IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi, there.
I'm Maxim Jago.
| | 00:06 |
I'm a filmmaker, writer and Adobe master
trainer.
| | 00:10 |
If you've been cutting with Premiere Pro
for a little while, it's likely you've
| | 00:14 |
reached the point where you're getting
curious about some of the more advanced features.
| | 00:20 |
While many editors turn to After Effects
for fine finishing work, Premiere Pro
| | 00:24 |
also has powerful tools to achieve very
similar results.
| | 00:28 |
In this course, I'll be introducing you
to the core technologies that colorists
| | 00:32 |
use all over the world.
Once we've learned about key tools like
| | 00:37 |
Vector Scopes, Wave Forms and Color
Wheels, we'll be working with the
| | 00:41 |
Advanced Color Correction tools, in
Premiere Pro, to correct problem shots
| | 00:44 |
and give a finished look to our media.
Much of the work of color correction is
| | 00:50 |
problem solving.
So, we'll be working with difficult media
| | 00:54 |
to find out if we save the day and truly
fix it in post.
| | 00:58 |
As well as using the tools provided by
Premiere Pro, we'll look at third party
| | 01:02 |
plug-ins and touch on transferring our
new color correction skills from Premiere
| | 01:07 |
Pro to After Effects.
Including the workflow for sharing media
| | 01:12 |
between both applications.
I hope you'll share my joy in
| | 01:16 |
understanding and using some of these
powerful finishing tools in Premiere Pro.
| | 01:21 |
And that your new skills will take your
editing and finishing to the next level.
| | 01:27 |
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|
|
1. The Color Correction ChallengeWhat is color correction and why do you need it?| 00:00 |
Hello, and welcome to this workshop video
course about color correction with Adobe
| | 00:07 |
Premier Pro CS 5.5.
The phrase color correction has actually
| | 00:14 |
quite a number of different meanings.
Broadly speaking we would say that we're
| | 00:19 |
fixing problems with color.
So, you might have a shot like this one
| | 00:24 |
here, which has got a bit of a blue tint.
We can fix that, we can bring out the
| | 00:28 |
whites, and we can adjust the contrast.
It might be that you're producing
| | 00:32 |
something for a green screen, and you
want to Chroma key.
| | 00:37 |
You can't because the lighting's been set
up completely wrong, and again, we can
| | 00:40 |
fix that and make it careable.
These are the sorts of problems that we
| | 00:44 |
might encounter if we are correcting
color and this where I suppose the
| | 00:48 |
classic phrase let's fix it in post comes
from.
| | 00:52 |
But of course there's a limit to how much
can be fixed in post.
| | 00:56 |
And understanding that tools you have
available will make a big difference in
| | 01:00 |
your role as an advisor in the pre
production of a shoot.
| | 01:05 |
As well as fixing problems, we might want
to perhaps add a bit of a color tint, or
| | 01:10 |
change a color tint.
Perhaps the DP of a shoot set up a shot
| | 01:14 |
to have a little bit of a green glow, and
actually the director decided they wanted
| | 01:18 |
it a bit more gray.
Or you might want to bring out some
| | 01:22 |
color, you might have a shot of the sky
here we've got a shot of some balloons,
| | 01:26 |
and you might want to just really make
the blue punchy really pull it out of the shot.
| | 01:32 |
Or then again, we might want to use our
color adjustments creatively to create a
| | 01:36 |
completely different composition.
So in fact while I'm going to be
| | 01:41 |
referring to color correction generally
within this workshop cause actually we're
| | 01:45 |
talking about a whole range of different
adjustments and you can see that if you
| | 01:49 |
look in the video effects category in the
effects panel in premier pro.
| | 01:56 |
You can see here it's got a whole load of
different control some of which are going
| | 02:01 |
to correct color problems and in some
cases hold that automatically and some of
| | 02:05 |
which adjusts to add a little bit of
artistic flair.
| | 02:11 |
So we might well be fixing color, color
matching between different shots, perhaps
| | 02:14 |
different angles at the same location
that need to look like they're in the
| | 02:17 |
same scene.
We might be grading, which I would
| | 02:21 |
broadly describe as giving the final look
and feel to the piece.
| | 02:26 |
Let's say that color correction is
keeping everything equal and nice and
| | 02:30 |
steady colors and good shadows and
highlights, and grading is giving that,
| | 02:34 |
that finish to it to give the, a feel to
the film.
| | 02:39 |
And we might just be making our video
standards compliant, it might be you need
| | 02:44 |
to produce your video for broadcast and,
let me see now, in here we've got a
| | 02:49 |
limiter which will limit our levels to
broadcast levels.
| | 02:56 |
If I pulled this onto this beach shot,
for example, take a look at My effect
| | 03:01 |
controls we've got here, options for how
we're going to keep the tonal range of
| | 03:06 |
our video within legal levels for
broadcast.
| | 03:13 |
My goal in recording this course is not
so much to make you an expert colorist,
| | 03:17 |
that's a vast subject and we could spend
several days on it before you really felt
| | 03:21 |
confident as a creative colorist.
My goal here is to give you a proper
| | 03:27 |
understanding of the tools, of the
interface elements and the wording if you like.
| | 03:33 |
So that you can dive in and begin doing
much more comprehensive color work on
| | 03:37 |
your projects, alone.
And also, I want to give you these skills
| | 03:42 |
inside of Adobe Premiere Pro
specifically, rather than encouraging you
| | 03:46 |
to go off and use After Effects.
After Effects has fantastic color
| | 03:51 |
management and great color correction
tools.
| | 03:53 |
It comes with the synthetic aperture
color finesse, color correction
| | 03:57 |
application are standard now and that's
fantastic.
| | 04:00 |
But actually much of the time you can do
all the work you need to do inside of
| | 04:04 |
Premier Pro and really benefit from the
CUDA support and the power that that
| | 04:07 |
offers inside the editing environment.
You just don't get that real time
| | 04:13 |
performance at all inside of After
Effects.
| | 04:16 |
To that end it really does make a
difference if you have graphics called
| | 04:20 |
the supportsCUDA or at least one of the
supportive graphics cards on your system.
| | 04:25 |
Now you know if you go to your project
settings you know if you have got cuda
| | 04:29 |
enabled because this menu will work.
If you look in your project settings, if
| | 04:34 |
you don't have the right graphics card or
if you have the right graphics card and
| | 04:37 |
you have got the wrong drivers this is
going to be grade out and it is going to say.
| | 04:42 |
Software only.
What you need is an in-video graphics
| | 04:45 |
card that's on the supported list.
So just take a look at the adobe.com
| | 04:49 |
website and there's a specification list
there and then you can turn on this
| | 04:53 |
fantastic GPU acceleration.
Now you'll know also if this is available
| | 04:59 |
By going to your effect controls panel
and turning on this CUDA filter.
| | 05:05 |
These three buttons at the top of the
effects panel will show you any effects
| | 05:08 |
that are, in this case, CUDA enabled, so,
you know, very, very good real time
| | 05:12 |
performance, 32-bit.
And YUV, and the CUDA enable ones all
| | 05:17 |
have this go faster arrow.
So if they're grade out you know you
| | 05:21 |
don't have it working.
Getting the right graphics card is not
| | 05:24 |
that expensive so I encourage you to look
into that and it makes a really big
| | 05:27 |
difference into the perfomance of
Premiere Pro.
| | 05:31 |
Another thing worth noting is that you
can't see the type of colors that you are
| | 05:35 |
going to get on a regular television
monitor by just looking at you pictures
| | 05:39 |
on a computer screen.
If you go to, let me just get my sequence
| | 05:44 |
active here.
If you go to your sequence settings,
| | 05:47 |
you'll notice you've got a playback
settings option where you can specify an
| | 05:51 |
external device.
If you have a deck connected via FireWire
| | 05:55 |
or if you have dedicated hardware,
perhaps an AJ card, or a Blackmagic card,
| | 05:59 |
or something like that, then I really
encourage you to have that TV monitor connected.
| | 06:05 |
Now, it would be great if you could have
a proper grade one broadcast.
| | 06:09 |
HD monitor, that you can really see your
colors on properly.
| | 06:12 |
But to be honest, any television of any
kind however awful, is going to be better
| | 06:17 |
than just using your computer screen.
Computer screens will show you more
| | 06:22 |
detail in the shadows and in the
highlights, and will display the colors
| | 06:26 |
using a different color mode, they
display in RGB while TV monitors use YUV.
| | 06:32 |
And so you really can't tell how it's
going to look until you see it on the
| | 06:35 |
medium that it is going to be used for
display.
| | 06:39 |
Of course, if you're producing things for
web distribution, anything that's going
| | 06:42 |
to be on a computer screen, don't worry
about it, it's absolutely fine.
| | 06:47 |
What you see is what you'll get.
If you're familiar with Photoshop you'll
| | 06:51 |
be familiar with the color management
controls in there that will allow you to
| | 06:54 |
treat your computer monitor as all kinds
of different display mediums.
| | 06:59 |
You get the same kind of feature inside
of After Effects, but you do not get that
| | 07:03 |
feature in Premiere Pro.
So you kind of have to trust Premier Pro
| | 07:07 |
to be reproducing the colors accurately
and again you need to view on a medium
| | 07:10 |
that ultimagtely will be used for
distribution, a TV if you're using a TV,
| | 07:14 |
computer monitor if you're using a
computer monitor.
| | 07:19 |
In this course, I'll be covering some
really core concepts, like how pixels
| | 07:23 |
work, how color works, how scopes and
waveforms work, and so on.
| | 07:27 |
And my hope is that by the end of it,
you're going to be really ready to dive in
| | 07:31 |
and do some much more advanced coloring
work on your own productions.
| | 07:38 |
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| Working in higher bit depths in Premiere Pro| 00:02 |
I'd like to say, when a lot of people
start out learning about color and so on
| | 00:05 |
in applications like Premiere Pro, they
get confused when they're considering
| | 00:09 |
whether they're working on pixels or
images.
| | 00:13 |
But what I think I really ought to say is
that I got confused when I started
| | 00:16 |
working with video.
So, I'm just going to share my confusion
| | 00:20 |
with you, and perhaps hope to fill in
some gaps for everybody else who kind of
| | 00:23 |
got it before I did.
When you're working on any kind of
| | 00:28 |
adjustment inside of Premiere Pro or any
application for that matter, no matter
| | 00:33 |
what the effect that you're working on,
the reality is that you're making
| | 00:37 |
adjustments to the individual pixels in
your image.
| | 00:43 |
So here, for example, I'm working on an
image.
| | 00:47 |
Let's see now, I've got, this is
1280x1080.
| | 00:51 |
This is P2 Media with a 1 and a half to 1
pixel aspect ratio.
| | 00:55 |
Let me find something that's 1080 that
will probably make the point really nicely.
| | 00:59 |
How about if we take this station shot?
So, I'm just going to build a sequence
| | 01:04 |
from this automatically by dragging the
icon onto the New Item button.
| | 01:10 |
This is just a shortcut for making a
sequence that matches my media type.
| | 01:15 |
And maybe, I'll go for one of the Color
Correction filters here.
| | 01:19 |
I'll take the Fast Color Correction, drop
it onto this clip.
| | 01:22 |
Now, if I look at the color wheel on the
Fast Color Corrector, this is going to allow
| | 01:26 |
me to make overall adjustments to the
image.
| | 01:30 |
I can drag this (UNKNOWN) from the center
towards the magenta, the blue, or
| | 01:33 |
whatever, and I'm going to put a color cast
on.
| | 01:36 |
And it kind of looks like I'm working on
the whole image, and, well, yes I am but,
| | 01:42 |
what's happening more accurately is I'm
making adjustments to every single one of
| | 01:48 |
those 1920x1080 pixels.
And it really is as simple as this.
| | 01:56 |
If I just bring up the calculator, and do
1920x1080, there we go, I've got
| | 02:01 |
2,073,680 dots.
And every single one of those dots, every
| | 02:07 |
single one of those pixels is being
adjusted by the same amount when I make
| | 02:13 |
adjustments using my effects.
So, if you can think, if you can possibly
| | 02:20 |
view your media in terms of a whole bunch
of dots in the screen, per frame and each
| | 02:24 |
frame, well, let's say, here I'm working
on 25 frames per second.
| | 02:31 |
No, I take it back, 24 frames per second
media, I can see in my project panel,
| | 02:35 |
I've got 24 lots of about 2 million dots
per second and each one of them is having
| | 02:39 |
the effect applied to it.
So, it's pretty impressive to be able to
| | 02:44 |
do this in real time.
But what's actually happening when you
| | 02:48 |
make those adjustments?
What is being adjusted?
| | 02:51 |
It might seem kind of technical to begin
with, but actually it's not that complicated.
| | 02:56 |
In fact, the way most computers work is
kind of a really, really complex outcome
| | 03:01 |
of a very, very simple principle.
I'm just going to show you this on-screen by
| | 03:06 |
using a title.
I'm just going to make a, a blank title
| | 03:09 |
here, and I'll call this Binary.
So, here I am, let's have a black
| | 03:13 |
background to this, and I think, great.
If I have one bit, there's my one, here
| | 03:20 |
we are, it's kind of dinky so let's make
that a little bit bigger.
| | 03:28 |
If I have one bit, that bit has up to,
here we go, and that equals either a one
| | 03:38 |
or a zero.
There we go.
| | 03:46 |
And that means that if I'm working with a
single bit to measure color or light or
| | 03:50 |
whatever it is, I'm either going to have
it totally on or totally off.
| | 03:56 |
That means, each pixel is either going to
be completely white or completely black,
| | 03:59 |
and so on.
Now if I have two pixels, let me just get
| | 04:03 |
another one of these here, and another
one like this.
| | 04:07 |
And I'm just holding down the Alt key
here to do this.
| | 04:12 |
In fact, let's just go crazy and put a
little, let's just put a little plus sign
| | 04:18 |
in there.
Okay.
| | 04:22 |
Oops.
Move this over a bit.
| | 04:26 |
I hope you're impressed by my design
skills here.
| | 04:31 |
This is going to give me several more
options.
| | 04:34 |
What I'm going to get now is either a 1, 1,
a 1 and a 0, a 0 and a 1 or a 0, oops, a
| | 04:42 |
0 and a 0.
Now, I just need to shrink that down a
| | 04:49 |
bit so you can see what's going on.
There we go.
| | 04:53 |
This means that the total number of
combinations if I've got 2 bits, that's a
| | 04:58 |
1 or a 0 and another 1 or a 0, is going
to be 4 possible combinations.
| | 05:05 |
I think I've got a bit of a wonky digit
there.
| | 05:06 |
Okay, now, why am I telling you all of
this?
| | 05:11 |
Well, if I add another bit, another 1 or
a 0, it doubles the number of
| | 05:15 |
combinations that you can generate.
And in fact, every time you add one bit
| | 05:21 |
to the total number of bits that you've
got, it doubles the total number of
| | 05:25 |
combinations that you can create.
Now, I'll just cut to the chase here and
| | 05:31 |
tell you, that if you have eight ones and
zeros, which is what in computer speak is
| | 05:35 |
called a byte, that gives you up to 256
combinations.
| | 05:39 |
If you knock it back 1, so that you've
got a 0, so it goes from 0 to 255, you've
| | 05:43 |
got the standard scale for all 8-bit
video that is broadcast all over the
| | 05:47 |
world today.
It's 8 bits per channel.
| | 05:51 |
That means, that you've got the red, the
green, and the blue.
| | 05:54 |
And together, they generate any color you
like.
| | 05:56 |
It's just the way your eye works.
And it simply means the grayscale from
| | 06:00 |
completely dark to completely light, for
each of those channels has 256 steps,
| | 06:04 |
except that 0 is totally off and 255, cuz
we've knocked it down one, is completely light.
| | 06:12 |
Those grayscales are translated into the
red, the green, and the blue.
| | 06:16 |
But you can't see them as a grayscale
channel in applications like Photoshop
| | 06:19 |
for example.
All right, now, let's get rid of this.
| | 06:22 |
So, now that you know what bit depth is,
you can understand why being able to work
| | 06:27 |
in 32-bit, which is what many of the
effects are in Premiere Pro CS5.5 and
| | 06:31 |
CS5, these 32-bit effects are actually
working in an insane level of detail.
| | 06:40 |
I forget the number.
It's probably trillions of steps between
| | 06:43 |
completely dark and completely light.
In fact, the highest level HD format, the
| | 06:48 |
Sony HDCam SR format, that's a, a regular
tape-based format at the moment.
| | 06:54 |
I think we called in 10 bits, so it's
only 1,024 steps on that gray scale.
| | 06:58 |
So, working 32-bit means that when you're
making adjustments to your pictures,
| | 07:02 |
they're just not going to degrade,
because you've got such a fine grain to
| | 07:06 |
make your adjustments in.
And this is a good thing to enable the
| | 07:12 |
32-bit mode.
First of all, you need to use 32-bit
| | 07:16 |
effects, and also, I just bring up my
sequence settings, you must tick this
| | 07:19 |
box, maximum bit depth.
You get a warning about the amount of
| | 07:23 |
work for your machine.
You have to have this box ticked, because
| | 07:26 |
if you don't, the 32-bit effects are
going to work in 8-bit.
| | 07:32 |
An 8-bit is OK, but if you want to
maximize the quality of the work that
| | 07:35 |
you're doing as a colorist, you're going
to want to work in 32-bit.
| | 07:40 |
In fact, technically it's 32-bit floating
point, which is even better.
| | 07:43 |
So, that's just an introduction to what's
going on when you're making adjustments
| | 07:50 |
to color in your pixels in Premiere Pro
CS5.5.
| | 07:56 |
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| The Reference Monitor and the color correction workspace| 00:02 |
One of the great things about the Premier
Pro interface is that it is so flexible.
| | 00:06 |
You can have different sizes for your
monitor panels, which is just brilliant,
| | 00:10 |
and you can move the panels around
wherever you want.
| | 00:15 |
I can put my Effects over in my Program
monitor if I want.
| | 00:17 |
It's a bit pointless, but I can do that
if I like.
| | 00:20 |
So, you can change the interface to serve
the work that you are doing.
| | 00:25 |
And there are some parts of the interface
you may just never looked at before.
| | 00:29 |
I find that a lot of people have not, for
example, really used the Reference
| | 00:32 |
Monitor before.
And they, they don't really know what
| | 00:35 |
it's for.
And in fact, when it comes to Color
| | 00:38 |
Correction work, the Reference Monitor is
a really fundamental part of the interface.
| | 00:43 |
You can get access to it by going to the
Window menu and choosing Reference Monitor.
| | 00:48 |
And let's just pick that up here.
Now, I should mention that, of course,
| | 00:52 |
that I'm working on a PC here.
There really is no difference if you're
| | 00:56 |
working on a Mac.
Perhaps, the only difference is that on a
| | 01:00 |
PC, you use the Ctrl key, on a Mac,
you'll use the Cmd key and you've got Alt
| | 01:03 |
on a PC and Option on a Mac.
The preferences are in a slightly
| | 01:08 |
different place as well.
On a PC, they're on the Edit menu and Mac
| | 01:11 |
OS, they're on to the Premiere Pro menu.
But broadly speaking, the application
| | 01:16 |
works precisely the same way, Mac or PC.
The format support is exactly the same.
| | 01:20 |
So it really doesn't make any difference
which operating system you're using and I
| | 01:24 |
think that's how it should be.
When you first open the Reference
| | 01:28 |
Monitor, it's going to look a little bit
like this.
| | 01:31 |
Well, actually, rather it's going to look a
little like this.
| | 01:35 |
What you're going to see is going to be
the contents of your sequence, whichever
| | 01:38 |
sequence you've got open at the time.
I should mention, actually, that I'm
| | 01:43 |
working at a relatively low screen
resolution here just to make sure that
| | 01:46 |
everyone can watch this video.
So, I'm working at 1280x720 pixel
| | 01:51 |
resolution, and you are very likely to be
working on a much higher resolution monitor.
| | 01:57 |
In fact, I encourage you to use a really
big computer monitor, and if possible,
| | 02:00 |
two really big computer monitors, so you
can spread things around.
| | 02:04 |
It's going to look quite compact on my
screen, but on yours, I imagine, it'll
| | 02:08 |
look a lot better.
Just so you can see what's going on with
| | 02:12 |
the Reference Monitor here, I'm going to
Undock this panel, and then I'm going to
| | 02:18 |
just resize it a little bit.
