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Adjusting color

From: Premiere Pro CS4 Beyond the Basics

Video: Adjusting color

Earlier in this training series, we covered color correction extensively. We dug pretty deep in there, but what I want to show you, in this movie, is not the how, which we already know by now. But what I want to show you, here, is exactly what I did, and why I did it. Now truth be told, one of the real reasons why I am not showing you exactly how I did what I did is because I did a lot of this color correction in Adobe After Effects instead of Premiere, as much as I hate to admit that. As you'll notice in this project here, we see the sequence called For DL to AE.

Adjusting color

Earlier in this training series, we covered color correction extensively. We dug pretty deep in there, but what I want to show you, in this movie, is not the how, which we already know by now. But what I want to show you, here, is exactly what I did, and why I did it. Now truth be told, one of the real reasons why I am not showing you exactly how I did what I did is because I did a lot of this color correction in Adobe After Effects instead of Premiere, as much as I hate to admit that. As you'll notice in this project here, we see the sequence called For DL to AE.

Now, what I did, as I took the master sequence where I edited the music video, and I nested this Master sequence inside of another sequence, and this cryptic language means that this is For Dynamic Link to After Effects. So I nested this sequence, so I can just stick this one clip in, and right-click on it and say, Replace With After Effects Composition, which opens this up in After Effects for editing. Now I think as devotees of Adobe Premiere Pro, you are entitled to know the reasons why I used After Effects and I'll cover that here.

First of all, let's look at the before and after in this sequence here. So here is the before clip, and here is the after clip, so pretty big difference there. Let me show you the first thing. It's a little bit too dark. I like to shoot on the dark side, because often times when you are shooting video, the overblown highlights are a dead giveaway that it's video, and also once you blow out the highlights and you have pure white, and you have lost detail in the highlight area, you can't get that back. But oftentimes, if your footage is just a little bit too dark, then you can kind of restore some of that in post-production.

Now as with most things in my life, I tend to overdo things just a little bit. So it's a little bit too much on the dark side, and when you shoot video in dark areas, oftentimes you'll notice that there is a lot of noise and it doesn't look good. As I scrub this here, look at his arms and you could see this noise pattern just kind of jumping and dancing around. Maybe if I play that back you can see that. Now it's a little bit too fast, but as I scrub this here, you could see just the noise on his arm and other shadow areas on his shirt, it's just jumping around and it doesn't look good at all.

So if I want to brighten this up, it's actually going to bring out the noise. So what I wanted to do is go into After Effects, and use some complex remove noise algorithms to clean this up. If I scrub this, you'll notice that his arms and his shirt are now smooth. That kind of gives a nice, softer, cleaner look too. So if you see there is the rough version with noise, and there is the brightened version that is nice and smooth as baby's bottom. Now you'll also notice that I added a vignette to this.

You can see that it's dark around the edges. It's not dark there. However, as mentioned before, this is something just as easily done in Premiere. Another thing that I did is I simulated depth of field. Depth of field is when you have a nice lens typically, and you are able to create blur at different distances from the camera. So you might have these guys in focus, and then the background all blurred out. Now our camera is a Panasonic HPX-170, which is the successor to the popular HVX200 camera.

It's about $6,000-7,000 camera, and to get this extra clean look where the background would be blurred, it's an extra like two grand. So instead of forking out the two grand, like the cheapskate that I am sometimes, I went into After Effects and I created a mask and I just added this blur in by myself. So this is kind of a do it yourself Poor man's Depth of Field effect. Now it's not true depth of field and you can kind of tell around the edges here that this is in sharp focus, even though it's farther away than these other buildings that are very blurry, and I probably apply little bit too much blur here, in retrospect.

But it's kind of like the blur vignette. It definitely focuses your attention right here on these guys and at first glance, and with quick cuts, it does have a more cinematic film type look to it. So, again, here is the before, and the after there, and you can't really do that type of thing here in Premiere. Now the last thing, obviously, I changed the color here. There is definitely a blue tint and then here it's definitely like an orange, a little warm feel to it. But if you'll notice too, I really went in and customized the midtones, and highlights, and shadows.

For example, if you'll look at this guy's shirt here, in between the green line, what suppose to be green lines, with these white lines, and actually if you were to take this little swatch of this color into Photoshop, it sees kind of like a darker blue grey. So what I did in After Effects is I brought that out, and you can see that not only did I remove the blue colorcast that was there, but I brightened up considerably, which makes the green pop out. That's one of the very few vibrant colors in this whole frame, and that really calls your attention to these guys in the middle, which, again, is the whole point of why I am doing a lot of what I did.

And while this is still a very contrasty image, Yyu can see that I did lighten up the shadows just a little bit. This is very dark and I brightened it, put a little bit of orange in the shadow areas. So I brightened up some shadows and I brightened some midtones. The highlights I pretty much kept where they were for the most part. If you will notice the sky, for example, the sky really didn't change all that much, comparatively. So there is a little bit more of an orange tint or rather less of a blue tint, but as far as luminance, it really didn't change all that much compared to how much everything else changed.

Let's look at another example from earlier in the video, actually. So here is the original footage and then I did the same kind of tricks and then here is what the end result looked like. This footage was much more noisy and grainy, because it was way too dark. So we had again more that junk we've to deal with and so when I wanted to brighten the footage, it was very difficult. So I needed a lot of noise removal, so it looks very smooth, probably little bit too smooth. If I had to do it over again, I would've brought in some extra lights, but I still do like the crazy contrast that we get from the leaves, where there is bright sunlight, and then dark shadows.

It kind of creates a very interesting light play on our subjects here. But we have the same elements. We have blur of the background, we have vignetting around the edges, and we have the same type of deal with the shadows lightened, and the midtones lightened, and the orange color cast, make things kind of like warm and vintagy looking, kind of edgy. One other thing that I had neglected to mention, if you see here, this is the original shot in full frame and everything, untouched, uncorrected, and you will notice that in he After Effects version, there are bars at the top and the bottom.

This is probably not really standard. This is just something I like, I love the cinematic look where it's just really, really wide screen to me, like the wider the better. It just looks so sexy, like a big old awesome movie or something. I don't know, I just love that look and so I faked it and made it look more cinematic by adding these bars, which again, gives us the impression that I am shooting on a wider sensor than I did. I am really using video sensor, and just HD video, but with the bars it just looks all of that much more cinematic.

Again just like the vignette, just like the blur, it does more to draw you into our subject. So when you look at this, your eye might not initially go to our subject. Your eye might wonder all over the place here. There is a lot going on. It's very busy and in this shot, it's definitely narrowed down. Your eye goes right there. Everything else is blurry. It's saying, "Hey nothing to see here. Don't look here. There is nothing "good to look at over there." And then these guys, it's just like, yup, that's exactly where your eye is drawn to. So again, to sum up the difference from the original, we removed grain, I added a vignette, I added some blur to the background, added the bars top and bottom, did some color adjustment to bring out these colors, bring out the midtones and make them a little bit brighter.

I also colorized the shadows and the overall piece giving it a warm tint, and that's what gets us from here to here.

Show transcript

This video is part of

Image for Premiere Pro CS4 Beyond the Basics
Premiere Pro CS4 Beyond the Basics

82 video lessons · 20108 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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