of broaden that out a bit.
| | 13:05 | Expand these a little bit more, more Hue.
| | 13:10 | Increase the luma a little bit,
bring in the dark parts of the tomatoes.
| | 13:14 | Now we selected them pretty well I
think--hmm, a little bit more, what the heck.
| | 13:19 | I've got a pretty good mask there for
most of the parts of the tomato.
| | 13:26 | And now what I want to do is I am going
to look at the Tonal Range to see
| | 13:30 | what we've got here.
| | 13:30 | So the tomatoes are basically
in the midtones and the shadows.
| | 13:35 | If you change Saturation to
shadows, it kind of looks a little odd.
| | 13:39 | So I am just going to change
the Saturation in the midtones.
| | 13:42 | I need to change this dropdown to
Midtones and then go to Saturation and
| | 13:47 | increase the Saturation of the tomatoes
in the midtones, and there you have it,
| | 13:54 | richer-looking tomatoes than
you'll ever see at your grocery store.
| | 13:58 | Let's move on to the last one here.
| | 14:01 | I'm thinking this villa might
just need a little bit more punch.
| | 14:08 | So the same kind of the process as used here.
| | 14:11 | We go to the mask and we
pick the color of the villa.
| | 14:19 | The villa is multiple colors
and we can't get the whole thing,
| | 14:22 | but we will expand the view of the color
there a little bit to bring in more of that.
| | 14:29 | We can adjust the luma a little bit.
| | 14:31 | See how much more we can bring in
without bringing in the entire vineyard, and
| | 14:36 | that should do it there for
our purposes. Back to Composite.
| | 14:40 | I'd like to look at, just to make
sure that what I am dealing with here,
| | 14:42 | I am dealing with only midtones there,
see that? It's only in the midtones when
| | 14:46 | I switch to Tonal Range.
| | 14:47 | So I know that the work I want to do
in Saturation is in the midtones, so
| | 14:51 | I switch to Midtones.
| | 14:54 | I go to Saturation.
| | 14:55 | I want to bring the Saturation up a little bit.
| | 14:58 | And I could also, if I wanted to, I
could change the color of the house, but we
| | 15:02 | don't want to get too carried away.
| | 15:03 | We just want to make it stand out a little bit
more from the vineyard, just a little bit more.
| | 15:11 | So as you fine-tune your color
correction work, you will come to rely on these
| | 15:14 | secondary color correction features.
| | Collapse this transcript |
| Using the Track Matte Key effect| 00:00 | Mattes are a huge part of
secondary color correction work.
| | 00:03 | You use them to limit tonality and color
changes to specific areas in a video clip frame.
| | 00:08 | A matte is a graphic that you add to a
track above a clip and then attach to the
| | 00:12 | clip using the Track Matte Key effect.
| | 00:15 | Once attached, that matte defines
which areas of the clip are opaque and
| | 00:18 | which are transparent.
| | 00:20 | You can use this with other secondary
techniques, such as Tonal Range Definition
| | 00:23 | and the Secondary Color
Correction feature, or on its own.
| | 00:26 | The matte does not have to be static;
| | 00:28 | you can use keyframes to animate its
position and size to follow action in your clips.
| | 00:32 | A moving track matte is
sometimes called the traveling matte.
| | 00:35 | I explain how to do that in the
next movie, "Animating track mattes."
| | 00:39 | A matte can be any image or graphic.
| | 00:41 | Whatever you use, Premiere Pro views it
as a grayscale graphic, black or white,
| | 00:46 | or opaque or transparent,
depending on settings you select.
| | 00:48 | Gray areas are partially transparent.
| | 00:50 | So let's take a look at what we need to
do with these two clips using track mattes.
| | 00:55 | The first guy is our farrier, and he is
kind of in the dark shade there.
| | 01:00 | We want to bring him out, using a matte.
| | 01:01 | This next clip, our woodturner, is in
this lovely warm tungsten-lamp-lit area
| | 01:08 | back there, and the front of his work
area is lit by sunlight, and we want to
| | 01:12 | make the sunlit area
match that area back there.
| | 01:14 | So we need to make mattes for both
of those particular circumstances.
| | 01:18 | We can do that, let's say, in a program
like Photoshop, a graphics program, but
| | 01:22 | it's much, much easier to
work here inside Premiere Pro.
| | 01:25 | So to do that, I go to the Project panel and
click on this little icon here, the New Item icon.
| | 01:31 | I can go File > New, and then go down
to Title. Either way I want to make a new
| | 01:35 | title. However you get to title,
that's what we're going to do next.
| | 01:37 | I am going to name this one
matte-farrier, and here we are.
| | 01:43 | And I have this little icon on so I can see
the clip that I am going to put this matte on.
| | 01:48 | If I turn that off, it would just be
blank, but we want to actually see what
| | 01:50 | we're going to put the matte on.
| | 01:52 | I could just make, let's say, a box and
call it a day, but that's not good enough.
| | 01:59 | We want to use the Pen tool to define
this kind of rough-looking polygon there.
| | 02:04 | So we will just click here, and I
am going to do this kind of quickly.
| | 02:08 | If I were really going to get this
thing perfect, I would take a little more
| | 02:14 | time, but here we go.
| | 02:18 | Now, to get back to the starting point,
notice that the little icon next to the
| | 02:25 | Pen tool changes from nothing to a
little circle in the lower-right corner.
| | 02:29 | That mean you're about to close the loop.
| | 02:31 | Now I've closed it, and it's not a matte yet.
| | 02:34 | We need to go down here to the Graphic Type.
| | 02:37 | By default, it's called the Closed Bezier
when you make it using the Pen tool like that.
| | 02:41 | You want to switch to Filled Bezier.
| | 02:43 | And since I have the default setting here,
it's just white. There are no Strokes to it.
| | 02:48 | It's just a solid white
thing, and that's all I need.
| | 02:51 | I need something opaque.
| | 02:52 | It could be any color
I could make it chartreuse for that matter.
| | 02:54 | It just has to be opaque. So there we go!
| | 02:56 | We have now made a matte.
| | 02:57 | Now I close this guy down, and it
will automatically save that inside your
| | 03:02 | project file, by the way.
| | 03:03 | It doesn't need to be saved as a separate file.
| | 03:06 | It's stored inside your
project file, called matte-farrier.
| | 03:08 | Now, I drag that down here, but before I
do that I need to add a copy of farrier
| | 03:13 | to this second video track, because I'm
going to apply it to the one above this
| | 03:17 | guy down below here.
| | 03:18 | So I take my farrier, drag him down above there.
| | 03:21 | I take the matte and put that above
the second version, and make sure that it
| | 03:26 | matches the length of the
farrier, and now we're done, right?
| | 03:29 | If I turn these guys on, oh, hang on a second.
| | 03:33 | That's not exactly what we had planned, right?
| | 03:34 | What we need to do is take the
farrier-2 on Video 2 and apply the track matte
| | 03:40 | Key to it, connecting it to this matte.
| | 03:42 | So I go over here, get my Track Matte
Key, apply it to the one there on the second
| | 03:46 | track, not the one on the bottom,
but the one here, and not to the matte.
| | 03:49 | Lots of my students when I teach video
production in junior college, they always
| | 03:53 | apply it to the matte itself. Nope!
| | 03:55 | It's to this clip here to which
you're going to apply the matte.
| | 03:58 | Click on that guy, go to Effect
Controls, open up the Track Matte Key, and it
| | 04:02 | says, which layer, which track
are we taking this matte from?
| | 04:07 | We're taking it from Video
3, and now it's connected.
| | 04:09 | And now, as you can see, nothing has happened.
| | 04:12 | That's because we need to
do a couple more things.
| | 04:14 | We need to make this clip, which now has a
mask on it, like that. There is the mask.
| | 04:20 | You can barely see it, but that is
the area that's defined by the mask.
| | 04:23 | We need to make that guy brighter.
| | 04:25 | So I am going to apply the Fast Color
Corrector to the clip that has the Track
| | 04:30 | Matte Key in it, and we'll just expand
the view a little bit here, so we don't
| | 04:34 | need to have keyframes, and
I want to make it brighter.
| | 04:38 | So I'm going to bring the Input for the
Highlights down to make it brighter that way.
| | 04:44 | You can see it's already getting
brighter. Bring it up a little bit more.
| | 04:49 | I'm going to bring up the Gamma up just
a touch, to the point where it's going
| | 04:52 | to look kind of phoney,
| | 04:53 | like right about there. It's beginning
to look like really, something is wrong
| | 04:57 | with this picture. Why is it so bright?
| | 04:59 | So you have to kind of fine-tune where
the brightness level will be, where are
| | 05:02 | you going to be satisfied that it's not
too obvious that you've made a mask, and
| | 05:05 | also you're kind of going, gosh,
that's awfully shapely defined.
| | 05:08 | The other thing you do when you do mask like
this typically is to apply a blur to the matte.
| | 05:13 | So I am going to go to Video Effects >
Blur & Sharpen, and take our Gaussian
| | 05:18 | Blue, the one that has all those badges on it.
| | 05:20 | It has these three badges, meaning it's
accelerated, works in the 32-bit space,
| | 05:24 | and works in the YUV colorspace, which
means it keeps your clip in its original
| | 05:29 | pristine form, which is a good thing.
| | 05:31 | Apply this down to the matte.
| | 05:33 | And now I'm going to blur the matte,
and that will soften the edge to make it a
| | 05:39 | little less obvious that there is a matte there.
| | 05:42 | So let me show you the before and the after.
| | 05:44 | This track, by the way, could be on or
off. It doesn't make any difference at this
| | 05:47 | point because this matte
automatically turns off that section of the track.
| | 05:50 | But I'll turn off Video 2.
| | 05:52 | There is the original clip, and there
is where we've added the matte to it.
| | 05:57 | Now, if you see the before and after
you're going, oh, that's too bright, but if
| | 05:59 | people don't see the before and
after they go, oh, that looks fine.
| | 06:01 | There's a guy working there,
which is what we want to do.
| | 06:04 | Let's move on now to the woodturner.
| | 06:06 | I am going to do a little
different approach here.
| | 06:08 | I am going to do invert the matte so
that I highlight this area instead, so you
| | 06:12 | get to see that you can do it either way.
| | 06:14 | So let's go back and make a new title here.
| | 06:16 | I'll go File > New > Title.
| | 06:19 | Another way to do it, go to Title >
New Title, and it will just take a Default
| | 06:24 | Still there, and I will
call this one matte-turner.
| | 06:31 | And again, it opens up right there,
very helpful, because it shows what we need
| | 06:35 | to make the matte on.
| | 06:36 | I've got my Pen tool selected again.
Basically this area back here is what I want to select.
| | 06:39 | It doesn't have to be too exact, because
I am going to blur the edges again.
| | 06:42 | So I got there, maybe right there,
avoid that blue box, because it's kind of
| | 06:48 | in the foreground here.
| | 06:49 | I'll going to go up to right there, above
the ceiling. You'll notice when I get back
| | 06:57 | to the starting point I get that
little O next to the Pen tool. It means I am
| | 07:01 | going to close it off.
| | 07:02 | And again, I've got to go from Closed
Bezier to Filled Bezier and again, I have
| | 07:07 | the default setting,
which is just a solid white.
| | 07:09 | Now, it can be any color,
as long as it's just solid.
| | 07:12 | You don't want any borders around it,
because it will show up, and that will look weird.
| | 07:15 | There you go!
| | 07:15 | Now we've got our graphic.
| | 07:17 | We need to put an exact copy of this one
on the second video track, so I go back
| | 07:21 | to my project and grab my woodturner
and pull him down there in top, because
| | 07:25 | that's the thing we're
going to apply the effect to.
| | 07:28 | I take my matte-turner, put him on top
there, lengthen it to make sure it's the
| | 07:32 | same length as the one below it.
| | 07:34 | If I turn that track on, you can see,
whoa, there is that thing there, but we're
| | 07:37 | going to fix that in a second.
Click on this guy, and we're going to put our
| | 07:41 | Track Matte Key on that.
| | 07:44 | Now we go to the Effect Controls panel,
say which track is the Track Matte Key on?
| | 07:49 | It's on Video track 3. There you go!
| | 07:52 | Now, nothing is happening yet,
because we haven't changed anything.
| | 07:54 | Probably there is a Matte Alpha or Matte luma.
| | 07:57 | Well, since this is a title, it has a
transparent area, the alpha area, and it
| | 08:02 | also has luma because it's a solid thing.
| | 08:05 | Either one works in this case, because it
has a transparent area and a solid area.
| | 08:09 | So it doesn't make a difference which
one of these things you check in the
| | 08:11 | dropdown list when you're
working with the Title tool.
| | 08:13 | This time though, I want to
reverse it, so I'll turn off the bottom.
| | 08:17 | This is what we're seeing.
| | 08:20 | This is what we're going to fix.
| | 08:22 | We've actually allowed this area to
show through, as opposed to, if I had
| | 08:26 | not reversed it, that.
| | 08:28 | We want to change this from this
kind of blue cast to match the orange
| | 08:33 | cast of what's on top.
| | 08:35 | I've got this guy here.
| | 08:36 | I am going to put the Fast Color
Corrector on him. There you go!
| | 08:40 | And I know that, generally speaking,
since this is outdoor lighting and we want
| | 08:43 | to go to tungsten lighting,
| | 08:44 | I want to go from a blue cast to an orange cast.
| | 08:47 | I'll just kind of drag this away and
get that process going. Look at that.
| | 08:49 | We're already beginning to take the
exterior area here that was in a blue
| | 08:55 | sunlight and bringing it up to the basic
tungsten quality of what's in the back there.
| | 08:59 | Is that not just so cool how easy that is to do?
| | 09:03 | So the Track Matte Key effect, working
with a matte that you can make in the
| | 09:08 | titler, can be an effective way to
isolate an area inside a clip and do some
| | 09:12 | color correction and tonality work on that.
| | Collapse this transcript |
| Animating track mattes| 00:00 | Since most of the time you are dealing
with moving pictures, not still images,
| | 00:04 | some secondary color corrections
need to follow action. The Tonal Range
| | 00:08 | Definition and the Secondary Color
Correction features found in some color
| | 00:11 | correction effects do that by design,
but masks made using the Track Matte Key
| | 00:16 | start their lives as static graphics.
Making them follow action takes some
| | 00:21 | effort on your part.
| | 00:22 | Moving track mattes are frequently called
traveling mattes and here is how you make them.
| | 00:26 | I have got two clips here that need
some help from a traveling matte, and I
| | 00:30 | have already shown you how to make track
mattes in the movie "Using the Track Matte Key."
| | 00:33 | So I won't give you too many details
about that, but let me show you what
| | 00:36 | the problems are here.
| | 00:37 | I've got this green fence that I turned red.
| | 00:40 | I turned it red using the
Three-Way Color Corrector.
| | 00:43 | And I want it to be a red as I move
the camera, and I don't want this stuff to
| | 00:48 | show up as red/ The original color
down here in the bottom track Video 1, the
| | 00:52 | original color was green.
| | 00:53 | That green matched this green and so it
turned red when I applied the Three-Way
| | 00:56 | Color Corrector to it.
| | 00:57 | Now that red thing up there was red
all along, as was this little red thing there,
| | 01:01 | so I am not worried about them.
| | 01:02 | But I don't want the rest of
the stuff to turn red like that.
| | 01:05 | So I need to use a track
matte to get rid of that.
| | 01:07 | The track matte is on the top track there.
| | 01:09 | It's a little box that I've used to
cover up that section. And you've seen how
| | 01:13 | those work before, but what's
different this time is that I need to make the
| | 01:16 | matte move. As I move the
camera here, the matte needs to move.
| | 01:21 | That matte needs to follow the action.
| | 01:24 | You will notice that it is here
because that matte has these keyframes on it
| | 01:28 | that allow it to move.
| | 01:30 | There is a position keyframe that
move as I move the clip through.
| | 01:33 | I will give you a sense of
how that works in just a moment.
| | 01:36 | My other problem here is
this shot of the bridge.
| | 01:40 | I took the bridge shot and I toned it
down to give it sort of a day-for-night
| | 01:44 | feel like that, and that tones
down the brightness of the lights.
| | 01:48 | I'd rather have the lights be brighter,
but I don't want the truck to be too bright.
| | 01:53 | So here what I did was I made the scene
darker, but still retain some of the
| | 01:57 | brightness of the light, but
now the scene is too light.
| | 01:59 | So what I need to do is somehow just
reveal these lights and not reveal the
| | 02:04 | rest of the bright scene, so that the
darker scene shows through, and I do that
| | 02:08 | again with a matte,
| | 02:09 | with the little oval that I created.
| | 02:11 | I cover up the lights and apply track
matte so that only the light show through,
| | 02:16 | and what you see in the end is that:
the lights are brighter now as a result of
| | 02:22 | using a Track Matte Key.
| | 02:23 | And if you look at the keyframes for
that, much harder to keyframe that kind of
| | 02:29 | motion where not only are you following
the motion of the little oval, but you
| | 02:33 | are making it larger, taller, and wider,
and maybe rotating a little bit as it
| | 02:38 | goes through the scene.
| | 02:39 | So, for example, I'll turn off the Track Matte
Key for a second, just so you can see the oval.
| | 02:44 | I will turn the keyframe so that as I
get to the end the bridge, the oval, as you
| | 02:50 | can see, is getting larger, and
eventually it gets so large that eventually goes
| | 02:56 | off screen, and notice
that's fuzzy. I blurred it.
| | 02:59 | So let's just take a brief
look at how that was done.
| | 03:02 | The way track mattes work is you have
a clip that you like and a clip where
| | 03:06 | you've got something on top of it that
has something else going on and you want to
| | 03:10 | either cover up something or reveal something.
| | 03:12 | So here the clip on top is red, and I want
to cover up this, revealing the regular
| | 03:19 | green thing below that.
| | 03:20 | So I apply the Track Matte Key to the
second clip, the one on top and I make a
| | 03:26 | matte for that, and the
matte would be a rectangle.
| | 03:28 | I'll show you briefly how to make a matte.
| | 03:30 | I was going to say maybe rather than
that, I'll just make one, but let's just
| | 03:32 | briefly show you the process,
clicking on that, make a new title.
| | 03:35 | We will call it the fence-matte-2 since
I've already made one fence-matte. And you
| | 03:42 | take your Pen tool and make the matte
to cover up this area, to get rid of all
| | 03:46 | the extraneous red stuff.