There we go.
| | 02:23 |
So initially, the Reference Monitor just
seems to be a copy of whatever is in your
| | 02:28 |
sequence and that doesn't seem especially
helpful.
| | 02:34 |
The reason that it updates automatically
as you move through the contents of your
| | 02:37 |
current sequence, is this button down
here.
| | 02:40 |
Now, you'll notice that the Reference
Monitor doesn't have very many buttons on it.
| | 02:44 |
It's got Previous Cut, Next Cut it's got
a job Controller, Previous Frame, next Frame.
| | 02:50 |
And it's got this going to Program
Monitor option.
| | 02:53 |
If I turn this off, I can move around in
my program monitor separately.
| | 02:57 |
That allows me to use this as a reference
frame.
| | 03:00 |
If I want to compare one part of my
sequence with another, there is another
| | 03:03 |
way of doing that.
Or I can have this on, and you'll see it
| | 03:07 |
updates automatically.
That's pretty much all you need to know
| | 03:12 |
about displaying and connecting the
reference monitor to your sequence.
| | 03:17 |
The real magic of having the reference
monitor is this menu here, which you
| | 03:20 |
should be familiar with already in
Premiere Pro.
| | 03:23 |
This is your Output Monitor Control.
So here, by the full time seeing the
| | 03:28 |
composite and I can be the alpha which,
of course, there isn't any because this
| | 03:31 |
is just straight video.
But where it gets really interesting is
| | 03:36 |
where we see these items, all of the
scopes and the individual scopes, the
| | 03:40 |
vector scope, the waveform, and so on.
On my current monitor resolution, it's
| | 03:46 |
not super handy cuz it's taking up pretty
much the rest of my interface.
| | 03:51 |
On your computer screen, you can probably
have this a lot larger and, in fact, you
| | 03:55 |
can go full screen with these just by
dragging and resizing, and so on.
| | 04:01 |
So, putting that back, it can make quite
a big difference if you've got a second
| | 04:04 |
monitor to place this onto.
For now, I might well just drag this and
| | 04:09 |
put it over in my Project panel and I'll
refer to this a little bit later.
| | 04:15 |
If you do want to look at another part of
your current sequence as a reference for
| | 04:18 |
comparison, you don't have to use the
Reference Monitor to do that, you're
| | 04:21 |
really better off using the Reference
Monitor for the scopes and waveforms.
| | 04:26 |
You can do it very easily by just going
to your source panel and dragging and
| | 04:30 |
dropping the current sequence into it.
You can't edit your current sequence into itself.
| | 04:37 |
It just wont work, but you can have a
copy of your sequence, here we are,
| | 04:41 |
displayed in your Source panel, and it
works just fine as a reference.
| | 04:48 |
So now, I can have my Reference Monitor
with my waveform on it, at the same time,
| | 04:52 |
as a part of the sequence I'm working on
and my actual current sequence.
| | 04:59 |
I've got my reference over here.
The source monitor won't gang though, so
| | 05:02 |
this is going to be something you'll
manually update.
| | 05:05 |
Of course, another option for displaying
your media is to have an external monitor
| | 05:09 |
and do full screen display using the
Playback settings.
| | 05:13 |
That's an option, too.
And I'd encourage you to do that
| | 05:16 |
particularly, if you can get a full HD
resolution monitor to make sure you're
| | 05:19 |
seeing every pixel of your source media.
If I just set this Reference Monitor to
| | 05:25 |
be full screen for a moment, I'm just
using the keyboard shortcut there, the
| | 05:28 |
grave key as it's called, shifting the
grave key against the currently active one.
| | 05:33 |
You can see here, I've got several
different kinds of display.
| | 05:37 |
First of all, the vectorscope is for
monitoring the amount of color in the shot.
| | 05:42 |
The center is no color and the edge is
full color.
| | 05:45 |
You've got R, G, and B and the secondary
colors, yellow, magenta, and cyan, and so on.
| | 05:50 |
You've got the YC way form, Y for the
luminance, C for the chrominance.
| | 05:54 |
I've got the Chroma turned off at the
moment.
| | 05:57 |
This is for displaying if you like the
amplitude, the intensity of the light in
| | 06:01 |
your picture.
So, if I just turn off the Chroma, that's
| | 06:05 |
a little easier to see.
The vertical axis is indicating how
| | 06:09 |
intensely bright a pixel is.
All the pixels of your picture are mapped
| | 06:13 |
into this display.
Left to right is left to right in the picture.
| | 06:17 |
So, if I come out of full screen for a
moment here, you can see there's a bit of
| | 06:21 |
a blip over here, which is this white
t-shirt.
| | 06:24 |
Down here, we got a dark section, that's
this t-shirt on the right.
| | 06:28 |
Then we've got some others.
We've got a so-called secondary color parade.
| | 06:33 |
So, this is the same thing as a wave form
display, but for the secondary colors of
| | 06:36 |
cyan, magenta, and yellow.
So, they are compressed horizontally.
| | 06:40 |
You're seeing three in one.
And we've got the more commonly used RGB parade.
| | 06:45 |
This is the same thing, but the primary
colors.
| | 06:47 |
The red, the green, and the blue.
And you can see we've definitely got a
| | 06:50 |
blue tint on that shot.
We've got a bunch of combined parade
| | 06:53 |
displays here, that do exactly the same
thing but they show them in a compact
| | 06:57 |
form all at once.
This makes a lot more sense on a large,
| | 07:02 |
secondary monitor where you've got a
second screen just for monitoring your content.
| | 07:07 |
And of course, there's a shortcut to
this.
| | 07:09 |
If you go to your Workspace menu and
choose Color Correction, Premiere Pro
| | 07:12 |
would just work it all out for you.
It will give you a tiny timeline, not
| | 07:16 |
much good for editing but good for
locating your shots, a big long list of
| | 07:19 |
effects, your Source panel, Program
Monitor, and down here, your Reference Monitor.
| | 07:25 |
And if you're on a higher resolution
screen, this is just great for getting
| | 07:28 |
into your effects work.
Personally, I tend to have the reference
| | 07:32 |
monitor a lot larger, especially if you
intend to work meaningfully with things
| | 07:36 |
like the (UNKNOWN) waveform.
You really want to have a bit more sense of
| | 07:40 |
the detail of what's going on in your
picture.
| | 07:43 |
So that's the Reference Monitor and the
Color Correction Workspace.
| | 07:51 |
| | Collapse this transcript |
|
|
2. Standard Tools for Measuring and Adjusting Color and LightThe Vectorscope| 00:02 |
I have tweaked my interface a little bit
here.
| | 00:04 |
I have set up my Reference monitor to be
nice and large a little bit on the left.
| | 00:10 |
And I've set up my Effect controls here
inside of the little panel I've got left
| | 00:14 |
from my Source and my Project panel.
And I've got my Effects List way over on
| | 00:20 |
the left and I've got some clips down in
the Timeline.
| | 00:24 |
With this set up it's nice and easy for
me too show you the contents of the Vectorscope.
| | 00:29 |
This is actually a very much more
straightforward panel than it seems on
| | 00:33 |
first inspection.
It looks a little bit strange and I think
| | 00:37 |
that puts a lot of people off, but it's
really very, very simple.
| | 00:41 |
The center of this large circle is
absolutely neutral, no color whatsoever.
| | 00:44 |
And the edge of the cicle represents
fully saturated color.
| | 00:49 |
And everything in between represents the
various degrees of saturation you might
| | 00:55 |
have in your picture.
You need to imagine that every pixel in
| | 01:01 |
this pictures, here I've got a picture of
some sky and balloons and clouds.
| | 01:07 |
Every single dot in this picture is being
displayed on my Vectorscope.
| | 01:13 |
And the position it's taking on the
Vectorscope is dependent on just two things.
| | 01:18 |
The first thing is how intense the color
is, and that's the distance from absolute
| | 01:21 |
center of the circle towards the edge.
And the second is the hue, what color it is.
| | 01:27 |
Now the writing's kind of small, it's a
little bit easier at this size.
| | 01:31 |
But it's kind of small when you have the
Vectorscope way down there in the corner
| | 01:35 |
of your interface.
But if you look closely, you'll see an R
| | 01:40 |
at the top left, a B towards the right
and a G towards the bottom left.
| | 01:45 |
This is the red, blue and green primary
colors.
| | 01:50 |
To see these a little bit more clearly,
let's take a look, I've got a a clip over
| | 01:54 |
here with the Fast Color Corrector Effect
on it.
| | 01:58 |
Now, if we take a look.
Here's my clip and you can see I've got a
| | 02:03 |
clear blue tint to this.
The white balance hasn't been done
| | 02:08 |
properly on the camera.
And we've got a color wheel adjustment
| | 02:12 |
that we can use to tweak the color in
this picture.
| | 02:16 |
Now if you see, first of all.
There's a lot of dots that are moved
| | 02:21 |
towards the blue.
And you can see a representation of this
| | 02:25 |
color wheel and Vectorscope in the fast
color corrector.
| | 02:29 |
The color wheels that you'll see in lots
of different color correction
| | 02:32 |
applications and tools all follow the
same pattern.
| | 02:36 |
You've got your primary blue bottom
right.
| | 02:38 |
Your reds top left.
Your greens.
| | 02:41 |
Bottom left, and if you combine these
primary colors you get the secondary colors.
| | 02:46 |
You see here I've got red, top left, and
green, bottom left.
| | 02:50 |
Combine those together and you get
yellow.
| | 02:52 |
This is fundamental color theory.
And there it is, there's yellow on the
| | 02:56 |
color wheel as well.
If you combine red with blue you get
| | 03:00 |
magenta, and there's our magenta at the
top right.
| | 03:03 |
Combine blue with green and you get cyan,
and here's our cyan.
| | 03:08 |
So what you're getting without the colors
and some applications do give you colors
| | 03:12 |
in the background as well.
Is the location in terms of direction for
| | 03:17 |
all these different hues.
So now you know the two factors that are
| | 03:21 |
displayed by a Vectorscope.
How far from the center is it, that's how
| | 03:25 |
intense, how saturated is the color,and
which direction has it moved from the center.
| | 03:29 |
That's the particular hue.
And it's pretty clear here, you can tell
| | 03:32 |
anyway from looking at the shot, but it's
pretty clear that there's a blue cast.
| | 03:37 |
It's moving towards the cyan as well
because there's this big number of pixels
| | 03:41 |
represented towards the bottom right of
the Vectorscope.
| | 03:45 |
Ultimately, you have to go by eye.
And this is why, with all kinds of color
| | 03:49 |
correction, post-production suites,
you'll have a very carefully configured
| | 03:54 |
grade one monitor.
That adheres to very specific standards,
| | 03:59 |
which means you can see by eye.
What the colors will appear like on a
| | 04:05 |
very, very precisely calibrated standard
monitor.
| | 04:09 |
And that will then be broadcast the same
way as every other piece of media.
| | 04:13 |
And to be honest, how it ends up at the
other end is down to the consumer and
| | 04:16 |
their TV and how they've got it
configured.
| | 04:19 |
But they will always get consistent
results if you're using a grade one
| | 04:22 |
standard monitor.
Lacking a grade one monitor cuz they are
| | 04:27 |
pretty expensive.
You can use features like the Vectorscope
| | 04:30 |
to give you a clear idea of what's going
on.
| | 04:34 |
And this is better than viewing things by
eye, because, perception is active.
| | 04:38 |
Your eye is continually adjusting for the
average tones around you.
| | 04:43 |
Infact, all the high end grading suite
you'll see, have very very neutral colors
| | 04:46 |
in them.
Or neutral gray to avoid the eye reacting
| | 04:50 |
and giving you a perception of different
color.
| | 04:53 |
If you stare at any color long enough,
colors around it and inside it begin to
| | 04:57 |
change in terms of your perception.
And you use Vectorscopes to get away from
| | 05:03 |
that subjectivity.
We've got some pretty simple controls up here.
| | 05:07 |
There's an intensity.
Which just changes how bright the dots
| | 05:10 |
appear on the interface, doesn't make a
huge amount of difference, 50 by default.
| | 05:15 |
And you'll see if I just skip back
towards the beginning of this sequence I
| | 05:18 |
have this Vectorscope sequence.
(audio playing) You'll see that we've some bars
| | 05:22 |
and tone here.
I just generated these using the new item
| | 05:26 |
option in the Project panel.
(audio playing) And here, you can see what's
| | 05:31 |
going on is I've got.
Some red, green, and blue.
| | 05:35 |
And all of the secondary colors.
All of primaries are displayed in this
| | 05:39 |
thousand tone image.
And I'm getting each of these pixels displayed.
| | 05:45 |
In their relative positions on the
Vectorscope.
| | 05:48 |
Because their so precisely the same,
these are all clear bands of color.
| | 05:52 |
They are going to appear as solid dots in
the scopes.
| | 05:55 |
So, you can see I've got a bunch of
different monitor configuration palettes
| | 05:58 |
at the bottom here.
But the primary and secondary colors are
| | 06:02 |
along the top, and you've got a 75%
white.
| | 06:05 |
There are those dots, that's the red, the
yellow and the green, and so on.
| | 06:10 |
Now at the moment I've got the scope set
for 75%, intensity color pass, which is
| | 06:14 |
what I'm using.
If I set this to 100%, it's not going to
| | 06:17 |
make a huge amount of difference.
The dots are going to go into the inner boxes.
| | 06:22 |
Now, of course, that would be really
relevant if we were recording from analog source.
| | 06:26 |
And we've got some color bars in the
camera and we're checking for
| | 06:29 |
misalignment on capture.
If we're just looking at our content on
| | 06:33 |
the timeline we can use the Vectorscope
to show us where there's a color cast.
| | 06:39 |
To show us whether there's enough
saturation or not.
| | 06:42 |
But here you can see if I look at this
gradient this is a totally gray scale image.
| | 06:46 |
Absolutely nothing.
All of the pixels in my image are
| | 06:49 |
displayed in the exact center.
If I look at the sky I can see that there
| | 06:54 |
is a drift towards the blue and the cyan,
but that's exactly what I would expect.
| | 07:00 |
It's not always the case that having the
pixels appear in different parts of the scopes.
| | 07:04 |
It doesn't necessarily mean there's a
problem.
| | 07:07 |
In this case I've got a blue sky and I
would want a lot of blue.
| | 07:11 |
I've got a little touch of I suppose
that's kind of rosy orange color.
| | 07:15 |
And you can see that in some of these
pics we're drifting off towards the red.
| | 07:19 |
But the color intensity is not very high.
I could crank up the saturation on this
| | 07:23 |
image and it wouldn't cost too much.
It wouldn't blow out the image and make
| | 07:27 |
it illegal.
And that really is it with the Vectorscope.
| | 07:32 |
The intensity is the distance from the
center, and the hue is the angle.
| | 07:39 |
| | Collapse this transcript |
| The Waveform| 00:02 |
When you're making adjustments to the
luminance of your image, broadly speaking
| | 00:05 |
you've got three things that you're going
to change.
| | 00:08 |
You've got the so called black level,
that's the baseline of absolutely dark.
| | 00:13 |
You've got the gain, or the gamma, the
midtones, that's the curve, if you like,
| | 00:18 |
of the range of luminance from dark to
light.
| | 00:22 |
And then you've got the top of the range,
you've got the whites, the highlights,
| | 00:27 |
the 100% luminance range.
These 3 parts of your luminance are
| | 00:33 |
displayed inside the wave 4 monitor.
And it's actually a very, very simple
| | 00:38 |
interface once you know what you're
looking at.
| | 00:42 |
First of all, you've got the vertical
axis of this graph if you like which goes
| | 00:47 |
from minus 20 up to 120 but we're really
interested in the bit of the scale that
| | 00:52 |
goes from 0 to 100.
And if you working in the US or Japan and
| | 00:59 |
you're working with NTSC media, you're
going to be using this IRE scale.
| | 01:05 |
And it's not really super important it
goes from 0 to 100 and we can more or
| | 01:10 |
less refer to that as naught percent up
to 100%.
| | 01:16 |
If you're working in Pal, then you're
going to be working in millivolts.
| | 01:20 |
And effectively, it's the same, but it's
a scale that goes from 300 millivolts up
| | 01:24 |
to 1 whole volt.
You're still looking at a similar graph,
| | 01:27 |
it doesn't make a huge amount of
difference.
| | 01:29 |
Each of the pixels in your image, in this
case we've got this shot of a model here,
| | 01:34 |
is represented on this graph.
On the vertical axis, you're seeing the
| | 01:40 |
amount of luminance.
There's no color information on this
| | 01:43 |
graph, this is just the brightness of
each pixel.
| | 01:47 |
The horizontal axis of this graph is the
horizontal axis of your original image.
| | 01:54 |
So, you can imagine a column, if you'd
like, of pixels taken from your original
| | 01:58 |
image and mapped onto this graph where
the vertical position in the original
| | 02:03 |
image is no longer relevant.
It's completely ignored in terms of the
| | 02:09 |
display on the wave form.
Instead, the vertical axis represents how
| | 02:14 |
bright each pixel is in that column.
And then you work your way along the
| | 02:18 |
image, column after column after column,
left to right.
| | 02:22 |
And you can see, quite easily, what's
going on in this image.
| | 02:25 |
For example, we've got a range of dark
pixels represented towards the right, and
| | 02:29 |
that's the whole area of dark pixels
between our model's face and this column
| | 02:33 |
that she's leaning against.
And then we've got some highlights on the column.
| | 02:39 |
And these are represented here, over on
the right of the image.
| | 02:42 |
We have got some highlights on her hair
on the left and there they all are.
| | 02:46 |
In fact we can see, we're burning out a
little bit, we're cropping off our
| | 02:50 |
luminance, where the sun has caught the
hair just in the top left hand corner of
| | 02:54 |
the image.
There are some very simple controls on
| | 03:00 |
the wave form display.
don't be confused by me having my
| | 03:04 |
sequence called the vector scope, that's
just the sequence we happen to be looking
| | 03:09 |
at in this panel.
It's the same as the panel menu that you
| | 03:14 |
get inside the program monitor, and in
fact for that matter Inside the Source
| | 03:17 |
panel if you have a Source open.
Let's open something up.
| | 03:23 |
There we go.
It's the same menu.
| | 03:24 |
We've got here the Intensity, which is
just how bright the dots are, if you're
| | 03:27 |
finding on your screen it's not
particularly clear or it's a little bit
| | 03:31 |
overwhelming you can change the
Intensity.
| | 03:35 |
I'll leave mine on the default of 50.
And we've got a Setup level, now.
| | 03:39 |
Setup is the word that refers to the
baseline, the black level of your image,
| | 03:43 |
and if you're working with analogue
source material than traditionally the
| | 03:48 |
Setup is 7.5 IRE, so we can effectively
refer to this as 7.5%.
| | 03:54 |
If I turn this off, you'll see that the
whole of my wave form display shifts down
| | 03:58 |
a little bit, and the zero line now
becomes my actual zero.
| | 04:04 |
Not this dotted line, just slightly above
it, which is the 7.5 IRE zero point.
| | 04:08 |
I don't need to work with 7.5 IRE because
I'm working with all digital source material.
| | 04:15 |
If I want to, I can view the Chroma
overlaid on my wave form display.
| | 04:21 |
This is pretty useful for getting an
overall sense of the composite image
| | 04:24 |
intensity, and that can be important if
you're producing media for broadcast.
| | 04:29 |
Because if you're producing media for
broadcast, there are very specific rules
| | 04:33 |
about how intense the total signal can
be.
| | 04:36 |
Of highlights and lowlights have to be,
there's a range within which your signal
| | 04:40 |
must be supplied.
And they'll just kick it back to you if
| | 04:43 |
you don't fit within those ranges.
But I find generally I use the
| | 04:47 |
Vectorscope to display what's going on
with my Chroma and a clean wave form
| | 04:51 |
display to see what's going on with my
luminance.
| | 04:55 |
The wave form monitor is absolutely vital
for seeing what's going on in your picture.
| | 05:00 |
The eye is, or the human eye at least, is
far more sensitive to luminance variation
| | 05:04 |
than it is to chrominance variation, so
we need to make sure we've got nice
| | 05:07 |
strong shadows and highlights.
That is of course if we want the picture
| | 05:12 |
to look good, and you may not want the
picture to look good.
| | 05:15 |
You might want it to look dusky if you're
doing day for night, you might want it to
| | 05:18 |
look moody or muggy.
And the wave form display is where you're
| | 05:23 |
going to see if you're achieving that or
not.
| | 05:26 |
Here I've got my shot of balloons, and
you can see there's this band of
| | 05:29 |
luminance which is the sky, and then I've
got the clouds, which represent much
| | 05:33 |
stronger highlights towards the right.