| | 03:53 | And that should take care of it, but
it needs to be solid, so I need to change
| | 03:57 | the Graphic Type from a Closed Bezier,
which is the default when working with a
| | 04:00 | Pen tool, to Filled Bezier, and accept
that the white, with no strokes, notice
| | 04:05 | there are no strokes here,
and it's just a solid white.
| | 04:07 | That's all I need is something opaque.
| | 04:09 | And now I have made my matte, and I
take my new matte and put it above the clip
| | 04:14 | I am going to apply it to.
| | 04:15 | I am going to take this clip, go to the
Effect Controls, go to the Track Matte
| | 04:19 | Key and say attach this matte on
Video 3 to that clip. Now we've done it.
| | 04:25 | We've attached it, but it's not
exactly going to do what we want to do.
| | 04:28 | The matte is letting part of this area
show through, which is its normal routine.
| | 04:33 | I am going to do the offset and show
what's below it come through, so now you
| | 04:37 | can see that the matte is
showing what's below it.
| | 04:38 | It is showing the green thing, but
it's not moving and that's the problem.
| | 04:41 | So the way you can set up the
keyframes is typically by turning off the clip
| | 04:46 | that you are looking through, and that
way you can see how the matte is working.
| | 04:50 | It's making this area, this clip on top
show through, except for that area, and now you
| | 04:54 | start making keyframes.
| | 04:55 | So you select the matte itself because
you are going to move the matte, and you
| | 04:58 | go to Motion. You want keyframes for
position and scale for this particular case.
| | 05:03 | And then you start moving backwards in
time and take your matte and move it to
| | 05:07 | the left in this particular case and
slide it over a bit, and when you slide it
| | 05:11 | over, whenever you change something
after you've moved it, it automatically adds
| | 05:15 | a keyframe, and you might want to
maybe move it down or something like that.
| | 05:18 | But you see the basic process here is that
you keep on going back in time until the
| | 05:22 | spot where the matte should start and
move it to the left until you finally get
| | 05:26 | it lined up, and that makes
keyframes. Just as I did over here,
| | 05:29 | you get a set of keyframes that will
allow the matte to follow the action. Let's
| | 05:33 | move to the bridge.
| | 05:34 | The bridge has way complicated keyframes,
so I am not going to give you all the
| | 05:38 | details about that, but I will
give you a sense of how that works.
| | 05:41 | My goal is to have those lights covered
up with a matte, such that I reveal the
| | 05:46 | lights, as opposed to conceal them.
| | 05:48 | So again I need to make some kind of a
matte, but this time I'll just take one
| | 05:52 | that I've already got, a car-oval, put
it on there. I kind of moved it right on
| | 05:56 | top of the guy, so lets make it a
little better there. Here we go.
| | 05:59 | If I get across all the way and there is
my oval. I've got the track turned on
| | 06:03 | right now so you can see it, but I'll turn it off.
| | 06:05 | I'll connect it with a Track Matte Key.
| | 06:07 | So I will go to Effect Controls for
this guy on top, add the Track Matte Key to
| | 06:12 | it, say connect with that oval
on track 3, and now it's connected.
| | 06:17 | This is the oval, and it's showing
what is on this particular layer and not
| | 06:22 | displaying what's below it, because I've
got that turned off, but I will turn it
| | 06:25 | back on and that displays the rest.
| | 06:26 | So you can see how ugly that would be
if I didn't blur it, so what I want to do
| | 06:30 | now is blur it. So I will go to Video
Effects > Blur, use the Gaussian Blur,
| | 06:37 | blur the oval. I can blur it a lot.
And now I need to position the oval,
| | 06:42 | so I would turn off the bottom
track, because it's helpful just to have
| | 06:45 | that isolated by itself.
| | 06:47 | Now I will take that oval, I would
move that car into the frame, let's say,
| | 06:51 | right there, have that be let's say
the first set of keyframes. So I click on
| | 06:55 | the oval, click on the matte, open up
Motion, turn on keyframes of that point,
| | 06:59 | and now I've set keyframes for that spot, and
now I will need to manipulate it by going back.
| | 07:04 | Actually before I manipulate it,
let me do one more little thing.
| | 07:06 | I am going to open up the Uniform Scale
and open up Scale Width and also turn on
| | 07:11 | keyframes for width, because at some
point I am going to need to shrink this
| | 07:13 | thing down from left to right.
| | 07:15 | And now I can go back in time,
and I would take each position,
| | 07:19 | I would slide this to the
left till I move the oval over,
| | 07:23 | have it fit the new spot. Eventually
you would put on keyframes to not only
| | 07:28 | follow the truck left to right, but also
change the size, the height, and width,
| | 07:33 | and you'd end up having
keyframes along these lines.
| | 07:36 | That's what, about 15 keyframes, times
three, from left to right? Each time you
| | 07:40 | do just a keyframe for the position,
scale, and height, it adds these things
| | 07:43 | automatically, so that
would be the ending result, right,
| | 07:46 | have the keyframes follow the truck motion.
| | 07:49 | Let me just turn this on now. If I
were to play this then the little bright
| | 07:55 | lights would stay bright throughout the entire
motion because the matte on top is following it.
| | 08:00 | So that admittedly is a fairly tedious
process, but if you want to follow motion
| | 08:05 | with a Track Matte Key, you need
to make a travel and you need to apply,
| | 08:09 | sometimes, a lot of keyframes to do that.
| | Collapse this transcript |
| Compensating for changing lighting conditions within clips| 00:00 | You'll find that when you follow action
it sometimes goes from full sunlight to
| | 00:04 | deep shade, or from sunlight
into a room with tungsten lights.
| | 00:08 | In each case the tonality and
color will shift. So what to do?
| | 00:12 | Well, use keyframes to animate the
tonality and color correction effects.
| | 00:16 | Here is an example.
| | 00:17 | Let me just show you. I'll turn off the sound, just
so you can watch the color shift.
| | 00:21 | So they go from sort of a deep
shade here, and then suddenly the sun
| | 00:27 | is illuminating them.
| | 00:28 | Then there are in even deeper shade, deep,
deep, deep, and then the door opens and
| | 00:32 | they're under studio lights, a
tungsten light, kind of orange. All kinds of
| | 00:37 | little issues to deal with there.
| | 00:38 | Let me show you the fix that I did here.
It's not perfect, I could have used
| | 00:42 | some secondary color correction
fixes to take care of some of the bright,
| | 00:46 | bright highlights, but we'll just
focus on the basic tonality changes and the
| | 00:50 | basic color changes.
| | 00:52 | They are not quite as bright as this time.
| | 00:55 | Now it's not going to be as dark.
| | 00:57 | There's going to be more color here.
| | 00:59 | As they go through the door, we're
going to take care of that orange glow and
| | 01:02 | tune it down just a little bit,
make it more natural looking.
| | 01:05 | And that's the basic way
that ended up looking from that.
| | 01:09 | with sort of really, really bright there, and
then really dark and kind of desaturated
| | 01:15 | here, and then opening up the
door and having it be orange.
| | 01:18 | So we've pretty much fixed that.
| | 01:19 | Let me just show you the fix, and
then I'll give you some basic tips on how
| | 01:23 | to do this yourself.
| | 01:24 | We used the Fast Color Corrector for
this, and I could've used the RGB Color
| | 01:28 | Corrector instead, but I'll explain
why I chose this one, and why you would
| | 01:32 | choose the other one, if you care to.
| | 01:34 | Now I applied the lot of keyframes and
right now the little keyframe view isn't open,
| | 01:37 | so I click this little chevron in the
upper right-hand corner, the Show/Hide
| | 01:40 | Timeline view, and there is
where the keyframes will reside.
| | 01:43 | And the keyframes that we're applying
here are to the Balance Magnitude, and
| | 01:47 | the Balance Gain, the Saturation, and
the various Input and Output values for
| | 01:53 | black, gray, and white.
| | 01:54 | A lot of changes for the tonality there,
the brightness and the contrast, and some
| | 02:00 | changes for the color as well.
| | 02:02 | Now I chose the Fast Color Corrector,
as opposed to the RGB Color Corrector,
| | 02:05 | because I knew I was going to go from
maybe something a little overly orange
| | 02:10 | into a shadow and then back
into something kind of orange.
| | 02:13 | If I'd changed the color, let's say
instead of having the angle just being
| | 02:17 | static, see there are no keyframes
for the angle, the angle stays the same.
| | 02:20 | It's just that the Magnitude changes.
| | 02:22 | If I change the angle, then
this little guy would swing around.
| | 02:25 | It wouldn't just go
directly from one to the other.
| | 02:26 | It would go like that.
| | 02:28 | You have this horrible color shift going
from let's say a nice orange shift to a
| | 02:31 | green shift and then back to orange again.
| | 02:33 | So you don't want to do that.
| | 02:35 | So if you think you can do it linearly,--
in this case going from sort of a deep
| | 02:39 | outdoor to orange to shade and back into
the orange light of the tungsten light--
| | 02:42 | then it's okay use this.
| | 02:44 | If you think you're going to shift it
sort of wildly amongst the colors,
| | 02:47 | it's best to use the RGB Color
Corrector where you can keyframe individual
| | 02:51 | shifts in the color.
| | 02:52 | So let's stick with this.
That's why I chose this. Let's go here.
| | 02:55 | It also easier to work with the Fast
Color Corrector when I deal with Input
| | 02:58 | and Output values for the tonality.
| | 03:00 | So basically I take a look at the
beginning, and we'll just click on this guy and
| | 03:03 | make sure the Fast Color
Corrector is applied to it.
| | 03:05 | I ask myself, okay, what's the starting point?
| | 03:09 | The starting point should be that I
get things right at the beginning.
| | 03:11 | So right now it's little too bright, so
we're going to bring down the highlights.
| | 03:16 | The shadows could be a little
bit deeper, and the midtones could be
| | 03:21 | brought up maybe just a notch or two,
maybe just one little notch there, or
| | 03:25 | something like that.
| | 03:26 | I don't want to get too carried
away here. So that will be the beginning point.
| | 03:28 | Once you have a beginning point, you
should probably also check the color here,
| | 03:31 | and I think the color is a little on
the orange side, so I'm just going to pull
| | 03:34 | it towards blue a little bit,
jus to kind of compensate for that.
| | 03:37 | So now that we've got our base point
set, now we start setting keyframes.
| | 03:41 | We're not going to do keyframes for
Angle, because we don't want the angle to
| | 03:44 | change, but I will keyframe the Magnitude.
| | 03:46 | And the Gain I could keyframe if I was
going to make dramatic changes to the
| | 03:50 | car, but I'm not going to do that.
I could keyframe that, but I'm not going
| | 03:53 | to mess with the Angle here as well.
| | 03:55 | I'm going to keyframe the Saturation, because
when they go into shade, they lose saturation.
| | 03:59 | So I want to add saturation there, and
I definitely want to keyframe the five
| | 04:03 | Input and Output values, 1, 2, 3, 4, 5.
| | 04:06 | So now I've got the baseline set, and
I'm thinking maybe right off the bat
| | 04:10 | here we could actually add a
little Saturation at this particular point,
| | 04:12 | just make it a little richer in color.
| | 04:14 | Okay, now we go forward.
| | 04:15 | I'm not going to do every single thing that
happens here, because it can get a little crazy.
| | 04:19 | Now the highlight is beginning to
show up in young lady's face and her
| | 04:23 | hair right about there.
| | 04:25 | So about there, when it shifted from
one thing to another, all I need to do
| | 04:29 | is make a change and it will gradually
shift over time to try to compensate for that.
| | 04:33 | So it's hard to put in keyframes in
these little guys like this. It's easier
| | 04:37 | just open it up like so.
| | 04:38 | Now you can see it better.
You can see the sliders better.
| | 04:41 | I need to bring down the highlights a
little bit, because it's going to get
| | 04:43 | really bright and the highlights
are going to get bright on the face.
| | 04:45 | So I'll bring them down a little bit
like that, and we'll just let that go.
| | 04:50 | And if I open this up again, you'll
see that I added a keyframe, or the output
| | 04:55 | for the white values. Just by changing it at a
new location, that automatically adds a keyframe.
| | 04:59 | I can go forward a little bit farther here.
See that it gets very bright right there,
| | 05:03 | so we can do the same thing again:
open it up, look at the sliders, knock it
| | 05:07 | down a little bit, and maybe knock
down the Input Levels, not too much.
| | 05:12 | That's a little bit much, but you can
get the sense that if I do that then there
| | 05:14 | will be a keyframe for that. There are now two.
| | 05:17 | And that's the basic way. I'm
looking at the saturation here. Boy, it
| | 05:19 | looks oversaturated.
| | 05:21 | So I'm going to knock the Saturation
down there, kind of tone it down as well, a
| | 05:25 | little too much there.
| | 05:26 | And then you just tone down the
saturation a bit, and you see that automatically
| | 05:29 | it adds a keyframe there as well.
| | 05:31 | Now let's go inside. We'll skip all the stuff in
the middle here because it's a lot of work, but I
| | 05:35 | want to go inside, and you can see
it's already getting darker again.
| | 05:37 | So when you see it start getting darker
you can start ratcheting things up again.
| | 05:40 | So I'm going to open up the
whole view, so I can see the sliders.
| | 05:43 | It's much easy to go with sliders.
| | 05:45 | I need to bring the whites way back up again.
| | 05:47 | So let's bring them back up
again, as we go back in the shade.
| | 05:50 | There we go, get those guys back up to
something like that, and this probably is
| | 05:54 | a little too bright.
| | 05:55 | I'll bring the blacks down again.
| | 05:57 | I think let's check the saturation now.
| | 05:59 | Let's bring the saturation up now.
| | 06:01 | Maybe as we go into the
shade, we want to resaturate things.
| | 06:04 | So while those things were happening,
| | 06:06 | I'm thinking also that color
correction might need to go a little bit more
| | 06:10 | toward the orange as we go in the shade.
| | 06:12 | Let's just see that
happens here, as we go forward.
| | 06:13 | That's little too orange there, as you see.
| | 06:15 | So I'm going to pull the orange
back by taking the magnitude back.
| | 06:20 | I can either drag this guy away from
the orange like that, or I could do it
| | 06:25 | numerically, but in either case it's going
to add a keyframe as I change the magnitude.
| | 06:29 | I'll just pop those things, so you can
see the keyframes, and you can see that
| | 06:32 | added a keyframe simply by changing it where
the Current Time Indicator is at a new position.
| | 06:36 | I can keep I'm going to forward like
this, adjusting the whites and the blacks
| | 06:40 | and the midtones to compensate for the shadow.
| | 06:42 | I'll just skip that though, because it
will be so time consuming and as they
| | 06:45 | get in the door, it's going to get orange again.
| | 06:47 | So I need to add a little more blue
there to compensate for the orange, not that
| | 06:52 | much blue, but you can see that we
would compensate for the orange as they go
| | 06:55 | through the door and fall
in the artificial lighting.
| | 06:57 | And then I'll also would adjust the lighting
here as it goes from dark back into bright.
| | 07:01 | So that's the basic process.
| | 07:03 | Let me just show you this other keyframe again,
so you can get a sense of how detailed
| | 07:06 | that was versus what we just did.
| | 07:08 | We changed the Magnitude of the color
here seven times, and we changed the Gain
| | 07:13 | slightly, and then we changed the
Saturation five times and changed the Tonality,
| | 07:19 | goodness knows how many times,
| | 07:20 | 15 times or something like that.
| | 07:22 | So that's the basic process.
| | 07:23 | You have to put in keyframes to
compensate for these changing lightings if
| | 07:26 | you're doing a pan or if there's some
kind of action going on in your shots.
| | Collapse this transcript |
|
|
6. Matching Tonality and Color in Multiple Clips Reviewing the workflow to match tonality and color in multiple clips| 00:00 | It's not at all unusual to shoot video
at the same location at different times
| | 00:04 | of the day or under different lighting
conditions, like these two guys here.
| | 00:07 | This is a sunset, and here's the
midday, a little cooler looking.
| | 00:11 | If these shots were edited consecutively
there will be an obvious shift in the
| | 00:15 | tonality and colorcast.
| | 00:17 | You want to take steps to
minimize that disconnect to your viewers.
| | 00:20 | Matching tonality and color
and multiple clips is tricky.
| | 00:24 | It's one of those tasks that can keep
you up at night as you seek perfection.
| | 00:28 | The workflow goes something like this.
| | 00:30 | First you select a master clip
and add it to the timeline.
| | 00:33 | Then you the add the shot that you want to
change above the master clip on the timeline
| | 00:38 | and then use the Crop effect to create a
split-screen. Then you compare tonality.
| | 00:43 | Compare the contrast ratios and the brightness.
| | 00:45 | Adjust the non-master shot
to match the master shot.
| | 00:49 | Then you compare color.
| | 00:51 | You use the RGB Parade scope and the
Vectorscope to help you there.
| | 00:55 | Finally, you adjust the color.
| | 00:56 | You typically start with the
highlights because they need the most adjusting
| | 00:59 | then the mid-tones and then the shadows.
| | 01:02 | And finally you adjust the saturation,
with the Vectorscope as your guide.
| | 01:05 | There is both an art and a
science to color-matching.
| | 01:08 | Ultimately the viewer is the arbiter,
and keep in mind that they won't be
| | 01:12 | critically examining your projects
looking for color and tonality shifts.
| | 01:16 | They tend to be forgiving if
there are slight differences.
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| Matching tonality in multiple clips| 00:00 | Rather than explain the whole
tonality and color-matching process in one
| | 00:04 | movie, I thought it best
to do it one step at a time.
| | 00:07 | We will do tonality matching here
and color matching in the next movie.
| | 00:10 | Let me give you a sense of how I set
things up compared to the previous movie
| | 00:14 | where I explained it all for you.
| | 00:15 | I've got the two turkey shots
here and the two coast shots here.
| | 00:19 | I am going to try to match both of them.
| | 00:20 | Let me show you the
originals up here in a larger size.
| | 00:23 | That's the coast-2, and here is the
one I am going to try to match it with.
| | 00:26 | Notice how these big rocks are kind of
off in the distance there, and in this
| | 00:30 | particular case they're a little bit closer up.
| | 00:31 | When I try to match these shots, I
try to frame them so that they take up
| | 00:35 | basically the same amount of space, so
you can work with a similar size palette
| | 00:39 | to begin with. And the turkeys are like this.
| | 00:42 | Here is a ground-level shot of these
turkeys and then a shot from up above on a
| | 00:48 | platform looking down.
| | 00:50 | Now the problem here is that there are
some highlights around the edges here.
| | 00:53 | What I want to match is this area here.
| | 00:55 | I want to match the tonality and the
color of that area, and then I will deal
| | 00:59 | with these little highlights later
with secondary color correction to knock
| | 01:03 | those highlights down, so
they're not so prominent.
| | 01:05 | We still at the same tonality from
that area versus this area around here.
| | 01:11 | So we'll start with the turkeys.
| | 01:13 | I put the master clip on the bottom,
and I will turn off the top layer for a
| | 01:16 | second so you can see how I did that.
| | 01:18 | There is the master clip on the bottom.
| | 01:20 | I did two things there.
| | 01:21 | Let me go to Effect
Controls so you can see that.
| | 01:23 | One, I moved it, so I used the Motion
effect up here which is built into all the
| | 01:28 | clips that have images to
them, video or still frames.
| | 01:31 | I go up to 10% so you can see
the original size of that clip.
| | 01:35 | So there is the original size, and I
moved it over and then applied a crop to it.
| | 01:39 | The original clip was out there,
and now I've cropped it down.
| | 01:42 | The second clip on top, same kind of
process. Originally it took up that much space.
| | 01:48 | I applied the crop from that to that
so that I could just be focusing on the
| | 01:53 | same kind of scene here with the leaves
on the ground without a lot of sunlight
| | 01:57 | coming through. A little bit of
highlights here, a little bit highlights in the
| | 02:00 | limbs, but it's close enough that we
should be able to match the tonality.
| | 02:03 | I am looking over to two
coast shots, similar process.
| | 02:06 | I will turn off the top layer for now.
| | 02:08 | There is the bottom clip. The bottom
clip I will select it and click on Motion.
| | 02:12 | You can see how big it was and how much
I zoomed in on it to get that rock off
| | 02:17 | in the distance, but I did that
because I wanted it to match the one on top,
| | 02:21 | which was a closer shot.
| | 02:23 | There is the original frame, and then I
cropped it down from that frame to here,
| | 02:28 | so that we could have basically a
matching scene which we have the luxury of
| | 02:32 | being able to have here, but we don't
have necessarily with the turkey shots.
| | 02:35 | So I'll go back to our friendly turkeys.
| | 02:38 | We're going to work on the one on top.
The bottom is the master, so we're going
| | 02:42 | to work on the one on top. And we want to
use the Waveform scope to help us here,
| | 02:45 | so I am going to pull it out of
the frame here, so it's much larger.
| | 02:48 | So I'll hold down the Ctrl or the
Command key and click on this little thing in the
| | 02:52 | upper left-hand corner, drag that guy way out.
| | 02:53 | I am trying to get it pretty high here
because I am going to slide it way down here
| | 02:58 | and get that guy set up.
| | 02:59 | I can drag this down because
I don't need the bottom of it.
| | 03:02 | Let me get this frame back
into its Fit mode.
| | 03:05 | There we go. Now we're ready to rock and roll.
| | 03:09 | So the turkey guy on top is what I
want to change, and I want to apply the
| | 03:13 | Fast Color Corrector.
| | 03:14 | I like using the Fast Color
Corrector for its levels-styles controls.
| | 03:17 | It's just a little more comfortable
for me to work with these guys, and the
| | 03:20 | Three-Way Color Correctors levels-styles
controls are a little too complex and
| | 03:24 | have too many different ways to handle them,
| | 03:26 | so I'd rather just stick with the basic
levels approach this way, which works just fine.
| | 03:31 | Now remember, the guy on the right is
the guy we're fixing, and in case you
| | 03:34 | forget--and, by the way, I know you will
because I have many times--I'll turn off
| | 03:38 | the eyeball for a second to remind me.
| | 03:39 | Oh yeah, the guy on the top track, he
is the guy we're working on, and he is
| | 03:43 | on the right, okay.
| | 03:44 | That's kind of the standard workflow for
me, just always remember that the one on
| | 03:47 | the right is the one I am working on.
| | 03:48 | Now I can see here in the waveform, in
these choices, that clearly the guy on
| | 03:52 | the right is brighter.
| | 03:53 | I can also see it by eyeballing it
here, and it's not just because there are
| | 03:57 | some highlights here.
| | 03:58 | It's because the overall scene is brighter.
| | 04:00 | You can see the midtones here are a
little bit elevated and the blacks here are
| | 04:04 | just about the same as the ones here to
the left, but need to come down a bit.
| | 04:09 | So that's my basic plan of attack here.
| | 04:11 | Let me bring the blacks down
| | 04:13 | by going to the Input levels, deepen the blacks.
| | 04:17 | I will drop them down a little bit like that,
just so that the deepest black touches 0.
| | 04:21 | By the way, there is this distinct
green line down here at 0. That's because of
| | 04:25 | all the black around the edges.
| | 04:26 | The waveform is seeing that as
absolute black and showing it as 0 there.
| | 04:30 | That's what's going on there.
| | 04:31 | Now we're going to look at the highlights.
| | 04:33 | It's the next step.
| | 04:34 | It's always blacks--or shadows--whites,
highlights, midtones, grays, so that's
| | 04:40 | our order of work here.
| | 04:41 | So now we want to bring down highlights.
| | 04:43 | Well, when you bring them up,
you use the Input slider.
| | 04:45 | When you bring them down,
you use the Output slider.
| | 04:47 | So we're going to bring them down, try
to get them to more or less match up.
| | 04:51 | I am looking at these little valleys here.
| | 04:55 | I am trying to think, okay, are this
valley is pretty much matching the midtones
| | 04:57 | here to the left, and I
think they are working out okay.
| | 05:01 | That's working out all right.
| | 05:02 | This thing on the right, I am going to
ignore that because that's this highlight
| | 05:05 | right there in the corner kind of
popping off the screen, and we're going to
| | 05:08 | deal with that later, so I
am looking across the way.
| | 05:10 | I am thinking that's pretty good.
| | 05:11 | If I take a look at the Gamma, maybe
I want to adjust the Gamma, but I am
| | 05:14 | thinking the Gamma might be fine,
but it looks a little bit richer here.
| | 05:17 | So if you knock the Gamma just a slight
touch, maybe 1.1, it might be a little better.
| | 05:22 | I am looking at the blacks here.
| | 05:23 | I might need to bring the blacks down
just a little bit more, and there we go.
| | 05:27 | I think we've pretty much matched the
tonality on those two clips, and again
| | 05:31 | this is not an exact science here,
but that's the basic process.
| | 05:35 | Let me move over to the coast clips, and
we're trying to get something similar in
| | 05:39 | terms of the amount of ocean, amount
of rocks, and I think we've got a pretty
| | 05:41 | good mix there, that they are
basically the same approach.
| | 05:45 | It's not necessarily the same
angle, but it should work out okay.
| | 05:48 | This will look a little different
because of the waves, but there you go.
| | 05:49 | I am thinking okay, the blacks here go
down to right on here, and by the way, you're
| | 05:54 | thinking, "Why don't the
blacks go down to the bottom?
| | 05:55 | Isn't that what you're shooting for
normally?" Well, I am taking the original clip.
| | 05:59 | I am going to match the non-master to
the original, and later when I put these
| | 06:04 | guys in one long sequence, I can
nest that sequence and apply one color
| | 06:08 | correction effect to that entire
sequence and adjust them all at once.
| | 06:12 | So rather than try to adjust this first
one and do this next one to match it
| | 06:16 | exactly, I just want to have one that
matches the original, and then later on I
| | 06:19 | can have them all go down later.
| | 06:21 | So now I am looking at these guys and
the one on the right again, just to make
| | 06:24 | sure the one on the right
is what I want to work with.
| | 06:25 | So I am going to turn off the
one on the right is that guy there.
| | 06:29 | That's what we want to work with.
| | 06:30 | It looks like the blacks are
just a little bit darker here,
| | 06:32 | so I am going to lift them up a little bit.
| | 06:34 | That's the Output, so I am going to
select this guy, add the Fast Color
| | 06:38 | Corrector, go down, and lift the blacks
up, which is the output side of things.
| | 06:44 | I am not making them darker. I am making
them lighter, so that's the output side.
| | 06:47 | Just up a little bit. The scene is
kind of a little bit darker anyways.
| | 06:52 | And now the highlights need to go up
here, so that's the input, raising the
| | 06:56 | highlights, kind of looking at the rock
there too as my comparison,
| | 06:59 | going how does the highlight here compare
to the highlight there? Similar I think.
| | 07:04 | Now I am looking at the midtones.
| | 07:06 | Now it's kind of little tricky because
the rock here is a little bit darker down
| | 07:09 | here whereas it's a little more mixed here.
| | 07:11 | You see more shadows on it, more light
on it, so I am thinking, okay, what do I
| | 07:14 | need to do with the midtones?
| | 07:16 | The midtones look pretty good, but I am
going to knock them down just a notch and
| | 07:19 | see what happens there, make it like
0.9, and I think we've done a reasonably
| | 07:24 | good job of matching the tonality
here of those two pretty different clips.
| | 07:28 | So that's the first step in
the process to matching clips.
| | 07:32 | You start by doing the tonality, and I
will explain how to match color in the
| | 07:35 | next movie, "Matching color in multiple clips."
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| Matching color in multiple clips| 00:00 | Matching clips can be viewed as art and science.
| | 00:03 | The science is matching tonality.
| | 00:06 | The art is matching color.
| | 00:08 | A lot depends on how you and your
audience perceive the two clips when played
| | 00:12 | one after the other.
| | 00:13 | So again, you are not necessarily
going to nail this thing perfectly,
| | 00:17 | but you have to kind of realize that your
audience gives you a little bit of the
| | 00:19 | benefit of the doubt.
| | 00:20 | Let's take a look at the two turkey
things, and I'll talk about how we set these
| | 00:23 | guys up just to remind you.
| | 00:25 | We've put the master clip on the bottom
and the clip we are going to want to try
| | 00:28 | to match to above it.
| | 00:29 | Now some people when they teach matching
clips like this, they tell you to put a
| | 00:32 | freeze frame on the bottom because it's
easier to line up another frame that way
| | 00:36 | when you got to like one frame to deal
with. That one's stuck and other guys are
| | 00:39 | moving, so you could find a
frame on top that matches.
| | 00:42 | But when you take freeze frames out
of most non-linear editors, including
| | 00:45 | Premiere Pro, the freeze frame
actually compresses the tonality, takes away
| | 00:50 | the super-whites and brings up the
blacks, and so you are not really having a
| | 00:54 | proper matching clip.
| | 00:55 | So right before working with two moving
clips: the original clip down here and
| | 00:59 | then the non-master above it.
| | 01:01 | So now our goal is to match the color.
| | 01:03 | The astute amongst you are going to
look at the levels figures here, going
| | 01:08 | to compare them to what I ended up
doing, in the previous exercise. We'll see
| | 01:13 | that the levels have changed ever so
slightly in a couple of places because
| | 01:17 | after I did it, because I was doing it
on the fly with the recorder going, I kind of
| | 01:20 | tweaked them just a little bit, and that
is one of the things about working with
| | 01:24 | matching clips. Invariably you
always going to go back and gosh,
| | 01:26 | maybe I could do just a little
bit more here just to fix it up.
| | 01:29 | At some point, you got to say, "Enough already!"
| | 01:32 | So we are going to close
that Fast Color Corrector now.
| | 01:35 | I want to try to match the colors.
| | 01:37 | Now lots of times when you match colors
you use the Vectorscope so you get a
| | 01:41 | general sense of which direction that
hue is going, but that won't work in this
| | 01:45 | case. I'll show you why, because the
Vectorscope blends both of these guys
| | 01:48 | together in one clump and
it really doesn't help now.
| | 01:51 | You can't really tell well whether this
guy is contributing to that direction or
| | 01:55 | this guy is contributing to that
direction, so what you use is the RGB Parade, which
| | 01:59 | works a lot like the waveform
because it looks at them left to right.
| | 02:03 | So this one on the left here is that guy,
the Master, and the one on the right is
| | 02:06 | the one we find the match in
each one of these three columns.
| | 02:10 | So what do I need to do?
| | 02:11 | It looks like the highlights in red
need to come down a little bit right there
| | 02:15 | and, by the way, these highlights here,
those little spots, and this little
| | 02:18 | bright area over there are these twigs
in that branch, and as I said before in
| | 02:23 | the previous movie, we are going to
deal with these guys, particularly that one,
| | 02:27 | in secondary color correction. I am not
going to worry about fixing those guys
| | 02:30 | in this particular thing.
| | 02:31 | So I am not going to worry about the highlights.
| | 02:32 | I am kind of ignoring
them, and this little guy too.
| | 02:35 | So I'm going to bring the red highlights down,
maybe bring the Pedestal down just a
| | 02:38 | little bit and then maybe the
midtones have got to come down too, but that may be
| | 02:41 | taking care of when we deal with
other two parts. And the green side looks
| | 02:45 | pretty similar; not much needs to be
done there, so I am going to leave the
| | 02:48 | green alone for the time being. And the blue
looks like the Pedestal here is getting
| | 02:52 | a little bit crushed at the bottom, so
I might want to lift that just a little
| | 02:56 | bit and bring the highlights down.
| | 02:58 | That's kind of my plan of attack.
| | 03:00 | I think the best tool to use when
you are working with individual color
| | 03:03 | channels like this is the RGB
Curves tool. You could also use RGB color
| | 03:07 | Corrector, but I like Curves more.
| | 03:08 | It's just little more intuitive for
me, so that's the one I like to use.
| | 03:11 | I can expand the view here,
so I get a larger set of curves.
| | 03:15 | So let's work with the red color channel.
| | 03:17 | I am thinking that maybe we can
bring the red Pedestal down a little bit.
| | 03:22 | So I am going to do that
by dragging to the right.
| | 03:25 | That brings them down. Notice how they
start sliding down a little bit there,
| | 03:27 | just a little bit. Don't go too much.
| | 03:30 | That's the thing by curves. It's just a little
bit tricky to move it, because it's not a numeric thing.
| | 03:34 | It's a physical thing, as you should drag that guy
along, so I am going to expand the view of it.
| | 03:38 | If I am looking at the highest part of
the highlights, which are right there, they are
| | 03:42 | very similar, but I am just going to
maybe put a little point right here.
| | 03:45 | See where that 60 line is?
The 60 line is right about there.
| | 03:49 | I am going to bring them down just a
little bit at the top of the midtones there.
| | 03:55 | Let's go over to the blue now and blues.
It looks like this guy is pretty smashed
| | 04:01 | up against the bottom here in the shadows,
| | 04:04 | so I am going to lift it a little bit.
| | 04:05 | So to make it darker you go to
the right; to lift you go up.
| | 04:08 | So I am going to lift it up just to touch.
| | 04:10 | There we go. It's like it's a little bit
more along the lines of what I expect.
| | 04:14 | I am looking here again
at the top of the midtones.
| | 04:18 | It looks like they need to come down,
so again I am going to put a little
| | 04:20 | point there and pull down the midtones right
there, so that I can match them up a little bit.
| | 04:25 | I am not trying to be perfectly exact, but I
think you get the sense for how that works.
| | 04:29 | And I feel like look at
the brown, look at the brown.
| | 04:31 | I think we did pretty darn well.
| | 04:33 | I feel pretty good about how
that turned out. Look at the green.
| | 04:35 | Green is matching up pretty well.
| | 04:38 | Even though our turkey is darker
here, it's just because of the angle.
| | 04:41 | I think we've got pretty good
tonality and color matching there.
| | 04:44 | So let's go off to the next one,
which at first blush, oh my gosh,
| | 04:49 | how am I going to make that guy look
like that guy, this cold guy look like
| | 04:53 | that warm guy? Remember, cold
aesthetically, but not truly temperature wise.
| | 04:59 | So let's see what we can do here.
| | 05:00 | Let's analyze this, oh my gosh!
| | 05:02 | It's pretty obvious that the guy in
the right, the one we are going to fix,
| | 05:05 | is way down in the reds and pretty
much equal in the greens and way up in the
| | 05:11 | blues, as you might expect.
| | 05:13 | It's a blue thing versus a red thing over here.
| | 05:16 | So let's go over to RGB
Curves in that guy as well.
| | 05:18 | So I'll close the Fast Color Corrector
and add RGB Curves to it. You're not messing
| | 05:24 | with the master controller;
you're just messing with the colors.
| | 05:27 | We want to lift up the bottom,
| | 05:30 | so we are going to lift that up a
little bit, try to match the shadows. There you
| | 05:34 | go, and I might have gone too far, but
again it's this thing about the physical
| | 05:39 | movement of the curve.
| | 05:40 | It's a little on the tricky side.
| | 05:41 | We definitely want to lift up the highlights.
| | 05:44 | To lift up the highlights, just
drag left and see we are beginning with
| | 05:47 | the highlights there.
| | 05:48 | How high do we want go?
| | 05:50 | That is the question right there.
| | 05:52 | Notice as we lift the highlights, it
does kind of pull up the shadows a bit.
| | 05:56 | It's always this kind of push/pull thing
with color correction, and that's all right though.
| | 06:02 | We have realized that.
| | 06:03 | I am going to pull it down a little bit now.
| | 06:04 | Okay, that's the point.
Now I need to deal with the blue side of things.
| | 06:06 | So we'll take the blue.
| | 06:07 | We need to bring the shadow area of the
blues down, so to bring it down we
| | 06:10 | drag to the right. There we go.
| | 06:12 | I think we've pretty much got that. Oh, I
might have gone too far there over, right
| | 06:15 | about there I think.
| | 06:16 | Now we need to bring the highlights
way down, so let's see how that works.
| | 06:20 | All right, there we are.
| | 06:22 | Now the thing is, what do we do to kind of
help bring out some of the orange flavor.
| | 06:28 | You can see it's almost the same, pretty close.
| | 06:31 | You might want to make some
improvements here in the midtones for the red, to
| | 06:36 | help bring that out, maybe not too much.