And here, I've got a lovely gradient that
| | 05:38 |
goes from fully dark to fully light, and
it's pretty much a smooth gradient.
| | 05:43 |
And you can see very clearly what's going
on in my wave form display.
| | 05:48 |
I've got the bottom end over here, of
totally dark pixels leading up to totally
| | 05:53 |
light pixels on the right.
Here I've got sky, and I've got a broad
| | 05:58 |
range of luminance, but you can see very
clearly, I don't have very strong shadows
| | 06:03 |
in this image of the sky and the
highlights aren't really making it up to 100%.
| | 06:10 |
And this means that if I wanted to
perhaps add a greater sense of three
| | 06:14 |
dimensionality, a greater sense of, of
reality tone to this image.
| | 06:19 |
Rather then leaving it flat like that,
you could make a nice background.
| | 06:22 |
But rather then leaving it flat, I might
want to crank down the shadows and
| | 06:25 |
increase the highlights a little, it'll
give it a greater tonal range.
| | 06:30 |
Here I've got a shot, a couple of kids on
the beach.
| | 06:33 |
We can see the Individual on the left,
the white t shirt here all displayed in
| | 06:38 |
the wave form.
And we've got this banding here, we've
| | 06:43 |
got the grass over along the bottom and
the sky along the top.
| | 06:47 |
Now you can see how tempting it is to
image that the waveform display is
| | 06:51 |
somehow indicating vertical images.
You can kind of see well, that kind of
| | 06:57 |
looks like a sky, that kind of looks like
the grass, this is completely misleading.
| | 07:01 |
It's just coincidental that the ground
tends to be darker than the sky, and as I
| | 07:05 |
scrub through this you can see the
movement.
| | 07:09 |
If I just zoom in a little on the
timeline, you can see the movement of our
| | 07:12 |
characters as they run off down towards
the beach.
| | 07:16 |
What you'll notice though if I press
Play, (audio playing) is that the vector scope
| | 07:20 |
and the wave form, neither of them
updated inside of Premiere Pro until you
| | 07:25 |
pause or unless you're scrubbing.
Generally speaking, when you're making
| | 07:31 |
color corrections, you're going to begin
with the contrast curve, you're going to get
| | 07:35 |
your shadows, midtones and highlights
right before you move on to your color corrections.
| | 07:41 |
And this means that the waveform monitor
is your first go to spot in Premiere Pro
| | 07:44 |
for color correction.
So that's an overview of using the wave
| | 07:49 |
form display in Premiere Pro.
| | 07:53 |
| | Collapse this transcript |
| Curve controls| 00:02 |
The curves controls are some of the most
powerful tools for making adjustments to
| | 00:06 |
your image, that normally the editing
systems and coloring, and grading systems
| | 00:10 |
have to offer.
It's actually very straight forward
| | 00:14 |
making adjustments to them.
But you kind of need to get your head
| | 00:17 |
around the technology first of all.
Curves are usually one of the first
| | 00:21 |
places I go to, to make adjustments.
But I'm going to try to explain them here
| | 00:25 |
using a very, very simple black and white
image.
| | 00:29 |
I think this will make the most sense.
So I have a sequence open here which is
| | 00:32 |
my gradient, and it goes from fully dark
on the left to fully light on the right.
| | 00:37 |
And if we look at this in our waveform
display, we're seeing a clean line that
| | 00:41 |
goes from totally dark on the left here,
all the way up to totally light.
| | 00:47 |
And you can see there's a very slight
curve at the bottom.
| | 00:49 |
I haven't quite managed to make my
gradient perfect.
| | 00:52 |
And that's being indicated not by I, by
looking at the image but looking at my
| | 00:56 |
way form.
This gives you an idea for suttle
| | 00:59 |
information that these panels can give
you.
| | 01:02 |
Now I have to take my hat off here to
Alexis Van Hookman, for the book Color
| | 01:06 |
Correction Handbook: Professional
Techniques for Video and Cinema for this
| | 01:10 |
tip on demostrating this feature using
the Wave Form display with a gradient.
| | 01:17 |
It's a brilliat way of summing up the
idea.
| | 01:20 |
I'm going to go to my Effects panel.
I'm just going to start typing in Curve.
| | 01:25 |
And you can see there are two here.
Luma for the brightness part of the image
| | 01:28 |
and RGB which gives me seperate red,
green and blue curves.
| | 01:31 |
I'm going to start with the Luma curve.
And just drop this onto my clip and I'm
| | 01:35 |
going to go to my Effects Control panel,
and back into my reference monitor.
| | 01:42 |
This is just the one reference monitor
available inside of Premier Pro, by the
| | 01:45 |
by, you can't have more than one.
I've got this set for my wave form.
| | 01:50 |
I just see that nothing really changes
right away.
| | 01:52 |
Now, I'm going to have to make this
adjustment in a relatively small
| | 01:56 |
Thumbnail in order for you to be able to
see my wave form.
| | 02:01 |
If I go Full screen with the Effects
Controls panel, you can see just how
| | 02:04 |
large this interface can be, but let's
keep it small for now so you can see what
| | 02:08 |
is going on.
What you're looking at in a Curve Control
| | 02:13 |
is something very, very similar to a Wave
Form monitor.
| | 02:18 |
Essentially in this control, the light
coming in is along the bottom axis, and
| | 02:22 |
the like going out is a long the right
and vertical axis.
| | 02:28 |
So if I've got a pixel that is exactly
50% bright coming in, just follow the
| | 02:33 |
graph up to the mid point, and that's
equal to 50% out.
| | 02:38 |
So the effect is having no resulting
change in my meter what so ever.
| | 02:44 |
This is just exactly as it comes in, it
goes out.
| | 02:46 |
Where the Curve Control gets interesting,
is when you start to make adjustments.
| | 02:50 |
So for example, if I bring by clicking on
the curve I bring this down to about 25%,
| | 02:56 |
you can see right away by the eye that
the mid turns of my gradient image have shifted.
| | 03:05 |
So we move over towards the right.
You can see right away that the way form
| | 03:09 |
display from our gradiant has shifted as
well.
| | 03:12 |
It's a curve not too similar to the one
I've created in my curve's adjustment.
| | 03:17 |
And what happens now is that any pixel
that was 50% fully light coming in, is
| | 03:23 |
now just 25% light going out.
Now what's special about this is that
| | 03:29 |
because it's a curve, its a little bit
like a parametric EQ, if your familiar
| | 03:32 |
with that sound filter.
This makes a very natural gradual
| | 03:37 |
adjustment to my image.
Your seeing this displayed really
| | 03:41 |
beautifully in the wave form monitor,
because the gradient itself is curved
| | 03:45 |
effectively, it starts dark and gradually
gets lighter towards the right.
| | 03:52 |
And that can make all kinds of changes to
this so, I can bring up the levels and
| | 03:55 |
reverse the change I've just made.
And you can see it just shifts the
| | 03:59 |
lighter part of the image over to the
left.
| | 04:02 |
And I can really wreck this but, and I
guess that's part to learn it really is
| | 04:05 |
to, is to ruin the image.
But the lovely thing about the Curve
| | 04:10 |
Control is that I can add multiple
points.
| | 04:12 |
I can add multiple nodes to this.
So that, for example, I can make a whole
| | 04:17 |
section of my screen pretty much gray.
I can, I can do that if I like.
| | 04:22 |
And at the top and the bottom of the
curve, I've got a cut off control.
| | 04:26 |
So I can say well, the maximum light
that's going to come out, is going to be,
| | 04:31 |
what's that, 25% in and let's go for 75%
out.
| | 04:36 |
And you can limit the range of out put.
It can go the other way.
| | 04:40 |
I can say well, I want a minimum to be
dark and I want a certain amount to be
| | 04:45 |
complete white.
So there we go a bit of band of black and
| | 04:49 |
a band of white.
Effectively I'm cropping my luminance
| | 04:52 |
levels, so that even here where I would
be getting, let me move this, I'm just
| | 04:57 |
going to click on this node and drag off so
it disappears.
| | 05:02 |
This is how you delete a node.
If put this over at.
| | 05:07 |
By my maths this is 25% light in, I'm not
getting 25% light out, everything below
| | 05:12 |
25% on this axis, this input level is
black.
| | 05:18 |
So I'm actually losing detail now,
there's no detail available at all.
| | 05:22 |
You can see this very neatly in another
image.
| | 05:25 |
So maybe if I get this shot of our model
and I get the same Curve Control, and
| | 05:29 |
drop it on to that image.
Here's my original, unchanged version.
| | 05:34 |
And a very common thing to do,
particulary with some digital video
| | 05:37 |
formats, the tend to flatten the image,
is just to put a marker in the center so
| | 05:40 |
I don't ruin my midtones.
And just deepen my shadows a little bit
| | 05:45 |
and raise up my highlights a little bit.
The adjustments can be very, very subtle.
| | 05:50 |
So, if I turn the Luma Curve off and on,
you can really begin to see how flat the
| | 05:54 |
image was before.
It didn't look that flat, until we made
| | 05:58 |
the adjustment and now it's much
punchier.
| | 06:01 |
And you can see here there are some lines
appearing in my waveform, and that's
| | 06:04 |
because I don't have the same amount of
color information.
| | 06:08 |
Our luminance information in this case
being spread across the same amount of
| | 06:12 |
area of luminance.
This is being expanded out, and that's
| | 06:16 |
leaving gaps and bands in the luminance
in the image.
| | 06:20 |
It's okay by eye, it's absolutely fine.
All that's happening is that some pixels
| | 06:23 |
are now brighter than they were and
others are darker, and they cross either
| | 06:26 |
side of the line of the luminance.
Now, if we go back to our gradient, I'm
| | 06:30 |
just going to remove this Luma curve, and in
fact, no, I'll undo that, I'll just turn
| | 06:35 |
it off, and keep that on there so you can
have a look at the assets.
| | 06:41 |
And I'm going to put the IGB curve on
instead.
| | 06:44 |
Now the IGB curve, let's flatten the Luma
curve, is exactly the same idea, but I've
| | 06:48 |
now got Red Green and Blue ontrols
separately.
| | 06:53 |
And what I'm going to do here, for
example, is maybe raise up the midtones
| | 06:56 |
of the red.
You can see the midtone.
| | 06:59 |
This is all based on the luminous levels
here.
| | 07:01 |
The midtone has been raised.
I've still got burned out at the top.
| | 07:06 |
Maybe I'll get the shadows here and
increase the blue in the shadows.
| | 07:11 |
There we go.
And maybe in the highlights, I'll put a
| | 07:14 |
load of green in, but keep the midtones
the way they are.
| | 07:17 |
Let's just bring that up as well.
I'm getting some banding there coming in
| | 07:21 |
from my original gradient.
And I think you get the idea, what's
| | 07:25 |
happening here, is I'm targeting specific
levels within an originally gray image.
| | 07:31 |
But of course, white is made from all
three: red, green, and blue.
| | 07:34 |
And by changing the relative levels, I'm
getting a color cast.
| | 07:40 |
As with so many features, the thing to do
is put the effect on and have her play,
| | 07:43 |
so that you can see the results for
yourself.
| | 07:46 |
It allows you to target the shadows,
midtones, highlights, any part of the
| | 07:50 |
tonal range of your image, by just
clicking and adding a node, and adjusting
| | 07:53 |
the setting.
So that's Curves Controls, and that
| | 07:58 |
applies not just to Premire Pro, but any
editing system that gives you this kind
| | 08:03 |
of control.
| | 08:05 |
| | Collapse this transcript |
| Color wheels| 00:02 |
Since the vectorscope, relates so neatly
to the color wheel design, it makes sense
| | 00:07 |
to use color correction effects with
color wheels, to get the results updated
| | 00:11 |
inside the vectorscope.
So I'm going to go to my Fast color
| | 00:17 |
corrector here, because it's got a nice
color wheel in it.
| | 00:20 |
I'm just going to drag this onto this clip,
and let's take a look at what we've got.
| | 00:25 |
Now, first of all, I've got a clear color
cast.
| | 00:29 |
Now I can see that by eye, I can see
there's a blue color cast in this shot,
| | 00:33 |
but what exactly is it?
If you look by eye, is it towards the
| | 00:37 |
blue, is it cyan, is it maybe towards the
megenta?
| | 00:41 |
While I can see in the vector scope here,
that there is it's kind of more towards
| | 00:45 |
the blue.
You can see there's a greater number of
| | 00:48 |
pixels that are moving towards the blue,
and quite a few that are towards the cyan.
| | 00:52 |
And it's clearly off from the center, by
my eye, the center's about here.
| | 00:57 |
I reckon, that's all moving towards the
blue.
| | 00:59 |
Now I'd expect to see a fair bit of green
here because of the grass and I would
| | 01:03 |
expect to see some blues because of the
sky and the sea, and possibly the
| | 01:06 |
reflection of the sky, in this bit of
tarmac.
| | 01:11 |
But I'd also want to see a lot more red,
we've got skin tones here, and maybe some
| | 01:14 |
rock and sand in the background.
And we should be seeing some reds coming
| | 01:19 |
through there as well.
A color wheel is very, very easy to use
| | 01:23 |
to make adjustments to your picture.
And I guess it has two ways of working.
| | 01:29 |
One way of working is to grab the dial
around the edge and just turn it.
| | 01:34 |
And what this will do is remap the pixels
to another part of if you see on there,
| | 01:38 |
you can see for yourself on the vector
scope there.
| | 01:43 |
I"m just rotating the location of the
pixels inside my vectorscope, and this is
| | 01:48 |
really useful if I just scroll up and
reset here, this is really useful if you
| | 01:53 |
generally want to warm up a shot or cool
it down.
| | 02:00 |
Just moving it towards the greens and the
blues, or moving it towards the reds and
| | 02:04 |
the magentas.
The danger is of course, you can see
| | 02:07 |
right there.
If I go too far, everything starts to
| | 02:10 |
look a little bit like it's on another
planet.
| | 02:13 |
So what you'll find is that switching
around the Colors, using the hue wheel,
| | 02:18 |
isn't always perfect.
Partly because your eye has different
| | 02:23 |
levels of sensitivity to different
colors, and so an equal amount of green,
| | 02:28 |
for example, might well be punchier and
stand out to you than say, an original
| | 02:32 |
amount of red.
So you can make very subtle adjustments
| | 02:37 |
this way but not really major ones.
The other way that the color wheel works
| | 02:42 |
is to use this puck in the center to
compensate and make adjustments for,
| | 02:46 |
well, either to make an adjustment or to
add a color cast to your image.
| | 02:52 |
And the thing to remember here, the thing
that kind of makes sense of an interface
| | 02:56 |
element like this, is not to think in
terms of your whole image.
| | 03:00 |
Not to think that the whole thing is
being affected by this one control.
| | 03:05 |
It kind of makes more sense to me if you
think instead that every individual pixel
| | 03:09 |
of the image is being affected by
whatever change you make.
| | 03:13 |
Just going to punch in here and set my
hue angle back to zero.
| | 03:17 |
Bearing in mind that I'm seeing every
pixel displayed here in my vectorscope
| | 03:21 |
and every pixel is going to be affected
by the same amount by my color wheel.
| | 03:28 |
Well, I can see pretty clearly, if I want
to shift my pixels away from the blue and
| | 03:33 |
cyan area of the color chart, all I have
to do is move the park in the opposite direction.
| | 03:40 |
And this is great.
I just pick the angle and move it back
| | 03:43 |
until things are more broadly distributed
across the center of the vectorscope, and
| | 03:49 |
I think that's not too bad if we go full
screen with this.
| | 03:55 |
That's given me much more natural skin
tones, the greens coming back into a
| | 03:58 |
natural color, the blue on the jeans, the
white on the t-shirt's pretty close by my eye.
| | 04:04 |
It's made a really big difference.
The lovely thing about combining the
| | 04:08 |
vector scope with the color wheel is that
one teaches you how to use the other.
| | 04:13 |
You can immeditely see what adjustment
needs to be made.
| | 04:17 |
Now this is an example of an overall
master adjustment to the hue on my picture.
| | 04:23 |
And of course I can go full screen with
my effect controls panel and get a
| | 04:26 |
massive hue wheel if I really want one to
make very subtle adjustments.
| | 04:31 |
There is also a magnitude control.
I'm just make this perhaps a little bit
| | 04:35 |
smaller so you can see what's going on
here.
| | 04:38 |
But if I adjust the magnitude of my color
wheel, you can see that I don't know if
| | 04:42 |
it's too clear on your screen there, but
I'm changing the intensity of the
| | 04:46 |
adjustment that I'm making.
Just undo, oops.
| | 04:51 |
A couple of steps there, let me redo
that.
| | 04:55 |
But I've also got a gain control and you
can see here, if you look at the colors
| | 04:58 |
that are adjusting inside the color
wheel, this is kind of like, I don't
| | 05:02 |
know, changing the amplitude of it, the
intensity of the adjustment that I'm
| | 05:06 |
going to make.
You can make really strong, powerful
| | 05:11 |
adjustments using this if you want to.
I tend to leave it on the default 20.
| | 05:17 |
Now that you're familiar with using a
color wheel for the overall image, let's
| | 05:21 |
take a look at the slightly more advanced
version.
| | 05:25 |
Here I've got another clip, and I've got
the Three-Way color corrector applied
| | 05:29 |
rather than the Fast color corrector.
And what's special about the Three-Way
| | 05:33 |
color collector is that is gives me
seperate control of the shadows, mid
| | 05:36 |
tones, and highlights of my image.
If you want to see what I mean by that on
| | 05:42 |
the output menu here I've got an to
display tonal range I switch over to that option.
| | 05:50 |
I'm now seeing a three color image.
I've got everything that's defined by the
| | 05:55 |
shadows which is in black.
Everything that's defined as mid tones as
| | 05:59 |
grey and everything that's defined as
highlights in white.
| | 06:04 |
And you can see very clearly, the regions
of the image that are going to be
| | 06:07 |
effected when I make alterations to the
shadows, mid tones and highlights.
| | 06:12 |
I scroll down a little bit here.
You can see my three color wheels.
| | 06:16 |
They all behave exactly the same way as
the Master color wheel we saw in the Fast
| | 06:20 |
color corrector, but these ones relates
specifically to shadows, mid tones and highlights.
| | 06:26 |
Now it's kind of subtle if I go
Fullscreen with this you'll probably see
| | 06:29 |
it a bit more clearly.
The shadowy ones all a little bit darker
| | 06:32 |
in the middle, mid tones are kind of a
mid tone and the highlight ones are
| | 06:34 |
brighter in the middle.
So let's have a look at this in action.
| | 06:40 |
If I switch this back to showing me the
composite output, this is the result of
| | 06:44 |
my effect.
Now my effect is kind of dinky here so I
| | 06:48 |
think I'm going to shrink down my scope a
little bit so you can see whats going on
| | 06:52 |
a little bit better.
That's good about there.
| | 06:56 |
Okay.
Right.
| | 07:00 |
So now, if I perhaps move my shadows
towards the blue end of the scale.
| | 07:05 |
I'm going to show you this in a very obvious
way.
| | 07:08 |
So I'm giving myself strong blue shadows
you can see in the background there the
| | 07:11 |
dark regions of the picture are turning
blue.
| | 07:15 |
And then if I get the midtones and
perhaps make those really golden, so you
| | 07:19 |
can see this area of sand is a really
bright, vivid golden now, and if I get my
| | 07:23 |
highlights, and I'll make this really
obvious maybe go for a cyan light blue
| | 07:28 |
color, or maybe even a green.
If I go full screen again you can see On
| | 07:36 |
the shoulder here, we've got a light
blue, scion green tint, and even on the
| | 07:39 |
highlights of the sand.
Now I'm doing a terrible example of an
| | 07:44 |
adjustment here, but hopefully it's
demonstrating nice and clearly how these
| | 07:48 |
three color wheels are allowing me to
work with segmented areas of the picture.
| | 07:53 |
Very commonly particularly lighting
senarios, you'll find that either the
| | 07:56 |
shadows, or the highlights have a color
cost that you want to get rid of.
| | 08:01 |
By using these separate shadow midtone
and highlight controls, you can target
| | 08:05 |
those parts of the image.
So it's a really powerful way to work.
| | 08:10 |
In any case, the mechanism of using color
wheels is always the same.
| | 08:13 |
You've got a puck in the center, or a
dial around the edge.
| | 08:20 |
| | Collapse this transcript |
| Levels| 00:02 |
Levels Adjustments are another standard
way of interacting with your media.
| | 00:06 |
And they are particularly useful if
you've got a flat image and you just need
| | 00:09 |
to make it a bit punchier and increase
the contrast.
| | 00:13 |
You can do this perfectly well using
Curves Adjustments or a whole bunch of
| | 00:16 |
other adjustments within different color
effects.
| | 00:19 |
But there's something very slick and fast
about doing it using Levels controls.
| | 00:24 |
If you are used to using Levels inside of
Photoshop, this is going to be old news for you.
| | 00:28 |
But let's have a look at how you do it
inside of Premiere Pro.
| | 00:32 |
So, I've got a shot here, this
station.mp4 file, which is pretty flat.
| | 00:39 |
You can see here in the Waveform display.