The thing about the curves is a little
| | 06:39 | bit goes a long way.
| | 06:41 | But you know, all things
considered, that's not bad.
| | 06:45 | I think we did a pretty good job
matching the color and, previously, the tonality.
| | 06:49 | So matching these guys can take a
little bit of math and a little bit of visual
| | 06:54 | acuity and some patience, but I think
after a while you are going to begin to figure out
| | 06:58 | how you can match the tonality
and color in different clips.
| | Collapse this transcript |
|
|
7. Enhancing the Look and FeelIsolating a single color with the Leave Color effect| 00:00 | This chapter, "Enhancing the Look
and Feel" is full of fun stuff.
| | 00:04 | First up is the Leave Color video effect.
| | 00:07 | You use this effect to select the color
in a clip and then convert all the other
| | 00:10 | colors to grayscale to desaturate them.
| | 00:13 | It's a cool way to highlight an element
in the clip, and here is how it works.
| | 00:16 | I have four clips here. Some work well
within Leave Color and some don't, so
| | 00:20 | we'll give you a sense for how this thing works.
| | 00:22 | The first clip here are these flowers. I want
to keep the pink and get rid of the green.
| | 00:27 | So I've got my Leave
Color effect already applied.
| | 00:29 | I'll open it up, and there is the little
item that I'm going to use to select the
| | 00:33 | color to keep, but let me just expand
the view here so you can see all the
| | 00:37 | words, Color To Leave.
| | 00:38 | Pick this Eyedropper tool and as we
hover it around, you can see that the color is
| | 00:42 | changing over the swatch.
| | 00:44 | I want to pick a color that's
representative of these flowers.
| | 00:46 | It could be best to hold down the
Ctrl key on Windows, or Command key on the
| | 00:50 | Mac, to get a thicker 5 x 5 selection to
make it more representative, and there we go.
| | 00:55 | We've got it.
| | 00:56 | Nothing is happened because
the Amount to Decolor is zero.
| | 00:58 | Let's knock it up to 100, so you can
see the difference, and that pretty much
| | 01:01 | takes care of stuff.
| | 01:02 | It worked pretty well for that
particular guy, but you can adjust things.
| | 01:05 | The Tolerance says how wide a range of
the color do you want to go from what
| | 01:09 | you've selected on both sides.
| | 01:11 | We can adjust that a little bit if we
want to try to bring in some more colors
| | 01:15 | that are similar to pink, like
these guys down here and up there.
| | 01:19 | And if we increase the Edge Softness
then we could sort of expand it a little bit
| | 01:23 | into the areas that may not be
exactly pink, like this dark area down there.
| | 01:27 | So now we can just kind of gradually
expand it, but the more we expand it the
| | 01:30 | more likely we already get the green in
the little picture, so it's kind of this
| | 01:33 | little fine-tuning what you do here.
| | 01:36 | What's good about this little effect, as
with the most effects in Premiere Pro--
| | 01:39 | virtually all of them--
| | 01:40 | you can keyframe it, so let me just
give you a sense for how that works.
| | 01:43 | I'll turn on keyframes for the Amount to
Desaturate, and we'll knock that down to
| | 01:47 | zero so everything starts green.
| | 01:49 | Let me go in little ways and then
ratchet it up to 100, and so we'll go from
| | 01:54 | saturated to desaturated, so
that's one of the cool things is
| | 01:58 | all those guys with little stopwatches are keyframable.
| | 02:01 | Let's move on to the next one.
| | 02:02 | These flowers, now boy oh boy,
| | 02:05 | if you look at that, if
you're like me, you go, oh, gosh,
| | 02:08 | that pink is awfully close to that red
of that awning off there in the distance,
| | 02:13 | so how is this one going to work?
Well, let's take a whack at it.
| | 02:16 | Click on the old Eyedropper tool, hover
around this guy, hold down the Ctrl or
| | 02:20 | the Command key, and we'll select
that pink and hope it's representative.
| | 02:23 | We'll take the Amount to Decolor and
I'll get that up to 100%. How'd that work?
| | 02:29 | Well, not that well, because these guys
didn't get included, but we can adjust
| | 02:34 | the Tolerance to include
them, so let's try that.
| | 02:37 | As we bring the Tolerance up, almost
got them all, and then lo and behold the
| | 02:42 | awning starts showing up in the
background, so we can't quite get the entire
| | 02:45 | flower without getting the awning.
| | 02:47 | We can try to adjust the Edge Softness,
but that tends to bring in things around
| | 02:51 | the edge even faster than
adjusting the tolerance.
| | 02:54 | So neither works perfectly.
Of course, there are ways around this.
| | 02:58 | You could create a mask.
| | 02:59 | It would have to be kind of like complex mask
to get into that little area there.
| | 03:02 | So if there's any wind, the flower
bounces around then it might look a little
| | 03:05 | odd, but you could make a
mask there and take care of that.
| | 03:07 | Well, the next two guys I did make a mask,
because I want to show you how that works.
| | 03:12 | Here is this green fence, and I
decided I was going to up the ante a bit by
| | 03:17 | using the Three-Way Color Corrector on
it, make it look even greener, so I
| | 03:20 | use the Secondary Color Control to
select the green and then boosted the
| | 03:23 | saturation on that particular green.
| | 03:25 | As I go forward, I've already got
the Leave Color effect applied to it.
| | 03:28 | I'm already--how much I want to desaturate.
| | 03:30 | So I'm all done and ready to go.
| | 03:32 | I've done all the work already.
| | 03:33 | As I go forward and get to the end of
the clip, lo and behold, we have all
| | 03:37 | the green junk up here,
| | 03:38 | a little green stuff on the stairway,
and kind of--it's not perfect, and I can
| | 03:42 | fix that using a track matte.
| | 03:44 | I can put a graphic here as a track
matte and have it follow along by making
| | 03:50 | it a traveling matte.
| | 03:51 | So here is how the matte looks.
| | 03:52 | It's just this rectangle that I used to
cover up that part of the fence that you
| | 03:55 | need to be covered, so I wouldn't
show that thing on the background.
| | 03:58 | And what do I put down on the bottom track?
| | 04:00 | Well, on the bottom track I put the exact
same clip of course, because that's how
| | 04:03 | you do track mattes.
| | 04:04 | But the bottom one, I used the Fast Color Corrector
to desaturate the bottom one entirely.
| | 04:09 | I took the Saturation to zero.
| | 04:11 | So the bottom clip is desaturated.
| | 04:13 | If I turn off this guy, you'll
see that the bottom clip here is
| | 04:15 | completely desaturated.
| | 04:17 | And I used the top clip with the green
selected, using the Leave Color tool, and
| | 04:21 | this stuff will show up.
| | 04:22 | But because I'm going to turn on the
track matte now, and the fact that I've got
| | 04:26 | the matte there covering it up, boom.
| | 04:27 | We are now cutting that whole out and
letting the desaturated one below show through.
| | 04:32 | So that is how that little guy takes
care of that extraneous little bit of green
| | 04:37 | off there in the corner.
| | 04:38 | Move on to the last clip here.
| | 04:41 | These tomatoes look pretty good, and I
can obviously select the red, but look, when
| | 04:46 | I select the red I get this hmm,
this kind of pink that still shows up,
| | 04:49 | because that's part of the deal
| | 04:50 | when you use Leave Color. And I've got
red over here, so I solve it using the
| | 04:55 | same process I solved with the fence.
| | 04:57 | Make a matte that matches the shape of
the tomatoes on the grill and then
| | 05:02 | apply the Track Matte Key with that
matte. I am not going to turn it on yet, so you
| | 05:06 | can see the one on the bottom.
| | 05:07 | The one on the bottom is the whole
scene, but I de-saturated the whole scene.
| | 05:12 | Come back and we've got these guys selected.
| | 05:15 | I turn on the Track Matte Key to get
rid of all the extraneous stuff around
| | 05:18 | the edges, and there we go.
| | 05:19 | We've highlighted the tomatoes.
| | 05:21 | So the Leave Color effect is just a
cool little thing that you can use to
| | 05:24 | isolate a particular color and
emphasize it and desaturate everything else.
| | Collapse this transcript |
| Changing a single color: Three approaches| 00:00 | Sometimes you want to change the color
of an object in a clip. Many times when
| | 00:04 | you shoot your video you set it up to
facilitate this by using an object with
| | 00:07 | a color tha'st easy to isolate, something much
different than the other colors in the scene.
| | 00:11 | Other times a color might stand out,
distracting viewers from the center of
| | 00:15 | interest on the shot.
| | 00:16 | In any event, three of my recommended
effects offer ways to change a color in a clip.
| | 00:21 | Let's take a look at these clips.
| | 00:22 | If you looked at the previous movies,
you've seen these clips before, but we're
| | 00:24 | going to use different effects on it this time.
| | 00:27 | Here are these flowers.
| | 00:28 | I want to apply the Change to Color effect.
| | 00:32 | Change to Color is one of the three.
| | 00:34 | Change to Color, Paint Bucket and the Three-
Way Color Corrector offer ways to change colors.
| | 00:38 | So we'll start with Change
to Color. I'll turn it on,
| | 00:40 | open it up, and take a look at it.
| | 00:42 | It has From and To, so
from what color to what color.
| | 00:46 | You can change by one of these settings:
| | 00:48 | Hue, Hue & Lightness, et cetera.
| | 00:50 | The two that work best are
Hue and Hue & Saturation.
| | 00:52 | Lightness tends to kind of just blow
things out, but you can always try it out
| | 00:55 | to see how it works.
So let's just take a look at it.
| | 00:57 | We'll start by selecting a color.
| | 01:00 | As I hover around, you can see
obviously this little swatch will change.
| | 01:02 | I'll hover over the flower.
| | 01:04 | I'll hold down the Ctrl key on Windows
and Command on Mac and click, and that has
| | 01:09 | now selected the color
that we want to change from.
| | 01:11 | What we want to change to?
| | 01:13 | Well, we make it something obvious.
| | 01:14 | I'll click on this swatch to open the
color picker, and we'll pick something like
| | 01:16 | purple, because it'll be pretty easy to see.
| | 01:20 | And lo and behold, how easy
was that? It looks pretty actually.
| | 01:25 | I'm going to change from
Hue to Hue & Saturation.
| | 01:27 | It will get a little richer there.
| | 01:31 | Hue & Lightness gets weird.
| | 01:33 | Hue, Lightness & Saturation, weirder.
So usually Hue or Hue & Saturation are
| | 01:38 | your two best bets, and you can adjust
things down here a little bit by taking
| | 01:43 | the hue down slightly,
| | 01:45 | to adjust that. That usually is the
best way to deal with it. And you can
| | 01:52 | adjust the Softness, which says how
tolerant are you, going from one thing to
| | 01:56 | the next, kind of like there?
| | 01:59 | You can increase the Softness and it takes
down to sort of extreme look that you have
| | 02:03 | with Hue & Saturation.
| | 02:04 | I'll go back to Hue and you can make it
a little brighter now. There we go.
| | 02:09 | So that's Change to Color.
| | 02:11 | You pick a color and you change to it, and
then you can use one of these four settings.
| | 02:15 | This little guy here says
Setting To Color or Transforming To Color.
| | 02:19 | Setting To Color kind of makes an exact smash.
| | 02:21 | It takes the color you're setting to
and just puts it right on top.
| | 02:24 | Transforming To Color
makes it little more gradual.
| | 02:26 | It looks that the former color,
compares it to the new one, and makes kind of a
| | 02:30 | gradual shift as you move along.
| | 02:31 | So this Transforming To Color
doesn't be a little less extreme.
| | 02:34 | If we change to Hue & Lightness, we can
see it's not as brilliant as it was before.
| | 02:39 | If I go back to Setting To
Color, whoa, it jumps off the page.
| | 02:42 | So work with these two guys to find
the thing that works best for you.
| | 02:45 | Let's move on to the next guy.
| | 02:46 | We've got some problems with this flower
because the color sort of bled over the
| | 02:50 | edges, but Paint Bucket is a different animal.
| | 02:53 | I'll turn it on, and it's like, oh my gosh!
What happened here?
| | 02:56 | But Paint Bucket has a little
icon there with four points to it.
| | 02:59 | When you see that, that
means it has a control point.
| | 03:02 | There is the control point, and it says,
tell me where you want me to get my color from.
| | 03:07 | Don't pick the color; just give me the location.
| | 03:10 | So you drag that to something
and now you start seeing, oh!
| | 03:13 | Wait a minute, okay,
| | 03:14 | it's just getting it from
there, and it looks for edges.
| | 03:17 | It does the best it can to try to find edges.
| | 03:20 | And it says, okay, this is the
thing that I'm going to pick.
| | 03:23 | I won't pick the darn awning this time.
| | 03:25 | I'm just going to pick the stuff that
you've selected. I'm going to roll it around there and
| | 03:28 | see if I can get something where we get
most of the flower and not the awning.
| | 03:32 | It's a little tricky, but you see we are getting that there.
| | 03:35 | Now, you're thinking, wow!
| | 03:36 | Why would I want to change that lovely
pink flower into that red glob of gunk.
| | 03:41 | Well, folks, there are a lot of things you
can do to it to get rid of the red glob.
| | 03:45 | In fact, you'd probably never used that
particular thing, because it's just a flat color.
| | 03:49 | What's really cool is
that it has blending modes.
| | 03:52 | So let's first of all change the
color to something little more appealing
| | 03:55 | than a big red glob. There we go.
| | 03:57 | And now we want to say, let's
have a different blending mode.
| | 03:59 | Right now it's Normal, but blending
modes allow you to put one layer above
| | 04:04 | another and blend them together.
| | 04:06 | And usually a good way to blend
things together nicely is with Screen. Oh,
| | 04:10 | now we're talking. That's little better.
| | 04:12 | Or Color, cool.
| | 04:15 | This thing is it still has these edges to it,
so we can sort of try to fix the edges
| | 04:19 | by changing the Tolerance.
| | 04:20 | But then there is that thing with that
darn awning again, but we could always go
| | 04:24 | back to the fill point and try to
fine-tune it when the awning doesn't show but
| | 04:27 | we get most of the flower.
| | 04:28 | It's one of those things you've got to kind
of manipulate around until you finally
| | 04:31 | get the spot that you like and
then work from that point of view.
| | 04:35 | But at any rate, that's Paint Bucket.
| | 04:37 | It's a very clever thing.
| | 04:39 | I like that it looks for edges
rather than sort of looking for a color
| | 04:42 | within the entire frame.
| | 04:43 | That's a real cool feature.
| | 04:45 | Move on to this fence that we've seen before.
| | 04:47 | Now this last time we had problems
with this fence because I wanted to just
| | 04:51 | have the green be highlighted and we had
green stuff on the background showing up as well.
| | 04:55 | This time I want to use this Three-Way Color
Corrector to change the color of the fence.
| | 05:00 | Then we'll see how that works
with the stuff in the background.
| | 05:02 | So here is the fence, and we've get
the Three-Way Color Corrector on it.
| | 05:05 | I'm going to turn it on.
| | 05:06 | I've already created a mask.
| | 05:08 | When you want to select a color inside
the Three-Way Color Corrector you use the
| | 05:12 | Secondary Color Correction down here,
as we've used in the Secondary color
| | 05:16 | correction chapters in this course.
| | 05:18 | I selected the green as I've done before and
that, of course, when I turn on the mask
| | 05:23 | you'll see that when I select the green
it selects green besides in the fence.
| | 05:27 | It selects it out here as well.
| | 05:29 | I want to cover that up using a track matte.
| | 05:31 | Nevertheless I've selected the green, so now
that I've selected it, let's change the color.
| | 05:36 | And you change the color by
dragging one of these guys around to do it.
| | 05:39 | Now which one should I drag?
| | 05:41 | Let's find out what tonality this is.
| | 05:43 | Yes, it is pretty much a midtone.
| | 05:46 | A little bit of shadow inside
there but boy, it's just solid midtone.
| | 05:49 | There aren't any highlights here to speak of.
| | 05:51 | So I'll go back to Composite. I know
I'm going to change things by changing the
| | 05:55 | midtone and maybe the shadows,
but we'll just try midtone first.
| | 05:58 | I could go for something
horrible like that. Ew!
| | 06:03 | Or we can maybe be a little less
extreme over here and give it something
| | 06:07 | a little more subtle.
| | 06:08 | That is a different color obviously.
| | 06:10 | That's what I wanted to do, make a different color,
but it's showing up in the back here as well.
| | 06:13 | So I've used the secondary color
correction to isolate the color that bleeds
| | 06:18 | around the edge here.
| | 06:19 | So then I'm going to connect a track
matte to this to cover up this area and
| | 06:24 | show the clip down below.
| | 06:25 | Now last time I did this I
desaturated the clip below, like I did in the previous movie,
| | 06:29 | but in this movie I
don't want to desaturate it.
| | 06:31 | I want the original color to
show up here. So I go over here.
| | 06:34 | I want this original one to show up
and if I just turn off this track for a
| | 06:37 | second, you'll see that that's the
original color, and that's what I want to show up.
| | 06:41 | So to do that I turn on the track matte.
| | 06:43 | The track matte covers up this area.
| | 06:45 | Just to remind you, the track matte is this
rectangle that I put in the Video Track
| | 06:50 | 3 above it and then connected with the
Track Matte Key here, and then by doing
| | 06:56 | that, that covers this guy up.
| | 06:57 | And I gave the track matte some
keyframes to have it follow along with the guy
| | 07:01 | on top, so that it won't allow this
orange to show through the bottom.
| | 07:05 | Let's move on to the last clip, our tomato shot.
| | 07:10 | I want to be able to use the
Paint Bucket on this one as well.
| | 07:13 | So I'm going to click on
Paint Bucket and turn it on.
| | 07:15 | I've already selected a point here,
and it's kind of tricky to select
| | 07:21 | the point with all those
tomatoes kind of scattered around.
| | 07:23 | But I selected a point there and you
can see the area that was selected, and you
| | 07:27 | can see, whoa, it runs up her arm.
| | 07:28 | It goes off the edge here.
| | 07:31 | So again, you can do the best you can,
but you'll sometimes run off the edge, so
| | 07:35 | I'm going to use a matte here as well.
| | 07:37 | But before I do that, let's change
the color into something a little more
| | 07:40 | appealing than a big glob of red.
| | 07:42 | I am thinking she bakes some
tomatillos here instead of some red tomatoes,
| | 07:46 | so I'm going to go for something greenish here.
| | 07:49 | There you go, and that doesn't look
quite right, but we've got a blending mode,
| | 07:53 | which I just love in this little effect.
| | 07:55 | And a blending mode, in this case,
| | 07:57 | let's say I use something like Multiply.
| | 07:58 | It's going to look like
oh, like they got seriously burned.
| | 08:01 | Let's not use that.
| | 08:02 | Let's use color instead, and it
just shows the color a little bit.
| | 08:05 | A little bit of red showing through,
but I'll just try to give you a sense
| | 08:09 | for how this works.
| | 08:10 | Now we need to get rid of all this
extraneous stuff around the edges here.
| | 08:13 | So if I look at this guy--I'll close this
thing down so you can see what's going on--
| | 08:16 | I have a Track Matte Key here ready to turn on.
| | 08:19 | Once again, I created a rectangle to
cover up the tomatoes and therefore reveal
| | 08:25 | them and conceal this.
| | 08:27 | And instead of desaturating this guy in
the bottom, I'm just keeping it in its
| | 08:30 | regular original state.
| | 08:31 | I'll turn on the Track
Matte Key here on this one
| | 08:33 | and away go those red colors bleeding off
the edge and we've this tomatillo kind of
| | 08:39 | thing here, which, by the way, we can
always, if we think that it's just
| | 08:43 | too green, we can always knock down the
Opacity a little bit to kind of make it
| | 08:46 | a little less shiny.
| | 08:48 | We're can knock the
Opacity down and do a Blending mode.
| | 08:50 | So three different effects that
allow you to change the color:
| | 08:54 | one is called Change to Color, the
other one is Paint Bucket, and then the
| | 08:58 | other one is the Secondary Color
Correction feature inside the Three-Way Color
| | 09:01 | Corrector.
| | Collapse this transcript |
| Tinting clips| 00:00 | Adding an overall colorcast to
you clips can affect the mood.
| | 00:04 | A sepia tone can give your
clips an old-fashioned look;
| | 00:07 | blue makes them look cold; orange, warm.
| | 00:10 | You can change the colorcast using
one of the recommended principal color
| | 00:14 | correction effects, like the Three-Way
Color Corrector, which I discuss in the
| | 00:17 | movie, "Creating film-like looks."
| | 00:19 | But the focus of this movie is not on
changing the values in the RGB channels,
| | 00:23 | but on applying a color to a clip,
either within the clip using the Tint
| | 00:27 | effect or by adding a color matte
above the clip on a separate track. Either
| | 00:31 | method is easy to use;
| | 00:32 | both can be effective ways to create a mood.
| | 00:35 | We've got three clips here, and we are
going to apply the Tint effect to all
| | 00:38 | three, and we're going to apply our
matte to all three in order like that.
| | 00:41 | So we'll start with this portrait,
which I want to give a sepia tone to.
| | 00:46 | I've applied the Tint effect to it.
| | 00:47 | So let's go up there to the effect
controls and there's the Tint effect.
| | 00:51 | Normally when you turn on the Tint
effect it makes whatever you are working
| | 00:53 | on black and white, but hey, it's
already black and white, so it doesn't
| | 00:57 | change a thing at all.
| | 00:58 | Now, the way this normally works is
you can either select the color from some
| | 01:02 | source or you click on the color
picker here, the color swatch, to open up the
| | 01:05 | color picker, and select the color here.
| | 01:08 | Now, I am going to look for something
sepia-like, and I would think, oh, that
| | 01:10 | would be a good color to map to black.
| | 01:13 | That means anything that would be
black will turn into this color;
| | 01:17 | anything that would be white
would turn into something similar.
| | 01:20 | I would pick a light version of that
color, or at least something approximate
| | 01:24 | like that. And that's not bad,
| | 01:27 | but I'd rather match that to
something that is a true reference, a true
| | 01:33 | sepia-tone reference.
| | 01:34 | So I go back to my project, and I
have a sepia-tone portrait right there.
| | 01:38 | If I can open that up in some other
window, I can use the color picker or
| | 01:42 | the little Eyedropper tool to select
actual sepia colors from this link, so
| | 01:45 | I can match this to that.
| | 01:47 | So I am going to open up the Source
monitor, and if I open up that, I can't
| | 01:51 | work in the Effect Controls panel at the same
time, so I'm going to drag Source down to here.
| | 01:55 | Notice when you get this rectangle in
the middle that means it's just going
| | 01:57 | to be settled in here.
| | 01:58 | I go back to Project and double-click
on this and that will open up in the
| | 02:02 | Source monitor down there.
| | 02:04 | So now I am going to go back to this
effect, click on this Eyedropper tool this
| | 02:08 | time, and select some dark area in this clip.
| | 02:11 | Hold down your Ctrl key on Windows,
Command on Mac, and select that dark area.
| | 02:15 | Now I am going to go down and
get a light area in that clip.
| | 02:19 | Again, hold down the Ctrl or
Command key and isolate an area there.
| | 02:23 | Now, these two colors match,
| | 02:24 | although this is a darker
looking, but they will match.
| | 02:26 | What I can do now is knock the opacity
down a little bit, and that way when I go
| | 02:30 | from this guy to that guy, if I have
them lined up in the same project, then
| | 02:34 | there won't be such a really obvious shift.
| | 02:36 | So that's another way to get the proper
color is just by using some other reference
| | 02:41 | to get those colors.
| | 02:42 | Anyway, you could have
eyeballed it or use that guy.
| | 02:44 | I am going to turn off the Tint effect
for the moment and talk about using a matte.
| | 02:48 | You can make mattes inside Premiere
Pro simply by going like this, go to the
| | 02:52 | Project panel, and click on this little
icon here, New Item, and it'll say color
| | 02:56 | Matte. Or you can go to File > New >
Color Matte down there, and it'll have the
| | 03:03 | same settings as your project
and you can select the color here.
| | 03:06 | So what I want to do is select something
that would end up being sepia-tone-ish,
| | 03:10 | thinking maybe right around
there would be a sepia-tone thing.
| | 03:15 | And I would name that sepia
tone, but I've already got one,
| | 03:18 | so I'll call this Sepia-2,
just to show you how this works.
| | 03:21 | I've already applied one up here, which
I have called Sepia tone, and that's the
| | 03:25 | color I picked, which is
similar to the one we just worked on.
| | 03:27 | So there it is right there.
| | 03:29 | Now I want to have this sepia tone
appear over the top of this clip.
| | 03:33 | I turned off this track on purpose so
it wouldn't interfere with the tint work.
| | 03:36 | So I'm going to turn it on now,
and there is the Sepia tone.
| | 03:38 | Let me open the Effect Controls
panel to show you what I've done there.
| | 03:41 | I've changed the blending mode to color.
| | 03:43 | If I had Normal, it would
be just a big block of brown.
| | 03:48 | If I change different to blending mode like,
let's say Multiply, it has all this
| | 03:53 | dark around the edges here, but all I
want to do is affect this area, and the
| | 03:57 | coolest way to do that is to use color,
and it just affects that. Then you can
| | 04:02 | knock down the Opacity if you wish to.
| | 04:04 | I could also take that particular Matte
and make it darker, change the color, or
| | 04:08 | whatever I want to do.
| | 04:08 | I can even double-click on it now and
change it to something absolutely horrible
| | 04:12 | for a shot like this, and
there it is. It shows up.
| | 04:14 | I'll Ctrl+Z, Command+Z to
undo that little bit of nonsense.
| | 04:17 | But that's how making a matte and
connecting it to the portrait works.
| | 04:21 | It's best to use some kind of blending
mode to have those two guys basically
| | 04:26 | work together, and then you
can adjust opacity accordingly.
| | 04:29 | Let's move on to the next one.
I'll turn off the top of the track again so we
| | 04:32 | can work on the next clip
independently of the top one.
| | 04:35 | Here's this track video,
which starts like this.
| | 04:38 | It's kind of an urban-looking scene,
a guy walking through the shot there, and I
| | 04:43 | want to change this into something
a little colder, a little grittier.
| | 04:47 | So I can put a tint on it, so I'll
turn on the Tint, and notice that Tint
| | 04:51 | automatically shifts it to black and white.
| | 04:53 | I need to map the black to something.
| | 04:56 | So I am thinking typically blue is what you
use to make things kind of cold and gritty.
| | 05:02 | So I'll take a dark blue for the black.
| | 05:04 | If I pick black, then that would kind
of defeat the purpose, so it has to have
| | 05:07 | some kind of color in it.
| | 05:08 | Already you can see that it's
beginning to get that gritty feel.
| | 05:12 | I want to click and white to be light blue.
| | 05:14 | So I am down here with
light blue. There you have it.
| | 05:18 | I've got this guy with
kind of a blue tint on it.
| | 05:21 | Well, how effective is that?
| | 05:23 | Maybe not that effective, but
you can knock the opacity down.
| | 05:26 | Now it just has sort of a slight blue
feel to it, so you don't have to have
| | 05:30 | it absolutely blue.
| | 05:32 | You can kind of tone it down.
| | 05:33 | So if I look at this--I will pull out a
little bit, make it a little bit maybe bluer--
| | 05:38 | take a look at that, the after and the before.
| | 05:41 | Obviously, before it was pretty rich
color and now it's looking pretty kind
| | 05:46 | of Blade-Runner-esque, right?
| | 05:47 | Let me turn off that tint for a
moment and we'll go to the matte.
| | 05:51 | I made this matte with that color, that
kind of deep blue, and I decided that I
| | 05:58 | would use the blending mode of Color again.
| | 05:59 | Let's say I used the Multiply instead.
| | 06:01 | It doesn't really work
that well. Let's use Lighten.
| | 06:04 | Yeah, Color kind of is one of those guys
that's really a good fallback if you're
| | 06:08 | just trying to blend things
together just with the color part.
| | 06:10 | If I moved the Opacity to 100,
| | 06:11 | that would be awful.
| | 06:13 | Again, you can adjust the opacity to
kind of suit your purposes, to give it just
| | 06:17 | the kind of colorcast you're looking for.
| | 06:19 | I'll turn the after and then before, after/before.
| | 06:22 | So that's a pretty quick and easy way to
give your clips a different kind of a feel.
| | 06:28 | Moving on to this last shot,
turn off the top track again.
| | 06:31 | We have this interview.
We might want to warm up this up a little bit.
| | 06:34 | So I am going to use Tint to warm it up.
| | 06:37 | That's a little bit harder to pick
colors for tint to warm things up, but we'll
| | 06:41 | give the old college try here.
| | 06:42 | I want to have basically orange here
to kind of give it a little bit more
| | 06:46 | warmth, so I'm thinking orange and red.
| | 06:48 | So I've got my orange and red
values here, but they're not just
| | 06:52 | totally cooperative.
| | 06:53 | I'll try this dark orange there. A kind of
| | 06:57 | overall orange cast, but
it's kind of brownish orange.
| | 06:59 | It's hard to really get a good orange,
but I'll try and get the light end of
| | 07:03 | the orange spectrum down there. And now we've given it
this overall thing, which is really clunky.
| | 07:09 | We don't want to have that
sort of hard solid color look.
| | 07:12 | But if we tone it down a little
bit, it's so not obvious anymore.
| | 07:16 | It gives it just kind of a
nice comfortable, warm feeling.
| | 07:18 | If I turn it off, you'll see
the after and then the before.
| | 07:22 | There it's kind of harsh looking
and now it's kind of little warmer.
| | 07:25 | Again, the audience
doesn't see the before and after;
| | 07:27 | they just see the after, and they
go, oh, that's kind of pleasant.
| | 07:30 | They are not going to think, well, gee,
maybe you shouldn't have used that tint, Jeff.
| | 07:33 | They will just see that and go oh,
okay, that seems to be okay.
| | 07:37 | That's just one way to give an
overall colorcast to the clip.
| | 07:39 | Let's turn that guy off. I'll turn on the
top track and we'll create an orange matte.
| | 07:44 | That's the color I use for the
matte right there. What did I do?
| | 07:47 | I gave it the Color blending mode
again and dropped the Opacity to 28%.
| | 07:51 | If I turn off the track, you'll see
there's the after, there's the before,
| | 07:54 | and there's the after.
| | 07:55 | A little more pleasant. It's kind of a
little bit easier to do a blending mode
| | 07:59 | for the orange matte than
it is for the orange tint.
| | 08:01 | Let's just try a different blending
mode just to show you that things can be
| | 08:05 | kind of weird here. There you go, little different
ways to look at how we apply these things,
| | 08:10 | and we can always use a different
opacity while we're working on this.
| | 08:14 | I'll put Screen on. That kind of
makes it kind of dull, but if I try Lighten,
| | 08:17 | again, the old fallback is just
touching the Color, and you can affect the
| | 08:22 | intensity of the color
here with the Opacity level.
| | 08:25 | So using the Tint effect or Matte,
it's a pretty easy way to apply an overall
| | 08:30 | colorcast to a clip.
| | Collapse this transcript |
| Checking out three cross process effects| 00:00 | Cross processing is a film
developing technique that uses the wrong
| | 00:03 | color chemicals or film.
| | 00:05 | The results usually are unpredictable,
and well, not exactly what you might
| | 00:09 | have been looking for.
| | 00:11 | The thing is, with video in Premiere
Pro, you can test all kinds of effect
| | 00:14 | property combinations
without wasting film or chemicals.
| | 00:17 | Now when you stumble upon something you
like, you can save it as an effect preset.
| | 00:22 | We'll work with three cross-
processed style effects in this movie.
| | 00:25 | Let's start by applying an
effect to this first clip.
| | 00:28 | The first effect that I want to
apply is inside the Channel folder,
| | 00:32 | two of the effects are in the Channel folder.
| | 00:34 | That's called Invert.
| | 00:35 | Invert has an immediate
effect when I drag it onto a clip.
| | 00:38 | It changes it to essentially the
negative view of this if you had film.
| | 00:43 | Let's go to effect
controls and see what's up here.
| | 00:45 | We'll open up Invert and you see it has only
two options: Channel and Blend With Original.
| | 00:51 | The Blend With Original under the RGB
version kind of gets funky as you get
| | 00:56 | towards the 50% mark; it
just sort of turns to gray.
| | 00:58 | So I am going to talk
about Blending With Original.
| | 01:00 | That's not the best thing for the RGB side,
but at least you can see how that works.
| | 01:04 | Let's turn to the Channel side of things.
| | 01:07 | You can work in RGB, HLS or something
called YIQ, which I'll explain in a second.
| | 01:11 | In RGB, you can use all three channels,
or you can select only one to work with.
| | 01:17 | Same thing is true for Hue,
Lightness and Saturation.
| | 01:21 | It's a different look to it
when you work on the HLS system. And down in
| | 01:25 | YIQ, what the heck is YIQ?
| | 01:28 | Well, you might remember way back
when, when I showed the Vectorscope, I
| | 01:31 | mentioned the I Line and the Q Line,
the In-phase line and the Quadrature line.
| | 01:35 | Let me drag that out and show that to you again.
| | 01:37 | There is the I line and the Q line.
| | 01:41 | And YIQ is sort of an old way of
representing video, very much like YUV, which
| | 01:48 | is the way that most folks do these
days, the YCbCr. But YIQ is an older way
| | 01:52 | of doing it, and they still have this thing
tucked away inside the Invert effect. Who knew?
| | 01:57 | There you can see how that works, and
I think you can see that there are some
| | 02:01 | possibilities here that you might go, ah!
| | 02:02 | That's pretty cool.
| | 02:04 | That works for me, and all right.
Well, good for you.
| | 02:05 | You know where you can find them.
| | 02:07 | Let's move on to the next
effect, or the next clip.
| | 02:11 | We are going to apply the Arithmetic effect.
| | 02:14 | The Arithmetic effect does
arithmetic functions on a clip.
| | 02:17 | Right now, it's just holding
here waiting for us to do something.
| | 02:21 | All the red, green, and
blue values are set to zero.
| | 02:23 | What it does is it combines channels based
upon the arithmetic operator and the numbers.
| | 02:28 | For the most part it just sits there in neutral.
| | 02:31 | Some of these guys, if we click on them,
nothing happens, but if we click on
| | 02:34 | others, that happens. But until you
actually start applying some numbers,
| | 02:38 | it basically is waiting for you to
make some changes to the channels.
| | 02:41 | Once you start changing the channel
values, it does some odd stuff, sort
| | 02:45 | of unpredictable stuff. And at some point,
you're going to go whoa, hey, that's cool.
| | 02:51 | I like that. And so when you find
something that you like--you didn't have to
| | 02:54 | waste any chemicals or film, remember--
| | 02:56 | you can save this as a
preset and come back to it later.
| | 02:59 | So I'll show you how to do that. Just
click on the effect that you want to save
| | 03:03 | as a preset. In this case
obviously it's Arithmetic.
| | 03:06 | Go to the menu in the upper right-hand
corner of effect controls, the Effect
| | 03:10 | Controls panel, and there it says Save Preset.
| | 03:14 | Click that and it will have a
default name, the Arithmetic preset.
| | 03:18 | I am going to change it to
something like Jeff's Arithmetic.
| | 03:23 | I'll call it Purple Preset.
| | 03:27 | The Scale, Anchor to In Point, and
Anchor to Up Point refer to when you are
| | 03:29 | typically using keyframes in this
preset. There aren't any keyframes here.
| | 03:32 | It's just the properties here.
| | 03:34 | So I'll just say OK.
| | 03:36 | Where in heck is that darn thing?
| | 03:37 | Well, it's now in the Presets
folder as a separate preset right there.
| | 03:42 | You can save all kinds of presets
in the Presets folder there. Okay.
| | 03:45 | Let's move on to--well, let me
just show you couple of other examples
| | 03:47 | besides of just Xor.
| | 03:48 | I'll try Subtract, Add. Add is
usually dull, but you can see there are these
| | 03:56 | various options of light. You can create
all kinds of fun cross-processing stuff,
| | 04:00 | until you find something
that, whoa, really works for me.
| | 04:04 | Move on to the last one.
| | 04:05 | The last one is called Channel Mixer.
| | 04:07 | So let's find it in the Channel
folder. Oh darn! It's not there.
| | 04:11 | It's kind of confusing.
| | 04:11 | It's called Channel Mixer, but
it's in the Color Correction folder.
| | 04:15 | We'll drag it whether or
not and take a look at that.
| | 04:17 | What this does is it takes the red,
green, and blue channels and allows you to
| | 04:21 | change the way that they work together.
| | 04:24 | You can apply some green to a red channel
or red to a green channel, things like that.
| | 04:27 | So you can mix things up and that, on its
own, that's just kind of fun, and you can
| | 04:31 | just come up with some weird little
color combinations, some things like that.
| | 04:35 | Well, what is I think a really
practical use for the Channel Mixer is that you
| | 04:39 | can make a black-and-white image of this.
| | 04:41 | Now there is a Black and White effect, but
the Black and White effect, it's just boom!