I don't really have any shadows below the
| | 00:44 |
20 IRE scale, so let's call that 20%.
I have got some highlights that are
| | 00:49 |
punching up over the 100% mark.
And that's okay, but you can't really
| | 00:53 |
tell because the relative contrast ratio,
that's the shadows, are just not there to
| | 00:58 |
display it.
So, it looks pretty flat as an image.
| | 01:01 |
And I'll just go Fullscreen for a second
you can see.
| | 01:04 |
This is Birmingham New Street Station in
Birmingham.
| | 01:08 |
Bit of a concrete jungle.
I've already applied two Levels effects
| | 01:12 |
to this clip.
Auto levels and the Manual levels.
| | 01:16 |
And this is under, if I just search for
this here in the Effects panel, is under
| | 01:20 |
the Adjust category of Video Effects.
Not really where I'd expect to find them.
| | 01:26 |
I noticed that the Manual level control
is a CUDA enabled one.
| | 01:30 |
Although, the Auto level effect is not.
So, if I look at my Waveform display and
| | 01:35 |
turn on Auto levels, which has very few
controls, you can see right away Premiere
| | 01:40 |
Pro has deepened those shadows.
It's also limited the highlights, so I've
| | 01:46 |
not got illegal levels here.
And the image is right away much punchier.
| | 01:51 |
There's a lot more going on there...
Now, this isn't great quality original
| | 01:55 |
source media.
So, you can see.
| | 01:57 |
It looks to me like there's some grain in
the shadows there.
| | 01:59 |
But at least we've got a cleaner, more
engaging image to look at.
| | 02:04 |
Coincidentally, of course, you could
always look this up.
| | 02:07 |
But the auto levels filter effect has
some temporal smoothing which prevents it
| | 02:10 |
from having different interpretations of
the luminace from one frame to the next.
| | 02:16 |
So, you can crank this up and it will
look into other frames and average out
| | 02:20 |
the adjustments that it makes.
So, you don't get kind of stuttering
| | 02:25 |
brightness effect.
If you turn on the Scene Detection option
| | 02:28 |
here, it means that the Auto levels
effect will look for dramatic changes in
| | 02:32 |
the image.
And not do the Temporal Smoothing beyond
| | 02:37 |
that change, cuz otherwise you could get
some rather weird effects if you can't do
| | 02:41 |
a completely different scene.
And the Auto levels effect treated that
| | 02:45 |
as part of the adjustment.
We've then got a black clip and white
| | 02:49 |
clip which just trims off the absolute
topmost brightest pixels and darkest
| | 02:54 |
pixels, just to make sure that nothing
creeps over the edges into illegal levels.
| | 03:01 |
We also have a blend with original
control here, which allows us to smooth
| | 03:06 |
out how much this is affecting the
original image.
| | 03:11 |
But I'm just going to turn this off again
with the Effects Enable button.
| | 03:16 |
And I'm going to turn on the regular Manual
levels effect.
| | 03:20 |
If I expand this, this has rather a lot
of controls, rather a lot of numbers.
| | 03:25 |
And it seems a bit contrary to my
suggestion that this is a nice, easy
| | 03:29 |
effect to setup.
I'm just going to resize a little bit, so
| | 03:32 |
you can read these a little better.
What we've got here is the Black Input
| | 03:37 |
level for the RGB, which is the baseline
for what black should be.
| | 03:42 |
And the White Input level, that's the top
of the original media.
| | 03:47 |
And then, we've got the Resulting Limits
for output of black and white.
| | 03:52 |
Now, RGB just means the whole image.
Gamma is the grey mid-tones adjustment,
| | 03:57 |
so you can make changes to that as well.
Again, not particularly user friendly looking.
| | 04:02 |
We've then got a red version of all of
these, a green version of all of these,
| | 04:07 |
and a blue version.
So, we've got RGB controlled separately,
| | 04:12 |
and we've got an overall composite color.
Still not looking very user friendly though.
| | 04:18 |
However, some of the effects in the Event
Controls panel in Premiere Pro have this
| | 04:22 |
extra button.
And this is an extra set of controls for
| | 04:26 |
the effect.
And if I click on this, suddenly we've
| | 04:29 |
got a rather more interesting display.
Now, to my eyes, this looks a little bit
| | 04:34 |
old school, this is clearly an older
effect that's been migrated into CUDA
| | 04:38 |
support and it's actually very, very
useful.
| | 04:42 |
What we've got at the top here is a menu
to chose whether we're going to work on
| | 04:45 |
RGB, that means everything or just the
red, the green, or the blue channels.
| | 04:50 |
We'll stick with RGB, I think for now.
Then what we've got here is some
| | 04:54 |
controls where we can type in limits.
But what I'm really interested in is this
| | 04:59 |
section here.
I can adjust the Input Black level, gray
| | 05:03 |
midtones Gamma level, and the Highlights
White level.
| | 05:08 |
Now, this is Input level, at the bottom
I've got Output levels.
| | 05:12 |
And what you're looking at is a graphic
representation of the relationship
| | 05:16 |
between the two.
And I'll try to illustrate this.
| | 05:19 |
Just before I do that, of course, you can
see there's a Load and Save option.
| | 05:22 |
So, if you're going to apply Levels
Adjustments to lots of clips, you can
| | 05:25 |
store your own file versions of these.
Rather pointless to my mind because you
| | 05:30 |
can always make a preset inside of
Premiere Pro anyway using the Regular
| | 05:33 |
Effect controls.
Now, just to illustrate the relationship
| | 05:38 |
between these two sets of controls, let
me, first of all, make a dramatic
| | 05:41 |
adjustment to the output levels.
I think this will make the most sense.
| | 05:46 |
And before I even do that, you can
probably just about see, there's a, a
| | 05:49 |
kind of a shimmer of black pixels at the
bottom of this big white space here.
| | 05:54 |
And what you're looking at is a
histogram.
| | 05:57 |
The histogram is showing you how many
pixels are in the dark regions of the
| | 06:01 |
image, the midtone region, and the
highlights region.
| | 06:06 |
So, we've got not really an indication of
which pixel is which, but instead, how
| | 06:10 |
many pixels are in a particular region.
Now, to my eyes, this isn't very clearly displayed.
| | 06:17 |
I've seen better histograms with taller
images on them.
| | 06:20 |
But you can see right away, I don't
really have much in the way of shadows,
| | 06:23 |
and I don't have all that much in the way
of highlights.
| | 06:26 |
It's all clustered around the midtones.
Dark on the left, gray in the middle,
| | 06:30 |
bright on the right.
Now, I'm going to drop the Output level by
| | 06:34 |
just dragging this control here, to about
half way.
| | 06:39 |
There you go.
134.
| | 06:41 |
And you'll notice that nothing changes in
the image in Premiere Pro.
| | 06:44 |
Nothing changes on the Waveform monitor.
But it does update inside the display
| | 06:49 |
inside the levels settings.
If I click okay though, now everything
| | 06:53 |
updates and you can see immediately
what's happened on my Waveform.
| | 06:57 |
I just go to Fullscreen here.
I've cropped the total Output level to
| | 07:02 |
about 50%.
If I come back and go into those controls
| | 07:06 |
again, lift that back up, lift up my
shadows.
| | 07:10 |
About the same height.
And again click OK.
| | 07:12 |
Go to Fullscreen again.
You can see I've left the highlights
| | 07:16 |
where they were, but now I've cropped the
base line, the black level from my image
| | 07:20 |
to at least 60%.
You can see the result of that in the image.
| | 07:24 |
All of my shadows have been lifted.
So, this is a crop for my Luminance levels.
| | 07:30 |
Now, if I go back in again and I'll just
reset this.
| | 07:33 |
You'll notice that my scale goes from 0
to 255, that's because this is an 8-bit effect.
| | 07:39 |
If I change my Input levels, I'm going to
reset where the luminance level should be
| | 07:44 |
in the image to match the output level.
So here, for example, I'm going to set,
| | 07:50 |
let's just make this really dramatic.
I'm going to set an Input level of 57 to
| | 07:55 |
match the output level of 0.
And this means that all of the image is
| | 07:59 |
going to be crushed up and I'm going to get
deeper blacks.
| | 08:02 |
You can see it in the Thumbnail, and
there it is.
| | 08:05 |
I've got more detail in the shadows.
I can do the same thing for the highlights.
| | 08:10 |
I can pull this in and reduce the
highlights.
| | 08:13 |
And again, click OK.
And if you look now, at the image, really
| | 08:17 |
strong contrast.
If you look at the Waveform, a really
| | 08:21 |
spread Waveform with pixels indicated all
across the contrast ratio.
| | 08:26 |
So, you can see that working with
histograms in this way gives you an
| | 08:30 |
indication of where your midtones should
be and how much you can pull in the
| | 08:34 |
highlights and pull up the shadows to
give you a much stronger contrast range.
| | 08:41 |
Now, if you're working with YUV Media and
not RGB Media, you may end up having to
| | 08:48 |
crop your Output levels to 16 in the
shadows and 235 in the output.
| | 08:56 |
And that's just because, if you're
working with the YUV color system in an
| | 09:00 |
RGB system.
Well, the black level for YUV starts at
| | 09:05 |
16 on the RGB scale, and the white level
finishes at 235.
| | 09:13 |
These are just standard numbers.
If it doesn't make any sense to you,
| | 09:15 |
don't worry.
These numbers are going to come up time and
| | 09:18 |
time again.
Now, that's working with Levels
| | 09:22 |
Adjustments inside of Premiere Pro.
| | 09:26 |
| | Collapse this transcript |
|
|
3. The Fast Color CorrectorAn overview of the Fast Color Corrector| 00:02 |
To get a sense of what's going on with
the Fast Color Corrector.
| | 00:06 |
I've just set up a simple sequence here,
where I've got a picture of a color wheel.
| | 00:10 |
I've just taken a screen grab from this
color wheel effectively but I've cranked
| | 00:13 |
up the gain on it so you can see the
colors more vividly than they are by default.
| | 00:18 |
And underneath this, I've placed this sky
image, just so we've got something in the
| | 00:23 |
background for comparison.
I've also got this off color shot of a
| | 00:27 |
beach so we can see what happens with the
automatic light balancing.
| | 00:32 |
It's the perfect shot for all the fix.
On this color wheel TIFF clip on my
| | 00:37 |
timeline, I've added a four point garbage
map which just chops off part of the
| | 00:41 |
image and the Fast Color Corrector
itself.
| | 00:45 |
Although I haven't made any changes to
this yet.
| | 00:48 |
It's worth noting that any color
correction effects that you have inside
| | 00:51 |
of Premier Pro, or actually, really any
effects you have in Premier Pro.
| | 00:55 |
They are working on the results of any
previous effects.
| | 01:00 |
So here, for example, on my stack, I've
got all of the motion controls, that's
| | 01:04 |
things like scale and position and
rotation.
| | 01:08 |
And then I've got my opacity controls.
Then if I've got any time remapping
| | 01:11 |
that's applied.
And then I've got this four point garbage
| | 01:14 |
mat which I've switched off right now.
If I turned this garbage mat on, and I'll
| | 01:18 |
just click away from the headings so you
don't get many handles on it.
| | 01:22 |
You can see, I'm just chopping off part
of this image, I've made a pretty
| | 01:25 |
arbitrary shape here.
And you're seeing the clouds underneath it.
| | 01:31 |
So, if I make a color correction
adjustment now, I'm going to be making it
| | 01:36 |
to the results of these previous effects.
But of course, you can see, I'm not
| | 01:41 |
making changes to the background layer.
The effects in Premiere Pro work a little
| | 01:46 |
bit differently to effects in some other
editing systems, where you make a change,
| | 01:50 |
and it applies to everything underneath
the clip up to that point.
| | 01:55 |
So, just undo that very subtle adjustment
I've made, and I'm just going to turn off
| | 01:59 |
that four pointINAUDIBLE.
I'll turn it on, and I'll show you the
| | 02:04 |
first menu here.
If I have the four point garbage mat
| | 02:07 |
turned on, I'm creating an alpha channel
for my layer.
| | 02:12 |
So I'm applying some alpha that wasn't
there before.
| | 02:16 |
The Fast Color Corrector controls have,
right at the top here, an output option.
| | 02:22 |
And look at this, I can specify whether
I'm going to see a composite image which
| | 02:26 |
is very much the same as the option you'd
get under the regular output menu that
| | 02:30 |
you have where you could use scopes and
way forms or composite video for all of
| | 02:34 |
the player monitors.
I also have a luma option, which is
| | 02:40 |
particularly useful if you want to look
at contrast.
| | 02:44 |
Now, I've set up my interface just for
this with the reference monitor showing
| | 02:49 |
all the scopes.
If I switch this over to showing the wave
| | 02:54 |
form and just pop over to this clip here.
In fact, maybe if I show you, here we go.
| | 03:02 |
I've got this shot of a station, which is
a very flat image, it doesn't have very
| | 03:07 |
high contrast, and you can see.
If I put the,let me get my Fast Color
| | 03:12 |
Corrector here and put it on this clip.
And select the settings for it.
| | 03:18 |
And set the output to Luma.
You can see right away that there's not
| | 03:22 |
very much contrast in this shot.
Now you need to be clear that your eye is
| | 03:27 |
not the best judge of what's going with
an image.
| | 03:30 |
That's what the wave forms and the scopes
are for.
| | 03:32 |
But I can definitely tell by having this
in a luminance where the dark areas
| | 03:36 |
should be and they're not and whether the
highlights are real or not.
| | 03:42 |
So, it's quite useful mode when you're
looking at the tonality of your image.
| | 03:46 |
Okay, so now I've got mask and that just
shows me which area of the picture is visible.
| | 03:53 |
If you've got a complex mask or complex
alpha, it can sometimes be a little bit
| | 03:56 |
difficult to see what you're working on.
And having the output to mask, just shows
| | 04:01 |
you the alpha really, of your image.
Now I've got a split view, and again, if
| | 04:05 |
I put a really obvious adjustment in
here, turning on the split view.
| | 04:09 |
I just re-size this a little bit, so you
can see.
| | 04:13 |
Turning on the split view gives me a line
across the image, so I can see what the
| | 04:17 |
image looks like effected and what it
looks like unaffected.
| | 04:21 |
I said this to a horizontal or vertical
and I can specify where the line is.
| | 04:25 |
Being able to change where the split view
is is really useful and obviously you
| | 04:29 |
might have a particular element that you
want to color correct and it's important
| | 04:32 |
to be able to adjust where the line is.
And then over here, we've got an
| | 04:38 |
automatic wipe out control.
And this is pretty handy if you're in a hurry.
| | 04:42 |
I guess that's why its called the Fast
Color Corrector.
| | 04:45 |
If I choose this shot here where I've
also added the Fast Color Corrector, it's
| | 04:48 |
obvious that there should be white on
this tee shirt.
| | 04:52 |
And it's an obvious blue color cast.
I can see that in my vector scope.
| | 04:57 |
There we are, over towards the blues and
the cyans.
| | 05:00 |
All I need to do is either manually
specify what white should be, that is,
| | 05:04 |
choose a color here that isn't white but
should be so Premier Pro can make an adjustment.
| | 05:11 |
Or, I can take this eye dropper and just
click on any part of the image that I
| | 05:14 |
think should be white.
Let's take the shoulder here.
| | 05:17 |
And instantly you see a result.
So if you're really in a hurry you could
| | 05:21 |
do worse than throw the Fast Color
Corrector onto your clips and apply a
| | 05:25 |
single eye dropper adjustment.
Make a preset out of that, you do it
| | 05:30 |
under the panel menu to save a preset, of
course I've not got the effect selected
| | 05:34 |
so it's grayed out.
You can see there.
| | 05:38 |
And apply that to all of the clips from
the same location.
| | 05:42 |
So that's a really quick way of applying
a color adjustment.
| | 05:47 |
Then here I've got the color wheel, so I
move the puck from the center, and what's
| | 05:52 |
happening with this puck control is I'm
updating the controls underneath it.
| | 05:58 |
You can see here I've got the color
balance, angle, which is this item here.
| | 06:04 |
This is for me to move my pixels off
center.
| | 06:08 |
So if you image a center point of the
part make no change at all, and as I drag
| | 06:12 |
down towards the blue I'm saying
increasingly make every pixel more and
| | 06:15 |
more and more blue.
And you can see the magnitude is being
| | 06:20 |
adjusted as I drag towards the edge.
Then also, you can see I've got a hue
| | 06:26 |
angle, and that's what I'm adjusting with
this wheel around the edge.
| | 06:30 |
Be careful with your hue angle
adjustments, because it can lead to some
| | 06:34 |
rather unnatural-looking changes,
although if you make very subtle
| | 06:38 |
adjustments, it can be absolutely
perfect.
| | 06:42 |
But it's just worth playing around with a
little bit.
| | 06:44 |
Let's reset that.
I'm just using Ctrl+Z or Cmd+Z on a Mac there.
| | 06:49 |
And here we've got balanced gain.
And if I crank this up you'll see
| | 06:52 |
effectively what is happening is I'm
changing the mid tones of my adjustments.
| | 06:58 |
So here I've got an adjustment from no
adjustment at all to the total adjustment
| | 07:01 |
that I've made.
But then within that adjustments,
| | 07:05 |
effectively I'm making a change to the
gray scale of the RGB channels for all of
| | 07:09 |
the pixels in my image.
If I go to my wave form and it's very
| | 07:14 |
much like the gray scale mid tones of my
wave form except the mid tones that I'm
| | 07:18 |
adjusting here are for an adjustment.
So if I crank this up I'm going to get a
| | 07:24 |
sharper adjustment to the colors, if I
crank this down I'm going to get a more
| | 07:28 |
subtle adjustment to my colors.
Now if I just, I'll just reset for a
| | 07:34 |
second here.
Okay.
| | 07:36 |
Now scrolling down a little bit, I've got
auto black, auto contrast, auto white level.
| | 07:45 |
That's going to set the baseline for my
wave form.
| | 07:48 |
And set the mid tone spread and the
highlights.
| | 07:52 |
I can do that manually as well by using
these eye droppers so I can just click on
| | 07:55 |
something that should be black, click on
something that should be gray.
| | 07:59 |
Sometimes difficult to find a gray, but
there you go.
| | 08:02 |
And then click on something that should
be white, maybe these clouds from my highlights.
| | 08:07 |
And you get an okay results then here
underneath I've got some regular input
| | 08:11 |
and output levels controls.
Again if I reset, and then I can specify
| | 08:16 |
what the black level should be and what
the highlight level should be, and do
| | 08:20 |
this by referencing my wave form I've
gone completely off the scale there.
| | 08:27 |
And then I can adjust my midtones, this
is just for luminance levels, this
| | 08:31 |
doesn't change the color.
Same output levels that you'd expect to
| | 08:36 |
see as usual underneath that, I can
specify and clamp my base line wherever I
| | 08:40 |
want and my top level.
And I'm making adjustments to these
| | 08:45 |
controls underneath, when I change my
levels controls.
| | 08:50 |
So I can move the black level, you can
see that's updating the display.
| | 08:53 |
I can set my output level.
So really these are just shortcuts to the
| | 08:56 |
manual controls, where of course, like
any other effect inside of Premier Pro.
| | 09:01 |
I can click and type a number in or I can
click and drag.
| | 09:05 |
So that's the controls of the Fast Color
Corrector in Premiere Pro.
| | 09:13 |
| | Collapse this transcript |
| Using the Fast Color Corrector| 00:02 |
So, let's have a go at using the fast
color corrector to make some adjustments
| | 00:05 |
to a clip that clearly needs it.
And we've got something here, which is me
| | 00:10 |
in front of a green screen, or at least
it's meant to be a green screen.
| | 00:15 |
And let's just take a look and see, see
what it looks like at the moment.
| | 00:20 |
> > I'm not sure if you've got the
lighting completely right on this.
| | 00:24 |
> > I think I agree.
So, we need to find some way of cleaning
| | 00:25 |
up the white balance in this shot so that
we can get a clean key from the background.
| | 00:29 |
That's clearly not a proper green screen.
And if I go to my reference monitor and
| | 00:39 |
look at the vectorscope, I can see we've
got a really, really clear yellow, red
| | 00:42 |
bias on the white balance of the camera.