| | 04:45 | It's black and white, no choices, no
keyframes, no nothing. It's just black
| | 04:48 | and white and it's black and white the
way we think it's black and white, but
| | 04:51 | here you click on Monochrome and you
get your little black and white, your
| | 04:55 | luma look basically.
| | 04:56 | But the four red controls, just the red
controls, allow you to manipulate how the
| | 05:02 | black and white works depending on how
the channels are working together, and it
| | 05:06 | gives you a chance to kind of maybe
adjust the contrast, make it really extreme,
| | 05:10 | drop it down, whatever you like.
| | 05:12 | You can work with these channels to
create a black-and-white mode that works for
| | 05:16 | a particular clip that you are working on.
| | 05:18 | So this is a really great tool, not
only to kind of mess with the colors, but
| | 05:23 | to make a grayscale clip in a
grayscale fashion that it has a right kind of
| | 05:27 | contrast and emphasis that you like, and again
you can save whatever you make here as a preset.
| | 05:33 | So these are three fun tools, and
I'll leave it to you to experiment with
| | 05:37 | these effects.
| | Collapse this transcript |
| Using gradients, vignettes, and other shapes| 00:00 | Gradients can come in handy.
| | 00:01 | You can use them to focus viewers'
attention on areas within the frame, give
| | 00:05 | depth to an otherwise flat
shot, or add a dramatic feel.
| | 00:09 | You've seen vignettes.
| | 00:10 | They typically are ovals used to
draw attention to a person's face.
| | 00:13 | You can also use them to lighten areas,
deepen shadows, and when coupled with
| | 00:17 | the Blur effect, create an
apparent narrow depth of field.
| | 00:20 | I am going to show you a whole bunch
of examples here and give you a lot of tips
| | 00:23 | about how to use vignettes and gradients.
| | 00:26 | We will start out with the standard one here.
| | 00:28 | You see the oval around the
old photograph. Pretty standard!
| | 00:31 | And what we did to create
this was use a Title tool.
| | 00:35 | Use the Title tool to
create an oval. There we go.
| | 00:38 | It's just an oval.
| | 00:39 | I use the Ellipse tool over here, drag down
an oval, had it be solid white with no strokes.
| | 00:45 | And it doesn't have to match the size
of the subject because you can always
| | 00:50 | expand it when you put it on the timeline.
| | 00:52 | Nevertheless, I put it above this
particular clip and applied a track matte to it.
| | 00:59 | If I didn't--let me turn off the track
matte--you can see that if I allowed,
| | 01:02 | let's say, the clip to show through behind it,
| | 01:04 | you'd see that would be a rectangle.
| | 01:05 | It wouldn't look that very good.
| | 01:06 | So we limited the oval to just that
part of the clip, because it's a vertical
| | 01:10 | photograph, and that basically is
how it works, with the one little extra
| | 01:14 | feature of putting a blur on the oval.
| | 01:17 | Without the blur it would have been
that sharp thing like that, and maybe you
| | 01:20 | want that, but for the most
part having a nice Blur helps out.
| | 01:22 | Let's move on to the next one, and
you're thinking, wait, that's the exact same
| | 01:27 | thing as the first one.
| | 01:28 | Why are you doing this?
| | 01:29 | We're taking a different approach this time.
| | 01:32 | Instead of using a Track Matte Key,
we're putting a hole above the clip.
| | 01:39 | The hole is a circle, a Circle effect.
| | 01:42 | You can apply the Circle effect to
anything and it turns that thing into a circle.
| | 01:46 | So I just created a black matte,
which is very simple to create.
| | 01:50 | You just go to File > New > Color
Matte, and make a black matte that just
| | 01:56 | matches the size of the frame, and then
you apply the Circle effect to it, and
| | 02:01 | then you can adjust the
Circle effect to create this look.
| | 02:04 | Now, let me just kind of back it
up, so you can see how that works.
| | 02:07 | I am going to turn this Circle off
and apply the Circle effect to it.
| | 02:13 | That's Video Effects > Generate > Circle.
| | 02:16 | You see there is an Ellipse tool, but
the Ellipse tool just draws a line, an
| | 02:20 | elliptical line as opposed to a hole.
| | 02:22 | So we will add the circle to it.
| | 02:23 | There is the circle, and you
see just this little circle.
| | 02:27 | But wait, you're going, it's not
a circle, it's an ellipse, Jeff.
| | 02:29 | Well, that's because I took that black
matte and I scaled its Height way up and
| | 02:35 | its Width in to create a tall matte,
rather than a wide matte, and that turned the
| | 02:41 | circle into an ellipse.
| | 02:43 | If I were to, let's say, undo that
motion, it would make it back to an ellipse.
| | 02:48 | So I will make it back into an ellipse
this way by doing Ctrl+Z or Command+Z.
| | 02:51 | Then we'll go back down to the circle.
| | 02:53 | So here is the circle, and
the process typically is,
| | 02:57 | I want to invert it,
| | 02:58 | I want to show what's behind it.
And I don't want this stuff to be white.
| | 03:03 | I want it to be black.
| | 03:04 | So I click in here and
make it black. There we go.
| | 03:05 | I am going to expand it, and I can
adjust its position, because the hole
| | 03:16 | circles on this particular clip, so I
can adjust its position by clicking on
| | 03:21 | Motion and dragging it around.
| | 03:24 | Then you're thinking, that's an awfully
sharp-edged thing, which you're right,
| | 03:28 | it's not very attractive, and it's
just a sharp-edged thing like that.
| | 03:31 | So then you can feather it.
| | 03:32 | So let's say I want to feather it.
| | 03:34 | Let me scroll down so you can see
Feather and it will feather the outside,
| | 03:39 | which means actually the inside in this case.
It's kind of backwards, because we inverted it.
| | 03:42 | So you have to twist your brain
around to say, let's invert it, so he
| | 03:45 | means inside, right?
| | 03:47 | Basically, that's it, but you can add a
little bit of a blur to it if you want.
| | 03:50 | If you apply Gaussian Blur, it will
help blur the edges a little bit more, but
| | 03:54 | not much, because the blur
tends to be in the outside.
| | 03:56 | So that's the process for using the Circle
effect and applying it on a clip above it.
| | 04:02 | You don't need to make it a Track Matte Key.
| | 04:03 | You're basically making a hole in the clip
above it using the Circle effect by inverting it.
| | 04:08 | Let's move on to this next one.
| | 04:10 | This is a Track Matte Key
where I've got a clip above a clip.
| | 04:12 | So what I am doing is I am revealing
the clip on top with a Track Matte Key and
| | 04:17 | then showing the clip below here around
the outside of what's revealed on top.
| | 04:23 | That's a typical use for a Track Matte Key.
| | 04:25 | If I turn it off the top, you will
see that I've got the oval there, and
| | 04:29 | what's below it, what's on the track
down in the bottom is this blurred look
| | 04:35 | at the original clip.
| | 04:36 | I want to focus my attention on just
the flower, so I blur the heck out of
| | 04:40 | this clip below it.
| | 04:41 | I'll even turn it off, so you can see
the whole thing is this blurry mess.
| | 04:44 | But I wanted to be able to just
highlight a flower on top, so you can use the
| | 04:49 | oval title that I used before.
| | 04:51 | There is the track matte.
| | 04:53 | So there is the Track Matte Key.
| | 04:54 | Then I adjusted the color a little
bit too, to make the color a little bit
| | 04:58 | brighter, but you can sort of see a
little edge around there, which is one of
| | 05:00 | the disadvantages to using a very
specific shape like an oval. But if I were to
| | 05:04 | blur that some more, that
might take some of the edge away.
| | 05:07 | Let's move on a little bit here.
| | 05:08 | Now, here we've got the scene that
you've seen before, and maybe you're going,
| | 05:15 | huh, there's something
different about this darn thing.
| | 05:18 | There's just something different about it.
| | 05:20 | Now, what the heck is it?
| | 05:21 | That's because I created a
vignette around the edges.
| | 05:24 | I darkened the corners of the room to
kind of pull your attention toward the
| | 05:28 | center, and I did that using the Circle
effect again, which you've seen before.
| | 05:32 | So I don't need to
explain the Circle effect again.
| | 05:34 | But I just put the Circle effect on
top inside a black matte again and I just
| | 05:38 | widened the heck out of it
and just got it to the edges.
| | 05:41 | If I turn that off, there is the original;
| | 05:44 | turn it on, there is the vignette.
| | 05:46 | Now, you have to be careful with
vignettes, especially when you're darkening
| | 05:48 | something like this. You don't want
to just blast the edges with a black
| | 05:51 | corner, but that's just enough, that
little subtle difference, and again, your
| | 05:55 | viewers won't know it
looked like that to begin with.
| | 05:57 | They'll think, oh, it looked
like that. You're drawing their
| | 06:00 | attention toward the center.
| | 06:01 | I could have made it darker or I could
have made the circle smaller or whatever.
| | 06:05 | So what's going on here?
| | 06:06 | I am using the oval, which you have
seen before, just our little friendly oval
| | 06:11 | that we made inside the Title tool,
and I am applying it as a Track Matte to
| | 06:17 | this interview, where the clip on top,
the one that I am revealing on top, is in
| | 06:23 | focus, but the clip down below is
out of focus, just like the flower.
| | 06:28 | If I turn off these guys, you see the
clip down below is all out of focus, but
| | 06:31 | the clip on top is in focus and has a
track matte attached to it, with the oval
| | 06:38 | being the source of the matte.
| | 06:40 | So I've matted out this area and put
the background out of focus as a way to
| | 06:44 | create some depth of field.
| | 06:45 | But if you're thinking to yourself,
wait a minute, this is not really a
| | 06:47 | realistic depth of field, Jeff, come on,
Because look, their shoulders are out of focus.
| | 06:51 | So ovals can be helpful for creating depth
of field, but it depends on the circumstances.
| | 06:56 | If you want just someone's face to be in
focus and everything else out of focus
| | 07:00 | then oval is a pretty good thing,
because it follows the shape of the face.
| | 07:03 | But if you're trying to get their
shoulders in focus in the background, the oval
| | 07:07 | is not really doing the job.
| | 07:09 | So what you can do is I could create
white graphics inside the Title tool and do
| | 07:14 | it that way, but then the
edges would be kind of sharp.
| | 07:17 | So instead, I created a
gradient, just a black gradient.
| | 07:21 | If I click on this, you'll see that
it's just a rectangle, where these two
| | 07:26 | color stops are black.
| | 07:27 | There is a black color stop
there and a black color stop there.
| | 07:30 | But the first color stop
is black with 100% Opacity.
| | 07:34 | The second color stop is black with 0% Opacity.
| | 07:37 | So it goes from black,
| | 07:38 | it stays black until it
eventually fades away to transparency.
| | 07:42 | So that's how you make a gradient that
you can use in the Track Matte Key.
| | 07:48 | So I've got that gradient here, and I
took two Track Matte Keys this time.
| | 07:53 | One Track Matte Key connects
to the gradient on Video 4.
| | 07:57 | The gradient on Video 4, while you look
at it, it's the same darn gradient, but
| | 08:01 | what I did was on the one on Video 4
| | 08:03 | I applied the Horizontal Flip to it.
| | 08:05 | So I flipped it over 180 degrees.
| | 08:07 | So that gradient is lying over here now.
| | 08:10 | The gradient over here is lying over
here, and I connected both of them to one
| | 08:15 | clip using two track mattes.
| | 08:17 | That's a little trick.
| | 08:18 | Hopefully you'll take that one to the bank.
| | 08:19 | You can apply multiple mattes to a
clip using multiple Track Matte Keys, just
| | 08:25 | apply different layers.
| | 08:27 | This one is on Video 3.
That was on Video 4.
| | 08:29 | Then the clip on the bottom--I'll turn
off these guys--you see the clip on the
| | 08:33 | bottom is all blurred, but then with
this guy turned on then these guys will
| | 08:40 | allow the clip below to show through,
which is blurry, while the clip right
| | 08:45 | here stays in focus.
| | 08:48 | So it's an easier way to get the blur off of
her shoulders to make it look more realistic.
| | 08:54 | How cool is that? Okay.
| | 08:58 | Another thing you can do is you can
create a vignette that's just one thing
| | 09:01 | instead of two things.
| | 09:03 | In this particular case, there is this
vignette, and I told you about making a
| | 09:06 | solid thing and it really is
kind of tough to make it work.
| | 09:09 | You do that, and I apply that as a
track matte as well, but this time I just
| | 09:15 | blurred the heck out of this
graphic that's on top here.
| | 09:20 | Let me show everything, turn off
everything, just to see the graphic, and you
| | 09:24 | see I blurred the edges of that graphic,
so it would work as a gradient, more or less.
| | 09:31 | It doesn't drop off gradually across the
way. It drops off along the edges, but
| | 09:36 | that's a pretty cool way to
do things, so we will do that.
| | 09:38 | Let's move on to the next one here.
| | 09:42 | Here I wanted to just focus on this area here.
| | 09:47 | So again, I use the Circle tool, and
the Circle tool I inverted again before,
| | 09:54 | so let me just un-invert it, and turn on
the white so you can see it. There it is.
| | 10:00 | I want to do that, boom, boom,
and go back to turn it back on.
| | 10:04 | So I put a circle around him so I
could focus your attention on him.
| | 10:07 | If I didn't have that circle there,
it would look bright like that.
| | 10:11 | That created something like a vignette,
| | 10:12 | but just to focus on him.
| | 10:15 | Then finally, I wanted to really draw
your attention to him, by sort of darkening
| | 10:19 | both the left and the right side.
| | 10:20 | So I used two gradients to focus
your attention, pulling it from the left
| | 10:24 | and from the right.
| | 10:25 | If I didn't have the gradients on then
you would just see the whole thing like that.
| | 10:30 | But the gradients are above him.
| | 10:33 | In this particular case,
they're not Track Matte Keys.
| | 10:35 | I just applied that left and right
gradient and just sort of toned down the
| | 10:39 | Opacity a bit so they would blend in nicely.
| | 10:42 | I got the Opacity down to 38%.
| | 10:43 | So you don't have to
always use a Track Matte Key.
| | 10:45 | I just wanted to just gradually sort of
go from dark to light there using two
| | 10:50 | different gradients.
| | 10:51 | So there are some tips for you to take
to the bank on how to use gradients and
| | 10:55 | vignettes to enhance your videos.
| | Collapse this transcript |
| Creating film-like looks| 00:00 | For the most part film
looks different than video.
| | 00:03 | Video tends to look a bit harsher.
| | 00:05 | Everything is in focus.
| | 00:06 | There is no like narrow depth of
field where you have got something in the
| | 00:09 | foreground and focus and everything
in the background is out of focus,
| | 00:12 | normally the way it is.
| | 00:14 | Film gives editors more
latitude when it comes to looks.
| | 00:17 | You can give the scene nice warm, soft
look, or a harsh, cool gritty feel, or take a
| | 00:22 | film shot at midday and
make it look like nighttime.
| | 00:25 | Well, you can use color correction
techniques on your videos to emulate a film-like look.
| | 00:31 | In this movie I will give you
several examples, as you can see. We will go
| | 00:34 | through them one at a time.
| | 00:35 | Here is the before.
| | 00:37 | There is the after.
| | 00:38 | Now again people want to see her before,
so this is just what they are going to see.
| | 00:42 | What I have done there is I have put
everything out of focus and darkened it a bit.
| | 00:45 | We have shown you how to do things out
of focus before, but I didn't mention the
| | 00:48 | part about darkening it to help
isolate and highlight the subject matter.
| | 00:52 | So it's just a little bit
different than you've seen before.
| | 00:56 | It is a track matte, as you've seen.
| | 00:57 | I'll apply a track matte here and
put the matte above it, and the matte is
| | 01:01 | going to be something that was drawn just for
that, something to match the interview subject
| | 01:07 | behind it. I'll lower the opacity so
you can see it, and, by the way, lowering-
| | 01:10 | the-opacity method is actually not a bad
way of coming back and kind of tweaking
| | 01:14 | it in case it's not quite working.
| | 01:16 | I needed to make sure I included the
chair inside the focal area because the
| | 01:21 | chair is in fact right in the same
focal plane as the interview subject, so we
| | 01:25 | don't want to drop that off.
| | 01:27 | So that basically has the chair is in
focus, the interviewee subject is in focus,
| | 01:31 | but everything else is out of focus.
| | 01:33 | They are out of focus because the clip
on the bottom has a Gaussian Blur, plus
| | 01:37 | I put a Fast Color Corrector on it to make it
darker, and I could have made it darker or lighter.
| | 01:42 | It's kind of to taste.
| | 01:44 | Let's move on to the next
one, this little flower.
| | 01:46 | I'll go back to the little Source
monitor here and show you the flower.
| | 01:50 | There is the before, and there is the after.
| | 01:52 | It has this kind of glow to it.
Not just is it highlighted and the
| | 01:56 | background out of focus a little bit,
but the flower itself is kind of glowing.
| | 02:00 | And a little trick to that, or the
double-trick if you want to call it that, is that
| | 02:04 | the matte, when I make it, like so,
which you have seen before, I drop the
| | 02:09 | Opacity on the matte, and that just
gives it a little bit of a glow when you
| | 02:14 | apply it as a track matte.
| | 02:15 | It's just another way to do things.
| | 02:16 | So if I look at the matte and I look
at the Effect Controls to that one,
| | 02:19 | you see that I have added a blur to
it to make the edges blurry around it,
| | 02:22 | because without the blur it
would be very distinct like that.
| | 02:25 | Get the blur to soften it up a bit.
| | 02:26 | And then on the flower itself I added the Fast
Color Corrector to kind of jazz up the flower.
| | 02:31 | See how that pops out a little bit?
| | 02:32 | I just increased the brightness on that
to just give it a little more of a glow.
| | 02:37 | You can also add a glow to people,
and we'll see that little glow there.
| | 02:40 | Look at the original source here.
| | 02:42 | We will take a look at
that, the interviewer here.
| | 02:44 | See, it's kind of hard looking around
the edge, but now the hair over here
| | 02:48 | has got this nice little glow to it.
That's because the matte has a lower opacity to it.
| | 02:53 | I dropped the Opacity to 74% in this case,
but you can fine-tune it quite easily.
| | 02:58 | That's a good way to kind of control
how that works and again the matte--
| | 03:02 | look at the Effect Controls--the matte has a blur.
| | 03:04 | Pretty distinctive, so the edges are not
really obvious, and the bottom again has
| | 03:09 | a blur because I am
blurring all the areas around.
| | 03:12 | And I give it a Fast color
Corrector to darken it too.
| | 03:14 | See how that's a little bit darker there?