And I know this because we deliberately
| | 00:47 |
ruined the white balance on the camera to
get the shot.
| | 00:51 |
So it's a little bit little bit messed
up.
| | 00:53 |
So, all we need to do is take the
eyedropper from the Fast Color Corrector
| | 00:57 |
and find something that should be white
in the shot.
| | 01:01 |
And this can be difficult, of course,
because right here I'm wearing a white
| | 01:04 |
shirt, so it's just a question of
clicking on the color of the shirt.
| | 01:09 |
If I bring this up full screen, you can
see that's a massive improvement.
| | 01:13 |
> > You're completely right on this.
It's not 100% perfect, I think there's
| | 01:17 |
still a little bit of a cast on there,
and if we go full screen with the scopes,
| | 01:21 |
you can still see there's a bit of a
trend towards the yellow red.
| | 01:26 |
And I'd expect to see a lot more in the
pure green category of the vectorscope.
| | 01:31 |
So, one thing I can do is just Improve.
If I bring up the scope a little bit larger.
| | 01:37 |
Again, this is a lot easier if you are
working on a larger monitor than I am
| | 01:41 |
here, but you can see if I pull this
over, away from the direction of the
| | 01:44 |
color cast in the scopes, and then go
full screen again.
| | 01:50 |
Much, much better, although it looks to
me like we're beginning to lose some of
| | 01:53 |
the contrast in the image there.
It looks kind of soft to me.
| | 01:57 |
So, perhaps if we go down to our Levels,
bring out your Waveform display, yeah you
| | 02:02 |
can see very rare clearly there.
Now this is power media, which means that
| | 02:08 |
if I just bring this waveform full-screen
here were looking at the milivolts scale
| | 02:11 |
rather than the IRE scale but you expect
on NTFS media.
| | 02:16 |
To be honest, it really doesn't make a
whole lot of difference.
| | 02:18 |
The millivolt scale goes from 0.3 to 1,
but you can treat that range as
| | 02:22 |
effectively being your hundred percent
scale on the IRE wave form.
| | 02:28 |
It still works exactly the same way.
And what I want to do is maybe, just
| | 02:32 |
bring up my highlights, not going to go too
crazy with this, because there's a lot of
| | 02:37 |
mid-tones in this shot.
I think the shadows are pretty good but
| | 02:42 |
maybe we could stretch them down a little
bit.
| | 02:45 |
Perhaps bring up the midtones a little
bit.
| | 02:48 |
I don't want to go crazy.
Again I'm just toggling full screen here,
| | 02:52 |
still looking a little bit flat, so maybe
we can raise this up.
| | 02:57 |
Now, the thing about contrast is that
what tells the eye whether something is
| | 03:01 |
in contrast or not, isn't really
objectively whether you've got bright
| | 03:04 |
highlights or deep shadows.
It's the relationship between the
| | 03:09 |
highlights and the shadows that gives you
the sense of contrast.
| | 03:13 |
So again, if I bring my shadows down It's
looking a little bit better, maybe bring
| | 03:19 |
this down a bit.
I don't especially want to change my
| | 03:24 |
output levels.
I'm working in RGB for an RGB display for
| | 03:27 |
a computer monitor.
If you were working for a television
| | 03:31 |
monitor, you would be wanting to bring
this in, bring your output in to the
| | 03:36 |
16,235 range.
the reason for this is, cameras shoot
| | 03:40 |
using the YUV color system, that's the
luminants in one channel, then you've got
| | 03:44 |
the blue minus the luminants and then the
red minus the luminants, that's the Y,
| | 03:48 |
the U, and the V of YUV.
The green is calculated based on those
| | 03:53 |
three bits of information.
You get the fourth, now the color system
| | 03:57 |
was created for analogue broadcast and
it's sort of analogue transmission.
| | 04:01 |
It's very, very efficient for the RGB
scale it's a little bit simpler, you just
| | 04:05 |
got three channels there.
And computer monitors and computer
| | 04:10 |
software, they all tend to work in the
RGB range.
| | 04:14 |
That's all fine, but, if you took the YUV
scale, and you mapped it up against the
| | 04:20 |
RGB scale, it would actually go from 16
to 235.
| | 04:26 |
And if you look at images.
That are clamped to 16,235 on the RGB scale.
| | 04:33 |
On a computer monitor.
It looks pretty terrible.
| | 04:36 |
You end up with
Very flat looking whites.
| | 04:39 |
And very gray looking blacks.
But if you look at that media, on a
| | 04:42 |
television screen.
Which is why it's important to have one
| | 04:45 |
connected to your computer.
Suddenly, everything looks perfect.
| | 04:49 |
Because on the YUV scale, 16 on RGB is
perfect black.
| | 04:55 |
235 on RGB is perfect white.
Try it out and you'll see what I mean.
| | 04:59 |
Anyway, let;s leave this as it is.
Now, there is a shorter way of achieving
| | 05:03 |
a clean, white result with the Fast Color
Corrector.
| | 05:08 |
And that is here, you can see we've got
a, color chart on location.
| | 05:14 |
And all I need to do, if I select this
clip, is grab the, let me re-size a
| | 05:18 |
little bit, grab the White Balance Fast
Color Correction eyedropper and click on
| | 05:23 |
something that absolutely should be
white.
| | 05:29 |
And right away, I get a much better
looking set of colors.
| | 05:33 |
I've still got it.
So, it's still a rather flat, you can see
| | 05:35 |
the way the camera has recorded this.
I might well combine this with the
| | 05:39 |
dedicated levels adjustments and just
bring this back to life.
| | 05:44 |
Again, don't want to go too crazy with
it, I need to keep those greens nice and strong.
| | 05:50 |
You'll notice that below three, the image
is cropping out in the black level.
| | 05:55 |
That's okay.
Something like that perhaps.
| | 05:59 |
Now, I'm ready to perform a key, and in
fact I've got the ultra key effect
| | 06:03 |
already applied to another instance of
this clip on the timeline here.
| | 06:10 |
And this is an even worse shot, where you
can see that I've got really blown out
| | 06:14 |
highlights, and terrible, terrible color
casts.
| | 06:19 |
Again, I'm just going to get the
eyedropper, drop it onto the color of
| | 06:23 |
this shirt.
That's making a bit of an improvement but
| | 06:26 |
it's far from perfect.
Try somewhere else, still not perfect but
| | 06:30 |
it's okay.
So what I'm going to do, is bring up my vectorscope.
| | 06:35 |
And I'm going to do this a little bit by
eye.
| | 06:37 |
I'm going to really pull away from the cast
I can see on my scopes, to try to bring
| | 06:42 |
this back into the center.
And it's pretty good, but I'm not getting
| | 06:47 |
enough adjustment even pulling this right
out to the edge of my color wheel.
| | 06:52 |
So, now I'm going to get the gain adjustment
and I'm going to ramp up the gain so I'm
| | 06:56 |
getting a much stronger adjustment
effect.
| | 06:59 |
That's too much there.
Let's take a look at that.
| | 07:02 |
That's a bit better.
Reasonable green, me in the foreground.
| | 07:05 |
I'm definitely going to want to do some
levels adjustments to bring this in,
| | 07:09 |
maybe, let's go back to my.
Wave form, I can see my highlights there
| | 07:15 |
aren't quite strong enough.
Bring down my mid-tones a little bit.
| | 07:20 |
I'm doing this kind of rough, but I think
you'll get the gist.
| | 07:24 |
That looks a little bit better.
If I now flatten my Fast Color Corrector,
| | 07:28 |
and look at my ultra key, now I need the
key here to be further down the list on
| | 07:32 |
my effect controls.
If I turn this on, now we've got a
| | 07:37 |
reasonable key.
I've already set up the key here if I
| | 07:41 |
just choose a bit of the green.
And you can see right away, I've got a
| | 07:46 |
reasonable key out of this shot.
I've gone too far in, let's have a look
| | 07:52 |
from here.
> > Do you think the color is right?
| | 07:55 |
> > And I think that looks okay, you
might end up wanting to do some color
| | 07:59 |
work to match the foreground with the
background of course.
| | 08:04 |
But at least I'm getting a reasonable
key, thanks to using the Fast Color
| | 08:08 |
Corrector first in the chain.
| | 08:11 |
| | Collapse this transcript |
|
|
4. The Three-Way Color CorrectorAn overview of the Three-Way Color Corrector| 00:02 |
The Three Way Color Corrector effect
works in a very similar way to the Fast
| | 00:05 |
Color Corrector in Premiere Pro.
But it's got a couple of specific differences.
| | 00:10 |
First of all, the Three Way Color
Corrector as the name sort of suggests,
| | 00:14 |
allows you to approach three parts of
your total color range.
| | 00:20 |
And those three parts are indicated by
these three color wheels.
| | 00:25 |
So instead of one color wheel, you get
one for the shadows, one for the
| | 00:28 |
mid-tones, and one for the highlights in
your picture.
| | 00:32 |
Otherwise, it's a pretty similar affair.
You've got some secondary color
| | 00:36 |
correction controls as well, which I'll
explain in a moment.
| | 00:40 |
So, just running from the top here, if we
look at the shot, I've got on the program
| | 00:44 |
monitor and look at it for comparison in
the Waveform display.
| | 00:49 |
We can see that this has got a good range
of highlights.
| | 00:52 |
Some of them are not quite peaking, but
they're looking okay.
| | 00:55 |
That's going to be the sky I should think,
and then we've got quite a lot of mid-tones.
| | 01:00 |
There's a thick band of pixels that are
in the mid-tone region and not very much shadows.
| | 01:04 |
We can see that there's not a lot of deep
color in this shot.
| | 01:07 |
And we might want to work on that a
little bit to improve the overall
| | 01:10 |
appearance of the image.
If I click on the Output menu, I can see
| | 01:15 |
a composite of the total picture.
That kind of makes sense.
| | 01:20 |
All the red, green, and blue displayed
normally.
| | 01:21 |
I can see a Lumo only view, which is very
good for a by eye comparison of
| | 01:25 |
highlights and shadows.
And again, I can see there's not a lot of
| | 01:30 |
dark areas in the picture.
There's the clothes on this boy over
| | 01:32 |
here, the shorts there, the sides of the
rocks.
| | 01:35 |
But otherwise, it's a relatively soft
contrast range.
| | 01:39 |
Then I've got the mask display, which is
going to give me a display of any alpha
| | 01:43 |
channel information set for this clip.
Obviously, at the moment, there isn't
| | 01:48 |
any, but if I was to combine this with
something like a garbage mat or any kind
| | 01:51 |
of mat, this would be displayed.
Not super important, but useful if you're
| | 01:56 |
having trouble identifying what part of
the image you're really working on.
| | 02:00 |
And then I've got this option, Tonal
Range.
| | 02:02 |
And what the Tonal Range does, if I just
drag through here, you can see is, it
| | 02:07 |
gives me a simple indication of where the
dark shadow regions are, where the
| | 02:11 |
mid-tones are, and where the highlights
are.
| | 02:17 |
So anything that would be controlled by
this left-hand color wheel, that's the
| | 02:21 |
black areas of this image.
Anything that would be controlled by the
| | 02:25 |
mid-tones is grey and anything that would
be controlled by the highlights is white.
| | 02:31 |
So the entire image is simplified into
black, gray, and white.
| | 02:34 |
And this is quite handy for getting a
sense of the tonal range of the image
| | 02:39 |
generally and for working out what the
controls are going to do inside of the Color
| | 02:45 |
Correction tool.
So I'm going to come back and go to my
| | 02:51 |
Composite view.
And scrolling down here, I can show a
| | 02:55 |
Split view.
I'll just make a really obvious
| | 02:58 |
adjustment here using my Color Wheels, so
you can see what the Split view is doing.
| | 03:04 |
I can specify a percentage for the Split
view and I can specify a Vertical or
| | 03:08 |
Horizontal Split view.
This is very useful if you want to
| | 03:12 |
compare and contrast specific parts of
your image.
| | 03:16 |
Let's come out of that.
And then I've got controls here for, in
| | 03:20 |
fact, let me reset that as well.
I've got controls to specify where the
| | 03:24 |
black levels should be, the grey, and the
white.
| | 03:28 |
Now, further down the screen, I've got
the same kinds of controls automatically.
| | 03:33 |
I can click to do a general.
Auto-black level contrast, and white
| | 03:37 |
level adjustment.
Essentially, these controls are
| | 03:40 |
specifying, that the darkest pixels that
exist in the image, should be on 0 or
| | 03:44 |
just above 0 in my Waveform display.
And the lightest pixels in the image,
| | 03:50 |
whatever they are, should be just below
100, in my IRE display.
| | 03:54 |
That would be one volt on a (UNKNOWN)
Waveform display.
| | 03:57 |
And the contrast should be ranged between
the two.
| | 04:00 |
So, in theory, by clicking these buttons,
I'm going to get a reasonable adjustment.
| | 04:05 |
Now, this image is actually okay.
Part of the problem is really that the
| | 04:09 |
mid-tones aren't perhaps spread in quite
the right way.
| | 04:13 |
I might well want to use something like a
Lomo Curve to improve the overall
| | 04:17 |
contrast range of this image.
So, I'm going to go back and reset again,
| | 04:22 |
very, very subtle adjustments there.
Looking down here, I've got a tonal range
| | 04:27 |
control that allows me, first of all, to
make corrections directly using my color
| | 04:32 |
wheels, and secondly, to specify.
Not what the color wheels do but what
| | 04:38 |
these controls under the color wheels
relate to.
| | 04:40 |
If I just resize a little bit, so you can
see what the words say.
| | 04:46 |
I've got here Highlight Hue Angle, that's
the direction if you like for my, I'm
| | 04:51 |
changing the wrong one, sorry.
That's the wheel around the outside of
| | 04:57 |
the color wheel.
I've got Highlight selected in the Tonal
| | 05:00 |
Range menu and that's what I'm saying
here.
| | 05:03 |
Then I've got an amount of adjustment
from the center.
| | 05:07 |
And I've got the angle of the adjustment.
So again with color wheels, I can change
| | 05:12 |
overall position on the hue scale each of
these has an angle because it is circle.
| | 05:18 |
Then I can shift all of the colors
together or I can take the chromanance
| | 05:23 |
values for each individual pixel and take
them off of their current state towards a
| | 05:28 |
particular color.
So if I wanted to move all of the
| | 05:33 |
highlight pixels in this shot towards the
cyan blue range, I can do that by just
| | 05:37 |
dragging off from the center.
And remember, we're thinking in terms of
| | 05:43 |
whole images.
But it makes much more sense to think in
| | 05:46 |
terms of individual pixels, every
individual pixel as having this
| | 05:49 |
adjustment applied to it.
I've then got a control here which is
| | 05:54 |
still in the center, it's underneath this
part control which is specifying the
| | 05:57 |
amplitude of the adjustment that I'm
making.
| | 06:01 |
So I can really posterize this and give
it a, kind of like an early 70s color
| | 06:06 |
effect if I want to.
If I use this Tonal Range menu, I can
| | 06:11 |
specify to have an overall adjustment
which is going to give me a massive color
| | 06:14 |
wheel for the entire image.
This is rather more like the Fast Color
| | 06:19 |
Corrector and I can specify to just work
on the shadows, just to work on the
| | 06:23 |
mid-tones, and again, just to work on the
highlights.
| | 06:27 |
And all I'm doing here is changing these
controls underneath the Color Wheels.
| | 06:31 |
I've got direct access to these controls
using the Color Wheels anyway.
| | 06:35 |
So it just depends on whether you want to
use the Graphic Interface or the numbers.
| | 06:39 |
And moving down I've got some overall
saturation controls which are pretty
| | 06:44 |
useful as well.
Again, this is dependent on the tonal
| | 06:48 |
range that you specify further up.
And down here, I've got automatic black
| | 06:52 |
level, gray level, and white level.
So you can just use the Eyedroppers to
| | 06:56 |
specify what should be black, gray, and
white.
| | 06:59 |
Of course, sometimes, it's easier to do
this by eye, because you may not have
| | 07:03 |
black, and gray, and white items on the
screen.
| | 07:06 |
Below this, I've got some levels
controls.
| | 07:08 |
So I can specify the input and the output
levels for my image.
| | 07:14 |
And below that, I've got the numbers that
are created by making these adjustments.
| | 07:20 |
Further down into the Three Way Color
Corrector, I've got a whole bunch of
| | 07:25 |
selections that will define a range of
colors that will be effected by the
| | 07:30 |
adjustment I'm making.
So, all of these control adjustments that
| | 07:36 |
I'm making with the Three Way Color
Corrector, at the moment, apply to the
| | 07:38 |
whole image.
As soon as I use any of these controls to
| | 07:43 |
limit the range that's effected.
I am applying what's called Secondary
| | 07:49 |
Color Correction.
So Primary Color Correction is the first
| | 07:52 |
phase of color correction that you apply
to make the overall picture look right.
| | 07:56 |
Secondary Color Correction, which is
often applied as a whole other effect, a
| | 08:00 |
second effect applied to your clip is
usually limited to a specific color range.
| | 08:05 |
In this case, for example, I could say
I'm only going to work on these
| | 08:09 |
particular blues.
And I'm going to or maybe I'll go for
| | 08:13 |
things like the skin tones and the rocks.
And then, I can do something like crank
| | 08:20 |
up the overall saturation.
(UNKNOWN) my saturation control, crank
| | 08:26 |
that right up.
And you can see, if I turn that off and
| | 08:30 |
on for comparison, I'm just increasing
the overall saturation of this particular
| | 08:35 |
range of colors.
This is Secondary Color Correction, and
| | 08:41 |
you'll see that there are various
different controls to define a luminance
| | 08:45 |
range, a total saturation range, or a
specific hue range.
| | 08:50 |
And you've got an option to
automatically use an Eyedropper to
| | 08:53 |
specify the range.
An Eyedropper to choose a color, and then
| | 08:56 |
you can add to or subtract from the color
range that you've selected, cuz of
| | 09:00 |
course, it's usually a range of colors
that you need.
| | 09:05 |
You can even thin the edge, or soften the
edge of the range of colors that you have
| | 09:09 |
chosen and even invert the colors that
you've chosen.
| | 09:13 |
So, if somebody has a brightly colored
dress, for example, pick out that dress
| | 09:17 |
and then invert the selection, and you
can make color correction changes to
| | 09:20 |
everything else.
So that's just an overview introduction
| | 09:25 |
to the controls of the Three Way Color
Corrector, quite an advanced Color
| | 09:30 |
Correction tool inside of Premiere Pro.
| | 09:35 |
| | Collapse this transcript |
| Using the Three-Way Color Corrector| 00:02 |
Let's take a look at using the three way
color corrector to make an alteration to
| | 00:06 |
a particular video clip.
In this case, I've got some kids playing
| | 00:11 |
tennis, and what I really want to do is
bring out the greens in the shot, but I
| | 00:14 |
don't particularly want everything else
to go green.
| | 00:18 |
If I just play through so you can see a
little bit about what's going on here.
| | 00:21 |
Let me get a full screen.
(audio playing) Okay, so it's just a little kids
| | 00:27 |
tennis game, but I really want the green
to be punchy in this shot.
| | 00:36 |
If I go into my Tonal Range here, and set
this to master.
| | 00:42 |
And maybe really crank up the green in
the color wheel.
| | 00:46 |
You can see everything's going green.
The clouds have got a green tint.
| | 00:50 |
The sky goes cyan.
This kid's skin starts to look rather
| | 00:53 |
unhealthy and zombie-like.
So, I just reset this for a second.
| | 00:58 |
What I'm going to do is set the Tonal Range
first all of to Master.
| | 01:03 |
And I'm going to make the whole image seem
you know, go bright pink and really crank
| | 01:08 |
up the gain here.
So, I'm having a really powerful effect
| | 01:13 |
on the image.
But going down a little bit to my
| | 01:16 |
secondary color correction I'm going to
specify a range.
| | 01:21 |
So, I'm going to use this to make a
secondary color correction, rather than a
| | 01:25 |
primary one.
You might well be wanting to apply two
| | 01:28 |
lots of the Three-Way Color Corrector, or
even maybe to use the fast color
| | 01:32 |
corrector first, to get a flat level
adjustment, maybe.
| | 01:37 |
Work on the gamma range, work on the mid
tones, as it were on the image first of all.
| | 01:41 |
Get the contrast range nice, and then as
a secondary effect, put on theThree-Way
| | 01:45 |
Color Corrector, and use it in the way
that I'm going to here.
| | 01:49 |
But if your generally happy with your
image you just want to apply and effect,
| | 01:52 |
this is fine.
So what I'm going to do, is I've expanded
| | 01:55 |
out the secondary color correction, and
I'm going to click on the Eye Dropper, right
| | 01:58 |
next to this Center option.
And this is specifying a hue range to
| | 02:03 |
target my color adjustment to.
Now there's quite a few different greens
| | 02:08 |
here, so I'm going to choose the tennis
court ground first of all, and you can
| | 02:11 |
see right away I've chosen a range.
And notice that this kid's hand and the
| | 02:16 |
ball, the yellow, those are all excluded.
Then I'm going to click on the Plus
| | 02:20 |
Eyedropper and choose some other ranges.
You notice every time I click on the plus
| | 02:25 |
option, I'm getting the original,
unmodified piece of video, so that I can
| | 02:30 |
choose a range based on that.
And that's looking reasonably okay.
| | 02:38 |
I think that's probably going to do for
my purposes for now.
| | 02:41 |
Now I'm going to just soften a little
bit.
| | 02:43 |
In fact, let me expand this control a
little, and just give this a more natural
| | 02:48 |
look, but I'm getting a bit of the bar.
This white cloth along the top of the net.
| | 02:56 |
So I'm going to set my Zoom to 100%, and
I'm going to use the minus dropper to
| | 03:00 |
just pick out this subtle shade.
And this may or may not work.
| | 03:05 |
If it doesn't work, I may have to use
something like a Matt to exclude it, or I
| | 03:10 |
might just have to accept that I'm going
to have this bar.
| | 03:15 |
Let's see how that's looking.
Yeah, I've managed to exclude a little
| | 03:19 |
bit of it but still not perfect.
I've lost a little bit of the ground here.
| | 03:23 |
And you can see right away, what the
limitation is in working with secondary
| | 03:27 |
color correction, because all you've got
is a color range.
| | 03:31 |
It's very much like adjusting a key if
you're going to compose it.
| | 03:38 |
Let's try that again, see how we get on
with it.
| | 03:40 |
You can specify a specific saturation
range as well.
| | 03:46 |
So with all of these controls, you've got
a start and an end point, same thing for
| | 03:50 |
the Hue, same thing for the saturation.
And then a secondary option, this
| | 03:55 |
triangle is softening.
This is going to give you a much more
| | 03:59 |
natural edging to the selection that your
making.
| | 04:02 |
If you have a really hard edge, if you
set this softening adjustment right up
| | 04:06 |
next to the selection range that you're
choosing, you can get some hard edges,
| | 04:10 |
some posterizing.
And you can see here, this section of the
| | 04:15 |
tennis court is being excluded unless I
soften this range a little bit.
| | 04:20 |
It will tend to give you a more natural
looking effect.
| | 04:23 |
Of course right now, my image looks
anything but natural, but bear with me.
| | 04:27 |
You can also specify a luminance range.
And I think really, in the case of this
| | 04:31 |
bar across the top of the net is not
going to help us to much to make any of
| | 04:34 |
these adjustments because we're getting a
lot of reflected color on here from the ground.
| | 04:41 |
And it just does look the same range, the
same color.
| | 04:44 |
We could get around this by doing
something like applying a, maybe a four
| | 04:49 |
pin garbage mat we can just pick out this
range at the bottom and only make an
| | 04:54 |
adjustment to the court.
But we could spend a rather lot of time
| | 05:00 |
effectively rotoscoping, to remove the
white across the bar here.
| | 05:05 |
Especially since this is a handheld shot,
it could take quite a while.
| | 05:09 |
If I'm happy with my selection, then the
next thing to do is make the selection I
| | 05:13 |
really want.
So, I'm going to reset all of these and
| | 05:17 |
pull this back into the center, and I'm
back to my original.
| | 05:23 |
Let's set the Master Balance there to
zero, okay.
| | 05:27 |
And I'm pretty much set, but I just need
to decide what I'm going to do with these
| | 05:32 |
greens, so I'm going to pull all of them
a little bit greener.
| | 05:37 |
And sometimes by eye this can be
difficult to see.
| | 05:40 |
I'm going to pull up the Vector scope in
my reference monitor, and you can see
| | 05:44 |
that there's a definite green, yellow
slant, which is what I would expect.
| | 05:49 |
But here we've got a subject, his arm,
his hair, everything, the yellow ball
| | 05:53 |
totally untouched because of the
secondary color selection I've made.
| | 05:59 |
If this changed over time, of course, any
control you see a stopwatch on is key
| | 06:02 |
frame-able, and it may be necessary for
you to specify some settings, play on a
| | 06:06 |
little bit And then tweak the settings
with key framing.
| | 06:10 |
Pretty much as it would be for any
special effect inside of Premier Pro.
| | 06:14 |
Another useful thing is to just toggle
the effect off and on to see the results.
| | 06:20 |
And you can see right away I'm getting a
really significant shift in the greens.
| | 06:24 |
Where moving towards super real movie
making rather than realistic, and so
| | 06:28 |
naturalistic, rather than realistic.
And yes, looking at the Vector Scope, if
| | 06:33 |
I go full screen with this, let's see if
I can get that to refresh.
| | 06:38 |
You can see that there is this strong
color cast, but I would expect that,
| | 06:41 |
because if you look at the original
image, most of it is green.
| | 06:47 |
Most of the original image is that color.
Again, if I go back to my Vector scope
| | 06:51 |
and turn the Three-Way Color Corrector
off we're still getting stronger slant
| | 06:54 |
towards the yellow and the red there from
the parts of the court outside of the
| | 06:58 |
play area and the skin tones.
So, it's perfectly correct for there to
| | 07:04 |
be that adjustment.
Looking at my waveform display, I can see
| | 07:08 |
that we've got a pretty good contrast
range.
| | 07:11 |
And there's not much really to do to this
shot, although obviously I'd need to see
| | 07:14 |
it on a proper monitor.
The problem I've got is if I were to make
| | 07:18 |
any adjustments, perhaps using these
levels controls, because I have specified
| | 07:22 |
a Secondary Color Correction Range, any
adjustments I make are only going to be
| | 07:25 |
applied within that range.
And that is the greens in this shot.
| | 07:31 |
If I really want to make an adjustment to
my levels, I ought to do that with a
| | 07:34 |
separate effect and I really ought to do
it first.
| | 07:37 |
Because a lot of the controls you're
choosing in the Three-Way Color Corrector
| | 07:40 |
are based on the luminescence ranges.
So, that's an example of using the
| | 07:45 |
Three-Way Color Corrector in Premiere
Pro.
| | 07:51 |
| | Collapse this transcript |
|
|
5. Other Color Correction EffectsThe Video Limiter effect| 00:02 |
If you're producing content that's going
to be just displayed on a domestic TV, or
| | 00:06 |
you're just going to put it on a DVD and
show the people.
| | 00:10 |
Making sure that your levels are within
prescribed ranges, particularly for the
| | 00:14 |
luminous of brightness or, or the
shadows, isn't really fundamental.
| | 00:20 |
It's not that important.
But if you are producing content for
| | 00:23 |
broadcast, there are very specific rules
about how bright a pixel can be and how
| | 00:26 |
dark a pixel can be.
And if you look at the Waveform Display,
| | 00:32 |
these are 0 to 100 on the IRE scale.
Or if you're working on Power Media, it's
| | 00:38 |
0.3 volts to one full volt, same kind of
range.
| | 00:43 |
If you go to high, particularly with your
luminance, or in fact, the combined signal.
| | 00:48 |
It's quite possible the engineers at the
TV station will kick back the program,
| | 00:52 |
and you'll have to work your way through
and fix it.
| | 00:56 |
Now, in theory you would use your Color
Correction tools to make sure that you're
| | 01:00 |
within those ranges.
But quite likely, you'll have some little
| | 01:04 |
areas of the image that just peek over
the 100 mark.
| | 01:09 |
And that's something that you'll want to
avoid.
| | 01:13 |
Premiere Pro has this Video Limiter
effect, listed under the Color Correction category.
| | 01:17 |
That is designed as a, I suppose a belt
and braces backup, just in case you miss something.
| | 01:22 |
If I switch over to the Effect Controls
here, I've got this clip, and you can see
| | 01:26 |
here on the Waveform Display, this is
clearly going over the 100 IRE mark.
| | 01:31 |
We've got lots of detail here that's way,
way too bright.
| | 01:35 |
We're okay in the shadows.
In fact, we could perhaps do with making
| | 01:38 |
some adjustments to deepen those shadows,
but we're okay.
| | 01:42 |
We're not breaking beyond the zero mark.
Now, a lot of cameras will shoot over 100 IRE.
| | 01:48 |
They give you a little bit of extra
headroom, so that you have extra detail
| | 01:51 |
there, if you need to pull it back into
your program.
| | 01:54 |
And that's a good thing.
But it's a little bit of a gotcha because
| | 01:57 |
your footage, by default, will not be
legal.
| | 02:00 |
Using the video limiter is super easy.
And generally speaking, you're going to
| | 02:04 |
want to apply this last in the chain.
I've got this applied to the clip on its
| | 02:08 |
own, but if I had a color correction
effect, I'd have that first.
| | 02:12 |
All you do is specify the range that you
want to limit your levels to.
| | 02:17 |
So, here I've got a Split View option.
I can specify, this is just like a Color
| | 02:22 |
Correction effect, I can specify
Horizontal or Vertical split, where the
| | 02:26 |
split's going to be on screen.
And then, an important part is here, the
| | 02:30 |
Reduction Axis.
And this means, it's either going to work
| | 02:34 |
on the luminance, the brightness of the
pixels, the chrominance, that's the color.
| | 02:39 |
The chrominence and the luminance are a
smart limit which is a combined total
| | 02:43 |
signal strength.
I'm going to show you the luminance because
| | 02:46 |
it's a nice visible way of displaying the
results of this effect.
| | 02:50 |
Straight away, when I turn on that mode
you can see, if I can make my Waveform a
| | 02:55 |
little bit bigger here.
Okay.
| | 02:59 |
So, if I turn the effect off and on, you
can see, there's the effect off.
| | 03:04 |
There's the effect on with the Luma
Reduction applied.
| | 03:08 |
And this is just clamped the levels of my
clip to 100 IRE.
| | 03:14 |
Depending on the setting you choose in
this Reduction Access menu, you're going to
| | 03:17 |
get different controls underneath it.
So, right now, I'm looking at the Minimum
| | 03:21 |
Luminance Level and the Maximum Luminance
Level, 100%.
| | 03:25 |
Or I can change this to Chroma.
You get Chorma controls, Luma and Chroma,
| | 03:29 |
all of the controls together or Signal
which is the, the overall signal level.
| | 03:33 |
So, I'm going to set this to Luma.
And then, we've got the option for how
| | 03:37 |
the effect is going to work on my image.
It could be that I just want to compress
| | 03:42 |
the highlights.
And that can work really nicely if your
| | 03:44 |
happy with the overall spread of contrast
in this shot.
| | 03:48 |
And you don't want the overall image to
be adjusted, brought down if you like.
| | 03:52 |
You just want to keep all of that Chroma
detail and Luma detail in the shadows and
| | 03:56 |
midtones, and just crush down the
highlights.
| | 03:59 |
You have to be a little bit careful about
doing this because it can mean,
| | 04:02 |
particularly if you have a sky with cloud
detail.
| | 04:05 |
Occasionally, you'll see that, you can
get some banding where you're crossing
| | 04:08 |
over from the midtones to the highlights.
You'll soon see it if you have that problem.
| | 04:13 |
Equally, we can do it by compressing the
midtones or compressing the shadows and
| | 04:17 |
so on, and so on.
If we do Compress All, it just fixes it.
| | 04:22 |
And this is really where effects, like
the Video Limiter come into their own.
| | 04:27 |
This is one of those effects were
provided.
| | 04:30 |
You've got it set correctly.
In this case, not 100% Luma.
| | 04:34 |
In fact, I'd be tempted to set this to
maybe 99.5 or 99%, just in case the
| | 04:38 |
broadcaster picks up a tiny bit of a
stray detail.
| | 04:43 |
And down here at the bottom, we've got
the ranges that defined when we specify
| | 04:48 |
highlights, midtones and shadows.
So, these slider controls are specifying
| | 04:53 |
how bright the midtones are, how bright
the shadows are, and how bright the
| | 04:57 |
highlights are.
This is just giving you a little bit more
| | 05:02 |
control over what's going to be impacted
by this reduction method.
| | 05:07 |
So, if I set this to midtones, you can
see here, I can expand what qualifies as
| | 05:10 |
a midtone.
If I set this to highlights, I can expand
| | 05:14 |
what qualifies as a highlight.
The controls below this slider the
| | 05:20 |
control are just numerical versions of
the same thing.
| | 05:24 |
You can see they're all updating
together.
| | 05:26 |
And importantly, you'll see that there's
a softness.
| | 05:29 |
It really does make a difference
specifying softness when you're applying
| | 05:33 |
these kinds of Color Corrections.
Because you avoid that rather ugly
| | 05:37 |
posterized effect, or banding effect,
that you can get if you have hard edges
| | 05:41 |
where an effect is applied.
And then, it just stops and you're back
| | 05:46 |
to the rest of the media.
So, that's the Video Limiter.
| | 05:51 |
And you might, well want to combine this
with something like nesting a sequence.
| | 05:56 |
You might perhaps use all of your regular
Color Correction effects to standardize
| | 06:00 |
your media.
Throw that entire sequencing to another
| | 06:03 |
sequence that's a nest.
Put a grade on it, give it a look and a feel.
| | 06:08 |
And then, finish off with the Video
Limiter.
| | 06:11 |
And that way, you're going to be
absolutely certain that you're not going
| | 06:14 |
to have any problems when it goes through
transmission control.
| | 06:19 |
| | Collapse this transcript |
| The RGB Color Corrector| 00:02 |
There are several different color
correction tools available inside of
| | 00:05 |
Premiere Pro.
And there are some that you will go to
| | 00:08 |
time and time again.
I tend to jump in with the fast color
| | 00:11 |
corrector or the 3 way color corrector or
I'll very often just start with curves.
| | 00:16 |
But there are lots of them that are worth
checking out, and building your
| | 00:19 |
familiarity with because sometimes
there's just.
| | 00:23 |
Just one tool that'll do exactly what you
need it to do.
| | 00:27 |
And let's just take a look now at the RGB
Color Corrector.
| | 00:30 |
I've put it on this clip, which, as we
can see from the wave form display,
| | 00:33 |
doesn't have a very good black level.
It's a pretty flat-looking, lack of
| | 00:38 |
contrast shot, and it looks to me like
there's a green color cast on it.
| | 00:43 |
If we switch over to the vectorscopes We
can see, let's just go a bit larger here.
| | 00:48 |
We've got a yeah, there's a trend there
towards the green and the yellows inside,
| | 00:52 |
not much spread around the image.
Although there is a reasonable amount of
| | 00:57 |
color saturation in there.
It's not perfect.
| | 01:00 |
Like the other color correction tools,
you've got an option to specify whether
| | 01:04 |
you're going to see the composite color,
the luminance range in black and white We
| | 01:07 |
can see right away, there's not many
shadows here.
| | 01:11 |
If there's a mask, or any kind of alpha
channel information, we can see that.
| | 01:15 |
And we can see the Tonal Range.
And you can see right away, there's
| | 01:19 |
almost no highlights, almost no shadows,
and an awful lot of midtone in this shot.
| | 01:24 |
So, I'm going to go back to Composite, and
we've got our regular Split view options
| | 01:28 |
as well.
Down here we've got an option to specify
| | 01:33 |
the Tonal range.
So I'm looking here at defining what
| | 01:37 |
qualifies as a mid tone, a shadow, and a
highlight.
| | 01:41 |
You can see a lovely example of what I
mean if I switch to the tonal range view.
| | 01:45 |
And perhaps increase the highlight range.
Now this isn't actually doing anything to
| | 01:50 |
my picture.
It's just changing what this Color
| | 01:53 |
Correction effect sees as a highlight.
So that if I make changes to highlights,
| | 01:58 |
all of these pixels are going to be
affected.
| | 02:01 |
Let's just reset that, and let me resize
a little bit so you can read this.
| | 02:07 |
.
We're seeing the numbers here that are
| | 02:10 |
the outcome of the adjustments on this
tonal range.
| | 02:13 |
Just reset that.
And here we've got options to apply
| | 02:17 |
adjustments to either the entire image or
just those highlight mid turn shadows
| | 02:22 |
define by this range selection.
Now there are several quite different
| | 02:28 |
detail controls here, that allow me to
make very targeted adjustments to my image.
| | 02:33 |
But we don't get the color wheel
adjustments or curves.
| | 02:36 |
We just get number for most of these,
numbers and sliders.
| | 02:39 |
First of all we've go a gamma control,
now I'm making adjustments to the master
| | 02:42 |
over all picture here.
I could be targeting the mid tones and
| | 02:46 |
shadows and so on.
The gamma is for adjusting the midtones.
| | 02:51 |
So if I just switch over to my waveform,
and make this a little bit bigger.
| | 02:56 |
You can see, if I increase the gamma,
this is the curve, the midpoint between
| | 03:01 |
the shadows and the highlights, that's
being adjusted.
| | 03:06 |
You see I make a pretty major adjustment
there to the main part of the image.
| | 03:11 |
We've also got a Pedastal control and
this effectively defines the black level
| | 03:16 |
you can see here my shadow's aren't very
close to my zero point so I can just
| | 03:21 |
click and drag down till I've got a
proper amount of shadows in my image.
| | 03:28 |
Perhaps not that far.
Let's just bring this up so that I've got
| | 03:33 |
something close to my zero point.
It's a little bit slow updating on my screen.
| | 03:39 |
Now that I've done that I can adjust the
stretch, the gain.
| | 03:43 |
So starting with that zero point, I can
increase this back up so that my
| | 03:48 |
highlights are hitting the 100 mark.
Now the combination of Gama, Pedestal and
| | 03:54 |
Gain gives you pretty good control over
the range of the image.
| | 03:58 |
But of course your image might have
things like specular highlights, sun
| | 04:01 |
reflection that you want to burn out.
And that's okay provided you combine the
| | 04:06 |
effect with a limiter so you're not
producing illegal levels.
| | 04:10 |
Where the RGD Color Corrector gets
interesting is here in the individual RGB controls...
| | 04:17 |
And you can see here that I've got
separate gamma, pedistal and gain
| | 04:20 |
controls for each of the primary colors.
Here for example I could probably get
| | 04:25 |
away with just reducing my green gamma a
little bit to take of some of that color tint.
| | 04:32 |
And you can see right away.
I just got a full-screen here, how much
| | 04:35 |
more natural color comes back by me
removing that color cast.
| | 04:39 |
Now I know why that color tint was there.
I shot this from a building down into a
| | 04:42 |
station through a green-tinted window,
one of these kinds of glass that, stops
| | 04:47 |
UV light coming into the building.
But the result is you've got this strong
| | 04:52 |
green cast.
Very easy to fix with a targeted
| | 04:55 |
adjustment using the green gamma control.
We've also got secondary color correction
| | 05:02 |
restrictions inside of this effect.
So I can, for example, specify that I
| | 05:07 |
only want to remove the green from, well
I suppose maybe if I set this to 100%
| | 05:11 |
view so I can see a little bit better.
I guess I could maybe target the red of
| | 05:18 |
that van and just specify that region,
and maybe just add a little bit more.
| | 05:24 |
I'm just using the Eyedropper here.
To add a color range that I want to apply
| | 05:30 |
my adjustment to.
And maybe I just soften that a little
| | 05:34 |
bit, so it doesn't look quite so awful.
You can limit the RGB color collector
| | 05:39 |
adjustments within a specific color
range.
| | 05:45 |
So, I've got a hue selection here, within
a saturation range so.
| | 05:49 |
By the by, making a saturation selection
is really valuable because imagine you've
| | 05:52 |
got a shot where the sky is a, a pale
blue but someone's wearing a t shirt
| | 05:56 |
that's at a vivid blue but they're
exactly the same hue.
| | 06:01 |
You could use the saturation limitation
to specify only colors that are a rich
| | 06:05 |
saturated color, rather than everything
that's that particular hue of blue.
| | 06:10 |
Luminence again I can specify a luma
range.
| | 06:13 |
And I've got softening and edge thinning
for the selection I've made.
| | 06:17 |
Effectively this is creating a mask
that's going to be applied to the color
| | 06:21 |
correction that I'm creating.
So that's an overview of the controls of
| | 06:26 |
the RGB color corrector.