And you can adjust the darkness too, again, to
| | 03:18 | suit your taste depending on circumstances.
| | 03:20 | Let's go to this lighting shot.
| | 03:22 | Go back to the original on
that one, and that will be here.
| | 03:27 | Here is the original look, and
there is the warm look. That to that.
| | 03:33 | Let me show you how I did that.
| | 03:34 | I applied the Fast Color Corrector to
take care of the tonality, because I like
| | 03:39 | working with the Fast color
Corrector's tonality controls.
| | 03:42 | So I dropped the output to make it a little
bit darker, so the highlights are not so bright.
| | 03:48 | So I'm dropping the highlights to
take away that bright area there, and I
| | 03:53 | lightened up the shadows a little bit.
And late in the day the shadows are
| | 03:56 | not going to be dark.
| | 03:58 | So I did both of those things, and then
I dropped the midtones just a little bit,
| | 04:02 | just to kind of darken it up a little
bit, because that's kind of the feel that
| | 04:06 | you want to have for late in the day.
| | 04:08 | So that's that particular tonality
change, and then in the Three-Way color
| | 04:12 | Corrector I did a couple of things.
| | 04:14 | So I just increased the warmth, the
orange in the highlights, quite a bit.
| | 04:20 | If you scroll down on the
highlights--I will change this to Highlights.
| | 04:23 | If you scroll down a bit, I increased the
saturation on the highlights as well, and
| | 04:28 | in the midtones you can see I increased
the little bit of warmth in the midtones
| | 04:31 | but not as dramatically as I did in the
highlights, because the highlights is where
| | 04:34 | the warmth starts showing up in
the hair there. In the midtones
| | 04:38 | I also adjusted the saturation, increased a
little bit, and then in the shadows I
| | 04:44 | didn't mess with it too much.
| | 04:45 | So I just basically left it more or
less alone, but in the shadows I dropped the
| | 04:49 | saturation just a touch, so that
they wouldn't kind of mess things up.
| | 04:54 | Now there is one little thing I want to
tell you about the Three-Way Color Corrector.
| | 04:57 | The Three-Way Color Corrector has this
characteristic that it divides the
| | 05:02 | highlights, midtones, and shadows
into discrete areas where the boundaries
| | 05:06 | are not overlapping.
| | 05:07 | They really should overlap to
function in a predictable way. If you move
| | 05:11 | the highlights then it should
adjust the top of the midtones;
| | 05:14 | if you move the shadows, or the
blacks, it should adjust the bottom of the
| | 05:18 | midtones. But in the Three-Way Color
Corrector they actually don't overlap; they're discrete.
| | 05:22 | We have very specific boundaries.
| | 05:24 | So what I do when I work inside the
Three-Way Color Corrector and I am trying
| | 05:28 | to adjust color in three different
zones and adjust saturations in three different
| | 05:32 | zones, to avoid looking like a color
negative, which you can do if you adjust it too much,
| | 05:38 | I go to the Tonal Range Definition and I
spread out they're called Shadow Softness
| | 05:44 | and Highlight Softness.
| | 05:45 | I spread these little triangles out
to avoid making it an extreme fix.
| | 05:50 | It softens the fix when you work here.
| | 05:52 | So normally the default view is like
this and like this when you open it up, but
| | 05:57 | if you spread these guys out a little
bit then it allows your fixes to overlap
| | 06:02 | instead of kind of just
being a discrete boundary.
| | 06:04 | So when you work in the Three-Way color
Corrector I recommend that you do make
| | 06:08 | this adjustment when you are going to
start pulling colors, hues, in opposite
| | 06:13 | directions, or in varying directions,
just my little word to the wise there.
| | 06:18 | So I took care of the tonality using
the Fast Color Corrector because
| | 06:22 | the levels controls that are very easy
to work with, and I take care of the color
| | 06:25 | because I wanted to have more color
in the highlights and not quite as much
| | 06:29 | color in the midtones, and hardly any
color changing in the shadows which you
| | 06:33 | can't do in the Fast Color
Corrector--you can only do that here.
| | 06:35 | So I used both of those guys together,
just to remind you one from that to that.
| | 06:40 | Let's move on down the line here to
the shot of this cemetery, which is
| | 06:44 | supposed to look kind of creepy
and spooky and stuff like that.
| | 06:47 | So there is the original one and
the moss is a little bit more highlighted,
| | 06:51 | but I wanted to tone things down
and make it look a little creepy.
| | 06:54 | Let me just play it so you get a sense
on what's going on, because if you notice
| | 06:59 | the noise in the picture, I am not sure
maybe the monitor that you are looking
| | 07:02 | at and because it's compressed and things
you won't be able to pick it up, but if
| | 07:06 | you have exercise files you'd be
able to see that: it has noise in it.
| | 07:09 | So it goes from that to that.
| | 07:10 | Let me show you how I did it.
| | 07:12 | What I tried to do first in the curves is
bring down the midtones, and then because
| | 07:21 | we are trying to make things kind of
bluish and kind of creepy looking and kind
| | 07:24 | of a gritty, I brought up the sort
of high end of the blue midtones.
| | 07:30 | That's kind of a quick and easy way to
kind of give it that bluish spooky feel.
| | 07:35 | In the Three-Way Color
Corrector I desaturated things.
| | 07:39 | So on the highlights I desaturated the
highlights quite a bit, less than 50%, and
| | 07:45 | the midtones, didn't bother with the
saturation there, and the shadows, dropped down
| | 07:52 | saturation in the shadows quite a bit.
| | 07:54 | In the midtones I still want to have some
color, but the shadows and highlights I want
| | 07:57 | to take the color out, not
completely, but a fair amount.
| | 08:01 | And then I added the Noise effect,
which you can find over in the Noise &
| | 08:07 | Grain bin or folder.
| | 08:09 | There is Noise, and what Noise does
is it just puts these kind of little
| | 08:15 | splashes of dots inside here, and the
thing is, a little bit goes a long way.
| | 08:20 | And you might be fooled by this.
| | 08:21 | You might just crank it up like
that and go oh, that's not bad.
| | 08:24 | That looks pretty good. But once
you hit play it will look awful.
| | 08:28 | See all that stuff there?
| | 08:30 | So be aware of that.
| | 08:31 | Eyeballing it as a still frame like this,
| | 08:33 | it's going to look much different when
you play it. So when you apply noise just
| | 08:37 | be aware that you really ought to play it to
see how much noise there really is when
| | 08:41 | you put that in there.
| | 08:42 | Here I am trying to give it this
gritty urban feel that I kind of applied to
| | 08:46 | the cemetery anyways.
| | 08:48 | Let's just move that along.
| | 08:50 | I will get a little farther in there
so you can get a sense of how that looks
| | 08:52 | compared to the original.
| | 08:53 | Here is the original, looking warm and
lovely and well lit, and here's that urban
| | 08:59 | feel, that kind of Blade Runner thing.
| | 09:02 | I don't know, maybe
that's the kind of urban feel.
| | 09:04 | Let me show you how I did that.
| | 09:06 | First I start with some curves.
| | 09:08 | When you are trying to get that kind of
urban look I want to darken it first of all,
| | 09:12 | so I bring down the highlights.
| | 09:15 | I bring down the midtones a little bit.
| | 09:18 | I don't want to make it too dark.
| | 09:19 | Again, it's your choice.
| | 09:21 | I pull out some of the reds.
| | 09:22 | So I am taking the midtones out.
| | 09:24 | So when I pull this area out,
| | 09:25 | I am bringing out the reds and
basically adding a little bit of blue, and then on
| | 09:29 | the blue end I kind of upped
the ante, as I did for cemetery,
| | 09:32 | upped the high end of the midtones and
the blues. You can see I put two little
| | 09:36 | points down here to keep the bottom
part, the deep shadows, from getting too blue,
| | 09:41 | just the upper end of the midtones is
my way of working with that look.
| | 09:47 | In the Three-Way Color Corrector,
this is where I do my saturation effect.
| | 09:51 | The color corrector is the only one
that allows you to do saturation on a
| | 09:53 | tonality-area basis.
| | 09:55 | So I did the highlights and the
shadows again, the same thing I did before,
| | 09:59 | and leave the midtones alone on the saturation,
and there is our friend with the noise again.
| | 10:03 | The only thing that I would do
differently with this if I were to make a
| | 10:06 | finished product is that as I pull back
here we kind of blow the deal because up
| | 10:12 | there in the corner is this
lovely little orange building--
| | 10:14 | oh, rats--taking the away the whole
urban feel. And so if I were to really work
| | 10:19 | this thing out I would put a
traveling matte there and bring down the
| | 10:23 | brightness and change the color of that
building to make it more or less match
| | 10:27 | these buildings, but the purpose here is
just to show you the general way to get looks.
| | 10:30 | That would be something a little more specific.
| | 10:33 | Let's move on down to this look here.
| | 10:35 | You are going, wait a minute.
You just did the tracks a second ago, all right.
| | 10:37 | Well, let's look at the
difference, from there to there.
| | 10:40 | This is what's called a bleach bypass
look, as in B-L-E-A-C-H, bleach bypass.
| | 10:45 | The old way that some people would develop
film would be to skip the bleaching step.
| | 10:50 | That's why it's called Bleach Bypass.
And the bleach would remove grain, the sort of
| | 10:54 | silver granules from the film.
| | 10:57 | If you skip that step then your film
ends up being thicker. It tends to be a little
| | 11:01 | more contrasty and sometimes
can be a kind of desaturated.
| | 11:05 | So the Bleach Bypass is
not something cut in stone.
| | 11:08 | It's something that you just kind of
work out and decide what is working for you.
| | 11:12 | I will show you the basic technique and
then you can adjust it to suit your taste.
| | 11:16 | So the first thing you do is
that you take this clip on top,
| | 11:19 | you layer the same clip one above the other.
| | 11:21 | Let me show you how that works.
| | 11:23 | The clip on top I have desaturated.
| | 11:24 | I put Fast Color Corrector on, and
the only thing I did there was knock
| | 11:29 | the Saturation to 0.
| | 11:30 | The Fast Color Corrector allows you to
desaturate the entire clip. The Three-Way
| | 11:33 | Color Corrector allows you to
do it one tonal area at a time.
| | 11:36 | So it's much easier to use
saturation in the Fast Color Corrector.
| | 11:39 | So that's all I did there.
| | 11:41 | Then I added some noise, just a little
bit of noise just to kind of give it a
| | 11:44 | little bit of a gritty feel. So that's all.
| | 11:46 | This guy is desaturated and a bit noisy,
and then I have connected with the one
| | 11:50 | on the bottom using a blending mode.
| | 11:53 | The blending mode I chose here was
Screen, and I knocked the Opacity way down.
| | 11:56 | If I knock it way up,
that would be how it would look.
| | 11:59 | If I used let's say Overlay instead of
Screen, it's another way of looking at
| | 12:03 | things. But once you drop the
Saturation down to 0--you don't have to add noise,
| | 12:08 | but that's just my little thing--
| | 12:10 | then you can start messing with it over
the original one. And the original one has
| | 12:13 | changed a little bit, but just the
whole thing of putting black and white up
| | 12:16 | here, and then it's going to show you
Overlay or Screen, 100% Opacity, maybe a
| | 12:22 | little less, and you get to have
some with how this thing looks.
| | 12:25 | So you try other blending modes too,
but those are the two main ones right here.
| | 12:28 | In the bottom one I added the Fast
Color Corrector and did a little bit of
| | 12:32 | changing to that one to just adjust the
Gamma just a bit and the Output Levels
| | 12:36 | to darken it just a bit.
| | 12:38 | So if I were to we turn that guy off, you
can see that the bottom one does look a
| | 12:41 | little bit different than the
original, because I just darkened that a bit.
| | 12:44 | I will take a look at the last guy
here and that's a day-for-night shot.
| | 12:48 | Day-for-night is another one of
those things that's not cut in stone.
| | 12:52 | It's something you sort of want to try
out. It also depends on how you shoot
| | 12:55 | things. When you do day-for-night
it's always good to not have light in the
| | 12:58 | background like that.
| | 12:59 | I took care of most of the light by
actually using the Motion effect down here and
| | 13:04 | zooming in just a bit.
| | 13:05 | If I look at Motion, you can see that
I've scaled it up to 115% to get rid of
| | 13:10 | some of the summit that
was showing through here.
| | 13:12 | But nonetheless, the typical way that
you would do a day-for-night shot is, one,
| | 13:17 | you bring the highlights way down,
bring the midtones down, you remove red and
| | 13:24 | add blue, and that's kind of the
basic approach to doing day-for-night.
| | 13:28 | There are other things you can try out.
| | 13:30 | You can make it darker,
| | 13:31 | you can make it lighter, or whatever,
but the sort of basic approach that you do
| | 13:34 | is that you just want to bring down
the midtones, bring down the highlights.
| | 13:37 | Some people might bring up the shadows,
but shadows aren't that deep at nighttime.
| | 13:41 | They are just black.
| | 13:42 | I mean, there really aren't too many
shadows, so don't worry about that too
| | 13:45 | much, but midtones, highlights.
| | 13:47 | Get some red out and add a little bit of blue.
| | 13:50 | So with these techniques the
differences between film and video made to look
| | 13:54 | like film is narrowing.
| | Collapse this transcript |
| Working with Magic Bullet Looks| 00:00 | One of the strengths of Premiere Pro is
the large number of third-party special
| | 00:04 | effects that work with it.
| | 00:05 | One of the top sources for these
so-called plug-ins is Red Giant software.
| | 00:10 | I feature two of their
products in this course: Colorista, a
| | 00:13 | full-featured color correction
product, and the product covered in this
| | 00:16 | movie, Magic Bullet Looks.
| | 00:19 | Magic Bullet Looks sells for $400.
It has 130 customizable Looks presets.
| | 00:25 | You can also use its tools to customize
a preset, build a look from scratch, and
| | 00:29 | do some basic color correction.
| | 00:30 | So let's take a look.
| | 00:32 | When you install Looks and then start up
Premiere Pro again, it shows up here in
| | 00:37 | the Video Effects in a
separate folder, Magic Bullet Looks.
| | 00:41 | We have also loaded
Colorista, which we'll show you later.
| | 00:43 | When you buy Bullet Looks you also
get this other group of effects called
| | 00:47 | Magic Bullet MisFire. These are bunch
of things that kind of make your clips
| | 00:51 | look bad, like scratched and dusted and faded
and things like that, to give it that old look.
| | 00:56 | We will skip that one for now. Just be
aware that it's there and you get it for
| | 00:59 | free when you buy Looks.
| | 01:01 | Let's open up Looks, and it just one
effect, add that to the clip, and it shows up
| | 01:07 | here in the Effects Controls panel,
looking very much like a regular effect.
| | 01:10 | When you open up the dropdown menu you
see two things: you see Look and Power Mask.
| | 01:15 | It has a mask built in, so if you want
to make a vignette, be it a elliptical
| | 01:19 | vignette or rectangular vignette, you could make
that here using the Power Mask. Let's go to Looks.
| | 01:24 | When you click that you see one little
button, Edit. When I click on that it's
| | 01:29 | going to open up a separate interface.
| | 01:30 | This is the Looks interface.
| | 01:33 | It's a plug-in, but it has its own
interface running here inside Premiere Pro,
| | 01:36 | and here is the clip that we
were looking at just moments ago.
| | 01:39 | So the most important thing to you
right now would be the Preset Looks.
| | 01:43 | If you hover your cursor to the left, it
pops out this menu full of the presets.
| | 01:47 | If you go to the right, it
pops out a bunch of tools.
| | 01:50 | Let's just focus on the presets for a second.
| | 01:51 | Let me go up to Cinematic.
| | 01:53 | Here is your Presets, that when you just
click them, they would appear on your clip
| | 01:57 | as if by magic. How about that?
| | 02:00 | I would like to use Warm and Fuzzy,
looks pretty nice. So I will let that drop back in.
| | 02:05 | When you add a preset like this, it
shows all the tools that went into making
| | 02:09 | it, allowing you to
immediately customize the look.
| | 02:12 | If you click on one of these tools, like
Saturation, the Saturation control shows
| | 02:16 | up here, allowing you to change the
saturation or the hue or the intensity of
| | 02:20 | the saturation by pulling it back.
| | 02:22 | If you want to make it a little
less warm, you can make it kind of cool
| | 02:26 | by pulling this way.
| | 02:27 | If you want to change the curve--this
little line here, it's interactive.
| | 02:31 | It shows you the actual
change that's been made the curves.
| | 02:34 | These curves are not as specific as
the one you will find in Premiere Pro.
| | 02:37 | They just have a few preset points, but
this is not intended to be a full-featured
| | 02:42 | color correction software.
| | 02:43 | It's intended to be looks.
| | 02:44 | So if I want to add little more
contrast, I can pull down that particular point.
| | 02:48 | If I want to take some of the contrast
out, I can pull it up, pull down some of
| | 02:51 | the midtones, so you do it
reasonable amount of control, and you also can
| | 02:54 | control in each channel.
| | 02:55 | And if I want to change the Saturation,
I can change it here or here and some
| | 03:00 | other changes as well.
| | 03:01 | And if I like what I see
then I just say Finished.
| | 03:04 | When I come back, it shows all the various
tools that were used to create this preset.
| | 03:09 | Let me go back though and
do a custom one from scratch.
| | 03:13 | So I will click on Edit again.
| | 03:14 | I am going to create a new Look, so I
will just go Ctrl+N for new, or Command+N
| | 03:18 | on the Mac. Starting from scratch,
| | 03:20 | I will go over to Tools, and you have
these various buttons in the bottom that
| | 03:23 | tell you where you are in the workflow.
| | 03:26 | Subject meaning you are taking the
picture originally, and then you can matte
| | 03:29 | out a certain areas if you want to,
a certain kind of lens, that kind of stuff.
| | 03:31 | So it's kind of the workflow that you
would have if you were actually shooting
| | 03:35 | a video and then taking it into post.
| | 03:37 | So we will start with the subject matter
and I will do Cosmo, kind of a cool name
| | 03:41 | for actually putting out some cosmetics.
| | 03:43 | So skin smoother. It's kind of
wild. It actually finds the skin.
| | 03:47 | So if you look here, it shows you
where it thinks skin is, and you can help
| | 03:51 | it as you adjust this.
| | 03:52 | So it's going to see some
bits of the sweater as skin too.
| | 03:55 | It might smooth them a bit,
but that's pretty good.
| | 03:57 | It isolates skin tones.
| | 03:59 | That's pretty amazing.
| | 04:00 | Then you can soften it, more or less
smooth out skin like that. Suddenly
| | 04:04 | white blemishes, white freckles
they are gone. Pretty amazing.
| | 04:07 | I want to warm things up, so I
will pop out the Tools again.
| | 04:10 | There is a Warm/Cool feature, and I can
either drag it in or just double-click it.
| | 04:14 | I'm going to make it a little
bit warmer, pull it this way.
| | 04:17 | We can sort of fine-tune it here
with the numerical controls as well.
| | 04:22 | And let's do one more thing.
| | 04:23 | Let's see, I'll put Curves on there.
| | 04:25 | There we go, double-click that. That's Curves.
| | 04:28 | I am going to bring down the shadows a
bit, the blacks, bring up the highlights
| | 04:32 | a bit, just to give it a bit more contrast.
| | 04:34 | Now I've made these changes.
| | 04:36 | I can say Finished, but before I
do that, I can save this as a preset.
| | 04:39 | You saw all these presets before that
come with Looks, but you can make your own
| | 04:43 | by going File > Export Look As.
| | 04:46 | You'll save it as a preset and once it
shows up as a preset, it will show up
| | 04:49 | down here in the Custom bin.
| | 04:51 | So that's the basic process to do that.
| | 04:53 | But now that I like this, I go Finished,
and we're back to Premiere Pro, and there
| | 04:58 | it is, with the option again of
always going back and editing it.
| | 05:01 | We are going oh,
that's before and that's the after.
| | 05:04 | So Magic Bullet Looks is an easy way to
give your video the Hollywood treatment.
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8. Reviewing Two Advanced Color Correction Plug-InsTesting Color Finesse in After Effects| 00:00 | Yes, this is a tutorial about Premiere
Pro, but I want to take you on a brief
| | 00:04 | detour to a different
Adobe product, After Effects.
| | 00:07 | The reason, it ships with a plug-in
that is the equivalent of an all-in-one
| | 00:11 | color correction suite.
| | 00:13 | It's called Synthetic Aperture, Color Finesse.
| | 00:15 | The version that ships with After
Effects will not work with Premiere Pro, but
| | 00:19 | Synthetic Aperture offers a full retail
version with more features for $575 that
| | 00:25 | does work with Premiere Pro.
| | 00:26 | So let me give you a brief tour of
Color Finesse, and I've got a composition set
| | 00:30 | up here already in After Effects.
| | 00:32 | I am not here to teach you how to use
After Effects, so I will skip all that
| | 00:34 | preliminary stuff, but I do want
to show you one little thing here.
| | 00:37 | I am going to shift this project to
32-bit per channel color, because color
| | 00:42 | Finesse works in that, and there are
some features in there that will work only
| | 00:46 | if you switch the project that 32-bit
color. Some of the effects in Premiere
| | 00:49 | Pro 32 on the badge,
| | 00:50 | that means they are working in the
32-bit per channel color space as well, which
| | 00:54 | is a good thing. It keeps
your color in its pristine state.
| | 00:57 | So I am going to hold down the Alt key
on Windows, the Opt key on Mac, and click
| | 01:00 | on that twice to shift to 32-
bit per channel. No big deal.
| | 01:05 | Effects & Presets panel, very much like
the Effects panel in Premiere Pro, scroll
| | 01:09 | down to the company name, Synthetic
Aperture, and there is SA Color Finesse 3.
| | 01:14 | This is actually the LE version,
instead of the full version, as I mentioned.
| | 01:18 | It has a 32 badge in front of it as well.
| | 01:20 | Let's drag that to the comp, and now I
have added it, and this is what you see.
| | 01:24 | You can click on it to see the full
interface, which we will in a moment, or you
| | 01:27 | can look at the simplified interface,
which will look sort of familiar for folks
| | 01:30 | who have been following these tutorials.
| | 01:32 | There is the old color wheel.
What's missing is the wheel around the outside
| | 01:36 | that allows you to move the angle in the
outside, but that's all right. You can
| | 01:38 | pull, just as we've done before, in a
particular direction and increase the
| | 01:42 | saturation and that hue, and
we've seen that guy before.
| | 01:46 | I will just reset that.
| | 01:49 | It has your curves, which we all know about.
| | 01:51 | We can get a little bit of contrast by
pulling down the blacks and pulling up
| | 01:55 | the whites, and that gives
us a little more contrast.
| | 01:58 | We can add a little more red like that,
if we want to. Again their curves are
| | 02:02 | always kind of little sensitive, so
let's do a little bit of right there.
| | 02:03 | And down here are all these properties
that have lots of numbers, but they're
| | 02:10 | here for a good reason.
| | 02:11 | It's hard to kind of work
with these guys on their own.
| | 02:13 | It's much better to work with a nice
graphical interface like that, but these guys
| | 02:17 | are here for a reason, because we are
going to go to the major interface and when
| | 02:20 | you work there, those things are not
keyframeable. But whatever changes you make
| | 02:24 | there to most of those things will show
up here and allow you to click on these
| | 02:28 | stopwatches to keyframe them after the
fact, if you want to tweak them later, so
| | 02:32 | that's a good thing.
| | 02:33 | So now let's go to the full
interface, so I will first reset everything
| | 02:36 | before we go there, and then I'll click on
the Full Interface. And it has all the
| | 02:39 | appearances of a separate, stand-alone
product with our comp loaded up inside it,
| | 02:44 | and we can play the comp as you
would if you were inside Premiere looking
| | 02:48 | at it inside the program monitor.
| | 02:50 | Here is a scope view, and we have four
scopes similar to Premiere Pro, except
| | 02:53 | here is a histogram which we didn't
have in Premiere Pro, a little difference
| | 02:56 | here, an interactive histogram.
| | 02:58 | Let's go to HSL, which is something
we're kind of used to working with, or RGB, we
| | 03:02 | been working with that as well, the HSL, and
it has a sync called Hue Offsets which
| | 03:06 | we've seen is the color wheels.
| | 03:07 | So you know how to work with
those guys. We've got RGB.
| | 03:10 | This allows you to work in the midtones,
highlights, and shadows, in terms of the
| | 03:14 | color or the Masters.
| | 03:16 | So, for example, we've got Gamma, Pedestal,
and Gain. You've seen all these guys before.
| | 03:19 | We take the Pedestal first.
| | 03:20 | We can watch it here in the
Waveform monitor, and this Waveform monitor
| | 03:23 | goes from 0 to 100.
I'd rather see the big Waveform.
| | 03:27 | Let's go to the YC Waveform there.
| | 03:28 | There it is, and this one gives you the
full view, which is nice, a more detailed
| | 03:32 | waveform than we have in Premiere Pro.
| | 03:34 | Super-whites do not get clipped off at 110.
| | 03:36 | You'll see the detail above there as well.
| | 03:39 | So we can adjust the Pedestal to get
the shadows in the right place and bring
| | 03:44 | down the highlights by dropping the
Master Gain. Then we would Gamma, as we've
| | 03:48 | done before, and you can do all the same
things in all the channels, just as you
| | 03:51 | would with the RGB Color
Corrector inside Premiere Pro.
| | 03:55 | Let's move on to Levels, because
Levels would normally work with the histogram.
| | 03:59 | That's kind of how it was originally designed.
| | 04:00 | So we can turn on the histogram and see
the histogram that way, and as we work
| | 04:05 | with Levels we can
typically drag the slider like that.
| | 04:07 | Let me reset everything.
| | 04:08 | And here's this great big white spike
there, which means that we've got some
| | 04:12 | super-whites, too many bright
things, and that's this area here.
| | 04:17 | Histogram doesn't show left or right.
| | 04:19 | It shows the luma, and the midtones are
kind of a lot of luma and then not much
| | 04:23 | in the shadows and not much in the
highlights, except for right there. And there's
| | 04:27 | this cool feature called Highlight
Recovery, which lets you bring those super-
| | 04:31 | whites in and recover them, which is nice.
| | 04:34 | You notice suddenly there's some
detail showing up here where there
| | 04:36 | wasn't detail before.
| | 04:37 | So that's a pretty cool
feature. Let me reset that.
| | 04:40 | There is a very cool feature inside the
Finesse that I've seen in no other product.
| | 04:44 | Let me show you what that is. Go to Curves.
| | 04:46 | You've seen Curves before, right?
| | 04:47 | But with this HSL, this allows you
to adjust the hue, saturation, and
| | 04:52 | lightness using this graph, which at
first may be a little non-intuitive, but
| | 04:56 | it lets you select the color.
| | 04:57 | Let's say we'll select orange skin tone,
and you can increase the saturation of
| | 05:01 | skin tone, which you've seen. But here
you can add more points to this curve and
| | 05:06 | limit the area, limit the orange very
specifically, to a very narrow band.
| | 05:11 | I'm having a little trouble selecting it, but trust
me, you can get a narrow band here like that.
| | 05:14 | I'm going to pull that down, just
limit it to that little area there.
| | 05:18 | Or if you want to darken it again,
let's say you want to darken the orange in
| | 05:22 | two clips there and pull that guy down,
| | 05:24 | there we go. If you want to shift
orange to different color, you might click
| | 05:29 | here and then drag it up or down.
That shifts the orange as if you were rotating the wheel.
| | 05:35 | So it's a different way of looking
at hue, saturation, and lightness.
| | 05:38 | We also have some secondary controls
that allow you to pick colors out of a clip
| | 05:42 | and then create masks using those as well.
| | 05:44 | So basically what you have here is a
full-featured color correction suite.
| | 05:49 | Color Finesse integrates several color
correction tools into one interface.
| | 05:53 | If you have access to After Effects,
| | 05:54 | Color Finesse is worth checking out.
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| Working with Magic Bullet Colorista in Premiere Pro| 00:00 | Magic Bullet Colorista is the second of
the two Premiere Pro plug-ins from Red
| | 00:04 | Giant that I featured in this course.
| | 00:06 | The other is Magic Bullet Looks.
| | 00:08 | Colorista is a full-fledged
all-in-one color correction product.
| | 00:12 | It retails for $300.
| | 00:14 | I think its intelligent design,
workflow organization, well-laid-out interface,
| | 00:19 | and full collection of tools
combine to create a useful product.
| | 00:23 | Let me show you how it works.
| | 00:24 | When you install it and then turn
Premiere Pro back on, it shows up in the
| | 00:28 | folder here under the Video
Effects as Magic Bullet Colorista.
| | 00:32 | This is where you also installed
Bullet Looks and then Bullet MisFire, which
| | 00:36 | comes with Bullet Looks.
| | 00:37 | So we'll open up Magic Bullet
Colorista, and you'll see it's just one effect.
| | 00:40 | Drag it to the Effects Controls panel or down
to the clip, and there it is. You open it up.
| | 00:47 | It has four parts to it: Primary,
Secondary, Master, and Options. Now Primary
| | 00:53 | is just like primary color corrections.
| | 00:54 | This is where you correct color for the
entire frame of the clip, all pixels in the clip.
| | 00:59 | Secondary is where you can make a mask,
or some other way to limit the region in
| | 01:03 | which you do your work.
| | 01:04 | Master is like okay, you have done it all,
| | 01:06 | now let's do some more work.
| | 01:07 | And Options give you a chance to
view a few things along the way.
| | 01:10 | But I won't show you all these things.
| | 01:12 | I am not trying to teach you how to
use Colorista, but I do want to show you
| | 01:14 | some of its features.
| | 01:15 | So I'll open up Primary and unlike
Looks, this is not separate interface.
| | 01:19 | It works right here inside the Effect
Controls panel. And the most interesting
| | 01:23 | thing to go to is Primary 3-way, and
you're going to see a familiar thing.
| | 01:27 | The Three-Way Color Corrector,
just like Premiere, but not quite.
| | 01:30 | There are some differences there.
| | 01:32 | You'll notice that it has these
little controls on the outside.
| | 01:35 | This is sort of like a Gamma control.
| | 01:37 | If you look at the Waveform scope,
you'll see how it shifts things down, but
| | 01:40 | not as a big unit. It kind of just smushes
things together without sliding them all down.
| | 01:45 | If it slid them all down, then it would be
like Pedestal, but this is sort of like Gamma.
| | 01:48 | This is saturation over here.
| | 01:50 | If you notice, you see the
little circle that are going out.
| | 01:52 | That's because we were
saturating the color at that angle.
| | 01:55 | You could manually drag
it that direction as well.
| | 01:58 | That'll effect the saturation.
| | 02:00 | So we want the midtones warmer,
move towards orange, make the oranges
| | 02:04 | a little more saturated.
| | 02:05 | If you want to adjust the gamma in the midtones,
| | 02:07 | that's the way that would work.
| | 02:09 | Also, there is an Auto Balance.
| | 02:10 | The Auto Balance works only in the
highlights, which I think is a limitation.
| | 02:14 | It would be better if it works in
midtone area, but here it works in the
| | 02:17 | highlights, so you need to find
something pretty white, if you're going to use
| | 02:19 | this thing for an auto-white-balance.
| | 02:21 | Let me go up one little notch.
| | 02:23 | These are the three main controls,
sort of like Pedestal, Gain, and Gamma, a
| | 02:27 | little bit different though.
| | 02:28 | We've Primary Exposure, Primary
Density, and Highlight Recovery.
| | 02:32 | It's kind of interesting. If I drag this
one, you can see that I'm taking just
| | 02:36 | the top of the waveform.
| | 02:37 | That would be like Gain in
the Pedestal Gain Gamma model.
| | 02:40 | So if I drag this one, it's kind of like
Pedestal. I'm moving the entire clip up and down.
| | 02:45 | So the workflow, I would think, would
be that you take Density first, and then
| | 02:48 | adjust the Gain, bring it
down to about 100, as it should.
| | 02:51 | It has super-whites here, which is good.
| | 02:53 | It's an HD camcorder that shot
super-whites, and it brought it down to 100.
| | 02:55 | And here is this interesting little
feature called Highlight Recovery.
| | 02:58 | It actually looks for things that
might be almost crushed here in the
| | 03:02 | highlights and lifts them up.
| | 03:04 | Watch that, see those little peaks there?
| | 03:06 | That's detail in the highlights.
| | 03:07 | It's trying to recover any little details
that you might have had in the highlights.
| | 03:10 | It's a neat little feature.
| | 03:11 | Once you do that, you might want to
drag the highlights down just a little bit
| | 03:14 | more to show those super-whites
and if they have detail in them.
| | 03:17 | So that's Primary, and there is more to it.
| | 03:19 | Let me just show you HSL.
| | 03:20 | This is another feature that you
have not seen inside Premiere Pro.
| | 03:24 | It's a unique feature to Colorista.
| | 03:27 | This says all these little dots that
represent the primary colors--red, green,
| | 03:30 | and blue--and the secondary colors--cyan,
magenta, and yellow--and then they add
| | 03:34 | a seventh one--orange--because that
skin tone is such a commonly used hue.
| | 03:38 | On the left-hand side is saturation;
on the right-hand is lightness. So HSL: hue,
| | 03:42 | saturation, and lightness.
| | 03:43 | If I want to increase the saturation
of oranges, I'd pull that way, and that
| | 03:49 | increases the saturation in the faces.
See how they are starting to come in like that?
| | 03:51 | If I want the orange colors here to be shifted
toward red, I can pull the orange toward red.
| | 03:57 | If I think it needs less
saturation, I go this way.
| | 04:00 | If I want to make the oranges lighter,
pull it away; darker, pull it in.
| | 04:07 | It's a pretty remarkable little tool.
Sometimes when you want to feature a color
| | 04:12 | and sort of de-feature another color, you can
pull a color toward the color you want to feature.
| | 04:18 | That's one little cool thing.
| | 04:19 | So if I take anything purple and pull
it towards blue, or in this case, the little
| | 04:22 | red flowers there, you might not be able
to differentiate them, but if I pull them
| | 04:26 | toward orange, then they
will get a different color.
| | 04:28 | See them shift suddenly to orange?
| | 04:30 | I can pull them towards purple
and look how they shift there.
| | 04:34 | So you can adjust colors individually with
this little hue controller. It's pretty cool!
| | 04:38 | Let's move down to Secondary.
| | 04:41 | Secondary allows you to limit the
region in which you're doing your work.
| | 04:44 | So it has masks built in, and you
know that Three-Way Color Corrector and
| | 04:48 | the RGB Color Corrector and RGB
Curves have secondary built in as well.
| | 04:52 | They allow you to make a mask by
selecting a color and then adjusting it for the
| | 04:56 | luma and for the saturation.
| | 04:58 | Something similar it goes on here,
and you're allowed to do it in a couple of
| | 05:01 | different ways. Plus it also has a
built-in mask, where you can make
| | 05:04 | elliptical or rectangular masks, or
rather then make that inside the Pedal
| | 05:08 | tool, you can make it right
here right here inside Colorista.
| | 05:11 | Also, there's a cool feature called Pop,
so let me undo what I've done so far,
| | 05:15 | so you can see Pop on its own.
| | 05:17 | There is this thing called Pop, which
you makes your picture pop.
| | 05:20 | It makes them kind of jump out at you,
so it's a really cool thing.
| | 05:23 | It has a similar kind of thing you saw
before with the hue and the color wheel,
| | 05:27 | through the 3-way here.
| | 05:28 | And there's one other thing. So not only
can you do typical secondary correction
| | 05:34 | by selecting a color, you also have the
mask. But the third thing you have is
| | 05:37 | the key, where you can make a key, as
you would with typical color key that you
| | 05:41 | would find over here in the Video Effects.
| | 05:43 | Then finally the Master Control has
several other options that are similar to
| | 05:46 | the ones you have see so far, so
this is a full-featured suite of color
| | 05:49 | correction tools built into one effect
that can be plugged into Premiere Pro and
| | 05:54 | as you ramp up your color correction
skills, you might want to use a dedicated
| | 05:57 | color correction product
like Magic Bullet Colorista.
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ConclusionGoodbye| 00:00 | Thanks for watching these tutorials.
| | 00:01 | I enjoyed putting them together.
| | 00:03 | I think you can see now that color
correction is a challenging process, but the
| | 00:07 | results are worth the effort.
| | 00:09 | I hope that you start putting these
color correction techniques to work in your
| | 00:12 | everyday video production workflow.
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