The best thing to do to learn it is to
| | 06:30 |
find a really difficult piece of media to
correct.
| | 06:34 |
And see if one of the more detailed
controls in this effect will allow you to
| | 06:39 |
tweak and tune and get you the results
that you need.
| | 06:44 |
| | Collapse this transcript |
| About color spacing| 00:02 |
I'd like to explain a fundamental feature
of the way cameras compress picture
| | 00:05 |
information to make smaller files, and
therefore to be able to record more
| | 00:09 |
minutes of video.
To do this I'm going to use a lovely
| | 00:13 |
feature of Photoshop to just show you
some colored squares on the screen.
| | 00:17 |
So I've got a document here with some
very, very, very small single pixel markings.
| | 00:22 |
And I'm just going to zoom in.
this isn't about how to use Photoshop but
| | 00:27 |
I want to show you what happens when you
work with compressed media.
| | 00:34 |
So let's start, I think with this one.
So here I am looking at a lot of colored dots.
| | 00:44 |
I want you to imagine that these dots
extend throughout the entire picture.
| | 00:47 |
In fact, the image that we're looking at,
in Photoshop here, is a 1920 by 1080
| | 00:51 |
resolution image based on one of the
image templates inside of Photoshop.
| | 00:55 |
So, you need to image that this pattern
extends throughout the entire frame.
| | 01:00 |
And each frame of video is exactly the
same, in terms of how the color spacing
| | 01:04 |
is recorded.
Your eye has far, far better sensitivity,
| | 01:08 |
far better acuity for the luminance part
of the picture, the brightness, than it
| | 01:13 |
does for the color.
It's way, way less sensitivity for the
| | 01:18 |
color, and for this reason, when people
are devising compression systems, ways of
| | 01:22 |
recording a picture with less data used,
less ones and zeroes, it's very, very
| | 01:26 |
common to discard some of the color
information...
| | 01:32 |
But almost unheard of to discard
luminescence information.
| | 01:36 |
Bare in mind the cameras record using a
color system or they usually do, called
| | 01:39 |
YUV, and that's the luminescence as one
channel and then the blue without any
| | 01:42 |
luminescence and then the red without any
luminescence and the the green.
| | 01:48 |
Is calculated by adding those figures
together appropriately.
| | 01:51 |
So, what happens with the different color
spacing models?
| | 01:54 |
Well, first of all, let's imagine we're
looking here, at four, two zero, color spacing.
| | 02:00 |
The four, indicates the pixels used to
record the luminence information.
| | 02:10 |
And that would mean, every single pixel
is recorded for luminence, on every
| | 02:11 |
single line.
The 2 and the 0 actually refer to the odd
| | 02:15 |
lines of the picture and the even lines
of the picture which means that for every
| | 02:21 |
four pixels of luminance, two pixels on
the odd lines are recorded.
| | 02:30 |
So there's a gap between every pixel.
On the odd lines of your picture.
| | 02:36 |
Then the zero means that there's no
color information.
| | 02:40 |
That's right, no color information at all
recorded on the even lines.
| | 02:45 |
So, one set of lines in the picture,
horizontal lines, has got half color
| | 02:49 |
information and the other lines have none
whatsoever.
| | 02:54 |
This is the way DV and DV cam record
color.
| | 02:58 |
If I scroll down a little bit, and show
you four one one this is what happens
| | 03:04 |
with DVC pro and NTSC formats in DV use
this.
| | 03:10 |
Four one one again, means that every
single pixel gets all of the luminance information.
| | 03:16 |
There are other forms of compression as
well, temporal compression and so on, but
| | 03:18 |
we're just talking about color for now.
The second, or rather the first one, so
| | 03:23 |
the second number, so it's 41, the first
1 refers to the odd lines, but it's one
| | 03:26 |
in every four, so you've got the first
pixel, then the fifth, then the
| | 03:30 |
thirteenth, I suppose, by my maths...
Over on the ninth and then the thirteenth.
| | 03:37 |
You can work it out, all the way along
here on the odd lines I've got one pixel
| | 03:41 |
of car information for every four pixels.
The second one, so it's four one one
| | 03:47 |
again refers to the even lines.
So with this I've got one pixel of
| | 03:51 |
information for every four Pixels in the
picture.
| | 03:56 |
And you can see here, if I just try to
get these onscreen at the same time, the
| | 04:00 |
four two zero option is giving me more
spacing.
| | 04:04 |
But if you're shooting interlaced video
it means one fields just got no color
| | 04:07 |
information at all.
The four one one option means I've got
| | 04:10 |
cover information in both fields, on
every line, but it's got bigger gaps.
| | 04:15 |
Which is better?
Well there's a debate that's been going
| | 04:18 |
on about that for a very long time and
I'm certainly not qualified to say.
| | 04:22 |
They're both Pretty good.
I've heard arguments from both points of view.
| | 04:25 |
With both of these systems the computer,
or whatever the playback device, has to
| | 04:29 |
interpolate and work out the color in
between.
| | 04:33 |
Effectively the color resolution Is lower
than the luminance resolution.
| | 04:38 |
But that's okay because your eye has, if
you like I'm simplifying here, but it has
| | 04:43 |
lower resolution as well for the color
and you just don't notice it.
| | 04:49 |
In fact the way that different colors are
recorded and compressed varies as well,
| | 04:52 |
because the amount of accuity you have
for different colors varies.
| | 04:57 |
That's down to the way the data is
distributed and the compression algorithm
| | 05:01 |
works and that's a whole lot of subject.
Here's three one one this is what some
| | 05:06 |
HTV formats use and I believe AVC HD at
the top of my head.
| | 05:10 |
Three one one is every three pixels on
the odd lines you've got a pixel of color information.
| | 05:18 |
And then I realize now actually I need to
add color information for the even lines.
| | 05:24 |
Because the three means all of the
aluminum is recorded in the first one is
| | 05:29 |
the outlines and that means every third
pixel has color information and the
| | 05:35 |
second one is for the even lines.
So, effectively, I can just draw down
| | 05:41 |
here can't I?
Every line has gotten more color
| | 05:45 |
information in it than a regular DVC Pro
color-spaced signal.
| | 05:49 |
Now, of course, there are other factors,
it's not just a question of.
| | 05:54 |
Where your color information is stored,
there are lots of factors that define the
| | 05:58 |
characteristics and performance of a
codec.
| | 06:01 |
But you get the idea with color spacing,
and hopefully you can see where problems
| | 06:05 |
might come in in terms of getting
reliable color information when you're
| | 06:08 |
making adjustments with color correction.
Or also for keying if you're creating a
| | 06:14 |
chroma key you can get jaggy edges, and
that's why you very often need to apply softening.
| | 06:19 |
In fact you will find it makes big
difference to soften the edges of any
| | 06:22 |
secondary color correction adjustments
that you make as well for precisely the
| | 06:26 |
same reason.
You can end up getting jagged edges
| | 06:30 |
because there just isn't any color
information there.
| | 06:34 |
Here's four two two.
And all of the pixels have got luminence
| | 06:37 |
information, but only every other pixel
has permanent information.
| | 06:42 |
Color data.
And this is the color system used by
| | 06:45 |
high-end systems like Digital Beta cam or
even HD cam.
| | 06:50 |
For you to have a color system that was
giving you color information recorded for
| | 06:54 |
every single pixel.
Well that would be called four four four.
| | 06:59 |
The first 4 would be the luminance the
second 4 is the odd lines and the third 4
| | 07:03 |
is the even lines.
And then you would have complete color
| | 07:07 |
information for every single pixel and
you have a lot of range for making
| | 07:10 |
secondary color correction adjustments
and for compositing.
| | 07:15 |
So that's my little overview of what's
going on with color spacing.
| | 07:19 |
So the next time you see four two zero or
four one one and so on.
| | 07:22 |
Now you know you're seeing the luminance
which indicates the beats if you like or
| | 07:27 |
the spacing, the bar length, and then
you've got the odd lines and the even lines.
| | 07:35 |
| | Collapse this transcript |
|
|
6. Fixing and Matching Colors with PresetsWorking with presets| 00:00 |
Working with Color Correction can be
pretty fiddly, and it can be pretty time consuming.
| | 00:08 |
You really do want to be thinking of the
Color Correction phase of your edit as a
| | 00:12 |
distinct period and not as just something
you do ad hoc as you're working.
| | 00:18 |
Still, there are some things you can do
to speed things up.
| | 00:21 |
For a start, you can use presets.
And I just want to quickly cover working
| | 00:25 |
with presets in Premiere Pro.
Just to be absolutely certain that you're
| | 00:29 |
confident with it before you go on and
dive into Color Correction in earnest.
| | 00:33 |
First of all, it's very easy to make your
own preset.
| | 00:36 |
I can select the headings that I want.
In fact, if I take this effect here, and
| | 00:41 |
maybe if I add a limiter just to be on
the safe side.
| | 00:44 |
Let's throw on the video limiter.
Let's go back to our controls here.
| | 00:49 |
I'll set my limiter under my Fast Color
Corrector, so it's the last thing on the list.
| | 00:56 |
And I will just set this to the Luma mode
and make sure it's keeping everything
| | 01:00 |
nice and safe for broadcast.
So, if I'm happy with these two effects,
| | 01:06 |
and I've got an awful lot of audio tracks
on this original media.
| | 01:10 |
If I select this and hold down the Ctrl
key, the Cmd key on the Mac, I can then
| | 01:14 |
select both of these effects together on
my Effect Controls panel.
| | 01:20 |
I can then go to the panel menu and
choose save preset.
| | 01:23 |
Now, you must choose the heading first,
otherwise the save preset option is going
| | 01:27 |
to be grayed out.
Now, I can give this a name.
| | 01:31 |
Let's call this green screen fix.
There's some options here for what's
| | 01:37 |
going to happen if you've added key frames.
Either it's going to scale them or it'll
| | 01:40 |
keep the times between the key frames the
same, and anchor them to start on the in
| | 01:44 |
point or to end on the outpoint.
I'm going to say, OK.
| | 01:48 |
And if I now go to my effects under
Presets, there's my green screen fix.
| | 01:53 |
Now, I can apply this effect to any other
clip on my Timeline, take this one for
| | 01:58 |
example, where I didn't have the color
chart.
| | 02:03 |
If I drag and drop this onto that clip,
it's an instant fix.
| | 02:07 |
If I look at my Effect controls for that
clip, you can see I've got both the Fast
| | 02:11 |
Color Corrector and the video limiter.
So, you can create an effect preset that
| | 02:16 |
is a combination of, well as, as many
effects as you like.
| | 02:21 |
As well as having your own effect
presets, and these can be imported and
| | 02:26 |
exported using the panel menu for the
Effects panel.
| | 02:31 |
Just select the Effect.
In fact, you can do this with multiple effects.
| | 02:34 |
Select the Effect and export it.
And then, you can carry it with you on a
| | 02:37 |
USB stick if you like.
If you're moving from machine to machine.
| | 02:41 |
But as well as doing that, I can generate
my own Favorites Folders.
| | 02:44 |
At the bottom right of the Effects panel,
there's a Create Custom Bin option.
| | 02:48 |
And if I select that option, I get the
bin and if I click, and then pause, and
| | 02:54 |
then click again, I can call this Amazing
Presets.
| | 03:00 |
In fact, you can put anything in here, it
doesn't have to be presets.
| | 03:03 |
Now, I can go to my presets list and just
drag and drop that preset into my bin.
| | 03:08 |
But look what happens.
It hasn't removed the original preset.
| | 03:13 |
It's just put it as a copy, or rather, a
shortcut to that preset in my amazing
| | 03:17 |
presets bin.
You can have as many of these as you like.
| | 03:21 |
For example, I might decide that I want
to have copies of the main Color
| | 03:25 |
Correction effects.
Maybe I'm going to use, now let's see,
| | 03:30 |
maybe I'm going to, let met just search
here quickly about it.
| | 03:36 |
Fast Color Corrector, let's have a link
to that.
| | 03:40 |
Three Way Color Corrector, let's have
that too.
| | 03:42 |
I like to work with curves, so let's type
in curves.
| | 03:47 |
RGB curves is fine, and I think there's a
Luma curve as well, that works for me.
| | 03:53 |
Lovely.
Put that in as well.
| | 03:57 |
So now, I remove my search filter, my
amazing presets directory has got five
| | 04:01 |
effects that I think I'm going to use
quite a lot including, it's ever so
| | 04:05 |
dinky, but there's a little highlight on
this Green Screen Fix preset, which is
| | 04:09 |
the one I generated earlier.
Now, that you know how to do this, it's
| | 04:15 |
pretty straightforward for you to create
a directory, a favorites bin that is for
| | 04:19 |
the specific presets you've made for the
production you're working on.
| | 04:24 |
And again, you can export those onto a
USB stick and take them from machine to
| | 04:28 |
machine or share them across a network.
And that's just an overview of creating
| | 04:35 |
presets with Premiere Pro.
| | 04:39 |
| | Collapse this transcript |
| Example one: Keyframes| 00:00 |
This clip actually looks pretty okay if I
placed through you can see that we've got
| | 00:05 |
a pretty good contrast range there.
Whites look okay there might be a little
| | 00:12 |
bit of a tint towards the yellows but it
looks right and if I drag through here.
| | 00:19 |
You can see, yeah it looks all right.
But now I've got one problem, and the
| | 00:24 |
problem is that as the clip plays on it
looks to me like a cloud goes across the sun.
| | 00:31 |
And we're losing the brightness in our
highlights.
| | 00:35 |
We're going into a, a darker area of the
shot.
| | 00:38 |
Now, that might be totally fine if you're
making a documentary, and you want to be
| | 00:42 |
showing how real world the material is.
But if you're looking to not distract the
| | 00:47 |
audience, and let them just concentrate
on what's being said.
| | 00:52 |
We need to find some way of stopping the
changes to our color correction.
| | 00:57 |
Now, I'm going to go over this in a, a
pretty rough way.
| | 01:00 |
In reality you probably take a bit more
time and get more subtle neutral results
| | 01:03 |
but you'll see what I mean as we go
through.
| | 01:06 |
First of all we can see on our wave form
and I'm just going to switch off the
| | 01:09 |
ordeal here.
So we're not distracted by that while
| | 01:12 |
we're working.
Okay, so as I drag through we can see
| | 01:16 |
right away.
There's that clear line.
| | 01:20 |
There's this band in our wave form
display.
| | 01:23 |
Which is starting off nice and high, and
then it steadily moves down till.
| | 01:29 |
It keeps going, doesn't it.
So around about here, about two thirds of
| | 01:32 |
the way through the shot, it's pretty
level.
| | 01:35 |
There's a last dip towards the end.
I can see that we've got some burning out
| | 01:40 |
of the beginning as well.
You can see we going over the 110 mark.
| | 01:44 |
And the effect is cropping the luminance
at 100 and I think that's by my eyes 110 IRE.
| | 01:51 |
And once we get down further into the
shot.
| | 01:55 |
We're way, way below in our highlights.
So what we want to do is, set some key
| | 02:00 |
frames for this color correction effect.
I've not done anything at all with the
| | 02:06 |
fast color corrector I've just applied it
to the clip.
| | 02:09 |
So the first thing I'm going to do is,
I'm just going to demonstrate this using
| | 02:13 |
the Levels controls here.
I'm not going to go in and make specific
| | 02:17 |
color adjustments.
But the first thing we need to decide is
| | 02:19 |
whether we want to fix this shot in the
bright part or in the dark part.
| | 02:24 |
And I think the bright part is punchier,
it's got a lot more going on, although we
| | 02:27 |
definitely need to do something with
those burned out highlights.
| | 02:31 |
So the first thing I'm going to do is make
an overall adjustment.
| | 02:34 |
I'm just going to bring down the
highlights a little.
| | 02:40 |
Let's just make an adjustment here to
pull them back from burning out so much.
| | 02:47 |
I'm just going to reign in my output
levels a little to bring that back down
| | 02:51 |
to earth.
Okay.
| | 02:53 |
So now, playing through this section,
I've got good highlights, good range.
| | 02:59 |
Maybe, also, I'm going to bring down the
shadows a little bit to keep up that
| | 03:04 |
contrast ratio.
There we go.
| | 03:07 |
That's all looking pretty good to me.
Now, as we progress, I would say it's
| | 03:13 |
around about.
Half way through we really start to see
| | 03:18 |
the drop taking effect and it's about two
thirds of the way through that it's finished.
| | 03:25 |
So there it's bright, bright, bright
getting darker, darker, darker.
| | 03:28 |
So, about here we're going to begin to
see the most noticeable change.
| | 03:32 |
So, what I need to do is go back a little
bit to the last time the picture looked
| | 03:36 |
just fine.
okay, that's around about here.
| | 03:42 |
And then I'm just going to go full screen
with my color correction here.
| | 03:48 |
Just resize the display of it, so I can
see my key frames.
| | 03:53 |
And I'm only making adjustments to my
levels.
| | 03:57 |
And I'm going to be pretty lazy here, I'm a
good believer in not thinking about
| | 04:00 |
things, if you can possibly avoid it.
So rather then worrying about whether I
| | 04:05 |
have, or have not adjusted, well I can
see I have not adjusted the output black level.
| | 04:11 |
But rather then even think about it, I'm
just going to add key frames for all of the adjustments.
| | 04:16 |
The whole area of the interface, I'm a
good believe of thinking effort being
| | 04:20 |
part of your workflow.
Now that I've done that I just need to go
| | 04:25 |
further down into the clip.
Let's go about three quarters of the way
| | 04:30 |
through the clip.
And make an adjustment that will match.
| | 04:33 |
But I've got a problem here, because I'm
kind of matching by eye.
| | 04:36 |
I guess I could do it by looking at the
wave form monitor and seeing the levels
| | 04:41 |
there, right about 70 IRE, I think.
I can just pull that up a little bit.
| | 04:47 |
Or I can do it by matching the sequence
to itself.
| | 04:50 |
So let's say I'm going to do this by using
the IRE levels.
| | 04:55 |
Well, let's just tweak and tune this up a
bit.
| | 04:59 |
Bring our mid tones up a little as well.
There we go.
| | 05:05 |
And you can see that I've automatically
added keyframes because I've already
| | 05:09 |
turned on keyframing inside the effect.
And if I drag through this now, we
| | 05:14 |
definitely have a more consistent level.
Although it looks to me that we've still
| | 05:19 |
got an issue towards the beginning there.
Because actually, the luminant starts
| | 05:24 |
very very high and then gradually eases
down and then it goes down again, so
| | 05:28 |
there's two phases to this.
So, I'm going to go to the first frame here.
| | 05:33 |
I'm going to add some more key frames and
I'm going to adjust these levels a little more.
| | 05:42 |
I'm going to rein them in even further.
Let's just pull that back maybe even take
| | 05:48 |
it up a little first, and then bring it
down.
| | 05:55 |
Let's see how that looks.
So if we go full screen on the clip here,
| | 06:02 |
much better.
Now you can see the tonality is changing
| | 06:08 |
in the picture.
I've definitely got some issues in terms
| | 06:12 |
of the color adjustment as well but the
gist of this is always going to be the same.
| | 06:18 |
You look at your levels and your key
frames for the point in when you're happy
| | 06:21 |
with it.
And these first key frames I added, they
| | 06:25 |
are kind of a bridge across.
They are a threshold.
| | 06:28 |
At this point in time I'm happy.
This point in time, I'm not happy,
| | 06:32 |
further down the timeline.
And I'm going to adjust there, and let the
| | 06:35 |
computer smooth out the adjustment.
And hopefully the adjustment made by
| | 06:40 |
nature, is smooth enough, and linear
enough, for it not to be noticeable that
| | 06:43 |
I've key-framed.
I'm going to need to work on my,
| | 06:47 |
saturation as well a little bit.
Another way of doing this, is since I'm
| | 06:51 |
working on my example one sequence, is to
open up my Source panel.
| | 06:55 |
Get my Project.
Get my Sequence.
| | 06:58 |
There we go.
Drag one into the other.
| | 07:03 |
Drop the Source panel in so it's side by
side.
| | 07:07 |
And now I can use one part of the
sequence as a reference for the other,
| | 07:11 |
rather than using my Wave Form monitor.
And I can do a side by side comparison.
| | 07:18 |
Course, I'm working on a relatively low
resolution monitor and it's difficult to
| | 07:21 |
get everything on screen at once.
On a larger screen, you'd keep your
| | 07:25 |
reference monitor on as well.
So that's just an example of using key
| | 07:30 |
framing to balance your luminance and
other color correction settings over time.
| | 07:37 |
| | Collapse this transcript |
| Example two: Gradient maps| 00:02 |
Because Premiere Pro supports Photoshop
style blend modes.
| | 00:06 |
You can actually do quite a lot of
adjustment to an image using a grayscale
| | 00:11 |
or even a color image as a layer on top
of your video.
| | 00:16 |
And now, you don't have to go through
this process, I'm making this for you.
| | 00:20 |
But if you have Photoshop, you can go
through the same, workflow.
| | 00:24 |
First of all, inside of Premiere Pro,
I've exported a still frame from my
| | 00:29 |
current clip.
And I've just imported that into Photoshop.
| | 00:34 |
And I've made a multilayered image where
the top layer is transparent.
| | 00:38 |
The second layer is the image.
And the background layer is white.
| | 00:42 |
And what I want to do is make a greyscale
image.
| | 00:45 |
So, what I'm going to do is get the
Paintbrush tool.
| | 00:47 |
I'm going to go for a nice big let me see
now, even bigger than that I think.
| | 00:54 |
Nice big soft brush, not too hard.
Something like this one maybe and, in
| | 01:00 |
fact, I'm going to go even bigger and I'm
just going to start, let me get my my black
| | 01:05 |
in the foreground and oops wrong layer.
Let's get my top layer.
| | 01:11 |
Just start softening this, a little bit
too much.
| | 01:16 |
Let me reduce the flow a little bit.
Okay.
| | 01:22 |
And let's try that again.
Just, I must get the right layer selected
| | 01:28 |
of course.
There we go.
| | 01:30 |
A little bit of softening around there.
A little bit of softening around there.
| | 01:32 |
So what I'm doing here is I'm generating,
if I turn off the middle layer, a kind of
| | 01:37 |
a map of darker regions.
Let's just drop the flow a little bit more.
| | 01:46 |
Maybe a little bit along the bottom.
If I turn this layer back on, you can see
| | 01:49 |
I'm bringing the eye in to the center of
the picture.
| | 01:53 |
Now I'm going to make this pretty
noticeable, but you can imagine ways of
| | 01:56 |
making this easier.
And I should point out that what we're
| | 02:00 |
looking at is a flattened image with
letterboxing on it.
| | 02:04 |
You'll probably not be doing that, but we
wanted to have a full, I think it's 285
| | 02:07 |
to 1 aspect ratio for this, which of
course regular 16 by 9 cameras can't do.
| | 02:13 |
Now, if I'm happy with that, I'm going to
turn off the middle layer and I'm just
| | 02:17 |
going to do File.
In fact, what I'll do is I'll save this
| | 02:23 |
as a PSD so you've got it as well.
Let's just call this Gradient Map.
| | 02:34 |
Okay, Maximize Compatibility, and then
I'm going to turn off this middle layer, and
| | 02:37 |
I'm just going to save it as a TIF,
something like that.
| | 02:40 |
So let's put that, TIF and gradient map,
in the same folder.
| | 02:47 |
I'm not going to take the layers, okay.
So, and I've got the options for
| | 02:52 |
compression and so on, and I'll just
leave this as it is.
| | 02:57 |
Okay, so I'm happy with that.
I don't need to save anymore changes.
| | 03:01 |
Let's close out of Photoshop.
And let's import that into Premiere Pro.
| | 03:06 |
And drop the image onto our timeline.
Now this, of course, has come up square
| | 03:15 |
pixels so what I'm going to do is right
click Modify, Interpret Footage.
| | 03:20 |
That will be CTRL click on a Mac.
And I'm going to say, I think this was DV
| | 03:25 |
NTSC wide screen.
There we goCROSSTALK.
| | 03:29 |
Now, right now, it looks awful because
I'm just looking at a black and white
| | 03:33 |
image on my video layer too.
I'm not going anywhere near the color
| | 03:37 |
creation effects here.
All I'm going to do is select that gradient
| | 03:41 |
map image.
I'm going to go to my Effect controls >
| | 03:45 |
Opacity > Blend mode and I'm going to
choose Multiply.
| | 03:51 |
And this simply means that the pixels
from the top layers are going to interact
| | 03:55 |
with the pixels on the bottom layer.
And combine with them mathematically.
| | 04:01 |
So this is a blend mode stratight out of
Photoshop.
| | 04:04 |
I'll just turn the audio off for a second
so we can play through this now.
| | 04:08 |
Let's have a look.
And you can see I've made it a little bit
| | 04:13 |
over the top perhaps but by giving this
image very, very soft areas of gradient.
| | 04:21 |
I can draw the eye into the face of our
singer.
| | 04:26 |
This is the excellent Dan Whitehouse.
This is particularly useful technique if
| | 04:31 |
you're working on a shot of something
like a, a crowd scene.
| | 04:35 |
Now you can see there's a little bit of a
problem because the luminance in the
| | 04:38 |
original shot varies and I might need to
do some work on that.
| | 04:41 |
With key frames to level out the
background level before I start putting
| | 04:45 |
on gradient maps.
But the benefit of this is that if you
| | 04:48 |
make it subtle enough, way more subtle
than I have here, you can unconsciously
| | 04:52 |
or non-consciously rather.
You can draw the eye of the viewer to a
| | 04:57 |
particular part of the scene.
If you've got a crowd scene, you can draw
| | 05:01 |
the eye of the viewer to a particular
individual.
| | 05:04 |
Or if there's a whole lot of buildings
you've filmed and you want to draw the
| | 05:08 |
eye to one particular building, you can
use this effect fantastically, very very efficiently.
| | 05:14 |
It's efficient in terms of built up
performance, and it's quick to apply.
| | 05:18 |
You could just as easily use an image
produced using the title tool.
| | 05:23 |
The only is if I just make a blank title
here there isn't really the same control
| | 05:27 |
to create those kinds of smooth edges you
don't have a paintbrush tool in the title tool.
| | 05:35 |
Although there is no reason why I suppose
you couldn't make a shape and then
| | 05:38 |
perhaps put a shadow on it or something
like that.
| | 05:42 |
Or a glow even would give you something
of a soft edge.
| | 05:45 |
Still.
Let's just get rid of that.
| | 05:49 |
You get the technique, put the Layer on
and then you can use Blend modes to Apply
| | 05:53 |
it to your image.
Notice that we didn't even use any kind
| | 05:57 |
of Alpha channel or transparancy here.
The effect is achieved completely just
| | 06:03 |
using the Multiply blend mode.
| | 06:06 |
| | Collapse this transcript |
| Example three: Layering clips| 00:02 |
I've got a still image here of some
balloons in the sky and although really
| | 00:05 |
the effect I'm going to show you now
would work best in a moving image, it's
| | 00:09 |
exactly the same point.
I just want to show you a way of
| | 00:13 |
targeting part of the image.
Let me just set this back to Full Size...
| | 00:18 |
So, what we have is some nice sharp
balloons in the sky and there's are solid
| | 00:22 |
area of cloud in the foreground on the
right here and some further up cloud
| | 00:25 |
beyond the balloons.
And what I really want to do is give a
| | 00:29 |
bit of color to this image.
I want to make that selection of the
| | 00:33 |
cloud in such a way that maybe I can give
it a little bit of a sunset warm orangey
| | 00:36 |
glow yellow, peachy kind of color.
But I want to leave the other clouds left
| | 00:41 |
alone because they are higher up in the
atmosphere and I don't want to affect the
| | 00:44 |
balloons or, obviously, the blue of the
sky.
| | 00:48 |
Now, there's a pretty straightforward way
of doing this.
| | 00:50 |
First of all, I'm going to go My Effects
and I'm going to choose a Garbage Matte.
| | 00:55 |
The Garbage Matte, let's just get a 4.1
here.
| | 00:59 |
The Garbage Matte effectively just crops
off part of a layer.
| | 01:02 |
So, I'm going to take my balloon, I'm going
to Copy, Ctrl+C or Cmd+C and Paste,
| | 01:07 |
Ctrl+V or Cmd+V.
And I'm going to drop a copy of the same
| | 01:12 |
clip on top.
If this was a video clip, lining them up
| | 01:15 |
like this means that I'm getting pixel
for pixel, frame for frame one above the other.
| | 01:21 |
I can now put my 4-point Garbage Matte on
top.
| | 01:24 |
And of course, nothing is going to
happen right away.
| | 01:26 |
I need to bring up my Effect Controls, go
to the Garbage Matte, and I can either
| | 01:30 |
adjust the controls manually inside of
the Effect Controls panel or I can just
| | 01:34 |
grab these handles and make the shape
which is what I'm going to do.
| | 01:40 |
And I'm going to be pretty lazy about
this as long as I cover the cloud, I'm happy.
| | 01:45 |
In fact, I'm just going to zoom out a bit
here.
| | 01:47 |
There we go.
And just make sure I absolutely cover the cloud.
| | 01:51 |
I don't want any edging left over here.
That's all.
| | 01:54 |
And of course, if this was a moving shot
you might need to animate these four
| | 01:58 |
vixels, these points on the Garbage Matte
so that nothing overlaps them.
| | 02:03 |
But that will do for me right now.
The next thing I need to do is put my
| | 02:07 |
effect on.
So, I'm going to use the three-way Color
| | 02:11 |
Correcter, just grab that, put it on top,
and what I want is to put a pretty strong
| | 02:17 |
hue onto this white cloud.
I could probably do this by adjusting
| | 02:24 |
just the highlights here in the tonal
range controls.
| | 02:28 |
But you see, the problem is, I'm not
getting all of the cloud edge here.
| | 02:34 |
If I make this full screen for a second,
so you can see.
| | 02:37 |
I'm losing a little bit of the edging,
and that's because I don't have great
| | 02:40 |
control over what qualifies as a shadow,
a midtone, or a highlight using this effect.
| | 02:46 |
So, I'm just going to Undo that, and
instead I'm going to switch the Tonal Range
| | 02:50 |
the three-way Color Corrector to Master.
And I'm just going to go crazy with it.
| | 02:55 |
I'm just going to make that whole area go
the peachy yellow.
| | 02:58 |
It's pretty subtle, but if you compare it
to the other clouds in the scene, you can
| | 03:02 |
see obviously the edges are subtle, we'll
fix that in a moment.
| | 03:06 |
But you can see the cloud has just taken
a bit of a warm hue to it.
| | 03:12 |
What I need to do now is find a way of
limiting this so that it's not affecting
| | 03:15 |
the blue in the background.
And this is where my Secondary Color
| | 03:19 |
Correction comes in.
I'll just expand this on my Effect
| | 03:22 |
Controls panel.
I can limit the range here in a few
| | 03:26 |
different ways, but the way I want is
just to use the Luma, because I can see
| | 03:30 |
that the blue is definitely darker than
the clouds.
| | 03:36 |
I should be able to get a pretty
reasonable mark here.
| | 03:41 |
If I just soften this a little bit, and
adjust the edge a little bit, I'm going to
| | 03:46 |
set this to 100% view so I can see the
edge nice and clearly.
| | 03:52 |
And you can see that's not done a bad job
at all.
| | 03:57 |
I'm just extending the softening here so
that I get some blending of the edge
| | 04:02 |
between the two.
That's not too bad.
| | 04:06 |
If I zoom back to Fit here and go Full
Screen, you can see that's a pretty good
| | 04:11 |
job of setting a color cast on this
layer.
| | 04:15 |
Now, if I wanted to really go for it, I
could begin to apply these kinds of
| | 04:19 |
adjustments at different areas of the
image.
| | 04:23 |
But you can see there, by combining the
Garbage Matte with a simple Master Hue
| | 04:29 |
Adjustment and some Secondary Color
Correction clamping, I've managed to just
| | 04:34 |
recolor that one cloud.
In fact, what I'm looking at is a layer
| | 04:41 |
that looks like this.
And it's just that this layer is directly
| | 04:46 |
in front of a full version of the
background that I'm able to blend the two
| | 04:51 |
together so seamlessly.
| | 04:55 |
| | Collapse this transcript |
| Example four: Creating a look with curves| 00:02 |
This shot actually looks pretty good.
I've got a nice range of contrast that I
| | 00:05 |
could probably bring the blacks down a
little bit to deepen the shadows.
| | 00:09 |
But overall, I'm pretty happy with it.
But I think it would be interesting if we
| | 00:13 |
could add a little bit of interest to it.
Maybe make the rest a little bit
| | 00:16 |
punchier, bring out the highlights a
little bit more, just see what we can do
| | 00:20 |
with the sharp.
So, for this, I'm going to use the RGB
| | 00:23 |
curve, so just typed in curve or part of
the word curve in my Effects list.
| | 00:28 |
And I'm going to go for the RGB curve rather
then just the Luma curves.
| | 00:33 |
I'm going to throw this onto the shop and
switch over to my Effect Controls.
| | 00:36 |
And let's just see what we can do to pep
this image up a little bit.
| | 00:41 |
First off, I think I'm going to just have
a go at bringing down my shadows a little.
| | 00:47 |
Now, I'm keeping an eye on the waveform
display here.
| | 00:51 |
And it's pretty difficult until you've
got two nice large monitors to view this
| | 00:56 |
in a clear way.
But if I pull this up at the top, this is
| | 01:00 |
my Luma master waveform here, and then,
maybe just bring the highlights down a
| | 01:04 |
little bit so it doesn't burn out.
And bringing this down under 100
| | 01:10 |
(UNKNOWN), I don't want to go too far.
Let's just toggle that off and on a
| | 01:15 |
little bit.
I find that with the Effects, if you
| | 01:17 |
toggle them off and on, you get a much
better sense of the adjustment that
| | 01:21 |
you're making.
Otherwise, it can just seem like it
| | 01:24 |
always looked that way.
And of course, memory is highly subjective.
| | 01:28 |
Toggle it off, and you begin to see just
how flat by comparison the image was.
| | 01:33 |
And if I want to, I could start to crop
off the shadow.
| | 01:37 |
So, maybe this area where her head is
against the pillar, I can bring the
| | 01:42 |
shadows right in there and just steepen
the curve a little bit to really show a
| | 01:46 |
separation, so her face stands out from
this dark region in the image.
| | 01:53 |
And again, if you see before and after,
how much of a difference it makes to
| | 01:57 |
deepen those shadows.
For what it's worth, you'll find that
| | 02:01 |
viewers will tend to be forgiving of
shadow detail disappearing, more than
| | 02:05 |
they are of highlight detail.
So here, we're really losing track of
| | 02:10 |
what's going on with the texture of the
metal and the paintwork.
| | 02:14 |
But it's fine, because it's a shadow.
Here, on the absolute highlights of her
| | 02:18 |
hair, that's okay, too, because it's a
highlight and we'd expect that to, to be
| | 02:21 |
dazzling and, and to lose the detail.
But if we started to raise the skin tones
| | 02:26 |
to the point where you are losing skin
texture, that would really be a distraction.
| | 02:31 |
You'd be reminded that you're looking at
an image and not just enjoying the movie
| | 02:35 |
as it were.
So, maybe another thing we could do here
| | 02:39 |
is just work on the black that's used or
rather gray toward the right but black
| | 02:43 |
now in the shadows for this column.
What I'm going to do is pin the midpoint
| | 02:49 |
for the blue channel for my RGB curves
and I'm just going to lift the blue in
| | 02:53 |
the shadows a little bit.
And if I pull out this image a little bit
| | 02:58 |
so you can see what going on, I'm just
going to see if I can lift up the blue in
| | 03:03 |
the lower part of the image here and just
reshape the relationship between the
| | 03:08 |
model and her surroundings.
Now, this is going to create a rather
| | 03:15 |
unusual color contrast because we've got
this vivid green which goes so
| | 03:18 |
beautifully with the red of her hair.
But if I can make the shadows look like
| | 03:23 |
there's a little bit of a hint of blue in
them, I just think it could be an
| | 03:27 |
interesting look.
So, there we are.
| | 03:30 |
So, all I've done is add three nodes or
two nodes to the master luminance channel
| | 03:34 |
here and I've pulled in the shadows a bit
to deepen this dark region in the image.
| | 03:40 |
If I toggle this off and you can see the
original, it looks fine as your eye
| | 03:44 |
adjusts to it, but if you switch over
here, you'll notice that deepening the
| | 03:49 |
shadows has the Effect of perceptually
changing the saturation of the color.
| | 03:56 |
You can see how much richer the model's
hair is once I've deepened those shadows,
| | 04:01 |
and all I've done then is put a little
bit of a blue tint into the column.
| | 04:07 |
And if I switch over to the RGB Parade,
you can see what's going on in this image
| | 04:11 |
pretty clearly.
Let me adjust this a little bit.
| | 04:16 |
We've got really strong reds in most of
this, but over on the right, where we
| | 04:20 |
have the column, you can see that we've
got a lot of dark pixels there, that's
| | 04:23 |
this dark region and then, we've got the
brighter region of the highlights on this column.
| | 04:30 |
Now, because I've been targeting the
shadows, the highlights are still fairly
| | 04:34 |
gray, that's okay.
But there's definitely more of the blue
| | 04:38 |
in that region, in the darker region, and
just peeking there in the highlights, you
| | 04:42 |
can see a little bit of a hint of blue.
And this is what the RGB parade shows you.
| | 04:48 |
If I go to full screen with this, by
comparing the red, green, and blue
| | 04:51 |
channels, you get a pretty good idea of
who's winning the fight.
| | 04:56 |
Is there more red, or green, or whatever?
And essentially, anything other than
| | 05:00 |
absolutely equal patterns on this parade
is going to give you something other than
| | 05:05 |
white or gray.
So here, we got a little bit of peaking
| | 05:10 |
in the blue, we've got a little bit more
green than the red, and we're definitely
| | 05:13 |
leaning towards that part of the
spectrum.
| | 05:16 |
So, nice, easy, quick adjustment to make
with our curves.
| | 05:23 |
| | Collapse this transcript |
| Example five: Highlighting eyes| 00:02 |
Very commonly, the first place a viewer's
going to look when they see a shot of a
| | 00:05 |
face is, of course, the individual's
eyes.
| | 00:08 |
And it's very, very common for people to
make adjustments to the prints at the
| | 00:12 |
eyes for that reasons.
Photographers will often use sharpening
| | 00:17 |
tools in Photoshop and they'll soften
everywhere except the eyes.
| | 00:21 |
They're nice and sharp and you can see
the detail there, just in that part of
| | 00:26 |
the picture.
Another thing to do is to really bring
| | 00:30 |
out the eye color of the subject.
And if I bring up this image a little
| | 00:34 |
bit, you can see this guy's got really
interesting green eyes.
| | 00:39 |
And they're kind of similar to the
background of the screen that's in the composition.
| | 00:43 |
It would be quite interesting to see if
we could bring out some of the green in
| | 00:47 |
his eyes.
So that there was a more of a sense of a
| | 00:50 |
connection between him and his
background.
| | 00:53 |
I'm going to have a go at this using the RGB
color corrector.
| | 00:57 |
So, this is just one of the other color
correction effects.
| | 01:00 |
I'm going to drop this onto the shot.
This should be very easy.
| | 01:02 |
I'm going to expand out the IGB controls.
And I'm just going to target the green gama.
| | 01:07 |
This is the green mid tones, because that
looks to me like where his eyes are
| | 01:11 |
definitely going to be in the mid tone
region of the image.
| | 01:16 |
I'm going to just see if I can crank this
up a little bit.
| | 01:18 |
And I'm not too concerned right now that
this is affecting the whole image.
| | 01:22 |
I just want to see what kind of an effect
it has on those irises.
| | 01:27 |
Let's just come up a little bit, yeah.
I mean that's, that's kind of interesting.
| | 01:31 |
I'm really just looking at the iris of
his eyes.
| | 01:34 |
If I toggle this off and on, you can see,
that's coming up really nice and vivid.
| | 01:39 |
All I need to do now to limit this effect
to the irises is to bring up my Secondary
| | 01:44 |
Color Correction.
So, I'm going to go to the Sender Control here.
| | 01:49 |
I'm going to get my Eye Dropper, so to
speak.
| | 01:51 |
And I'm just going to pick out some of the
color in his eye.
| | 01:55 |
But you can see, it looks like a pretty
terrible selection first of all.
| | 01:59 |
I've got the rough edges on his right eye
on our left.
| | 02:03 |
And I've got some of the whites of his
eye over on the right there.
| | 02:06 |
But if I get the Soften Control and just
start to edge up the softening on this.
| | 02:12 |
Maybe, maybe about 5 or 6, something like
that.
| | 02:17 |
It's starting to look a little bit
better.
| | 02:19 |
We're still getting a little bit of the
green on his eyelid and on the white of
| | 02:23 |
his eyes.
Let me just try again, picking up that
| | 02:28 |
key color, see what we get, still the
same.
| | 02:33 |
Let's try that, okay.
And now, maybe if I subtract a little bit
| | 02:37 |
from the white.
There is a little bit of that green cast
| | 02:40 |
in there, but I think that's probably
acceptable.
| | 02:43 |
So, if I pull this out to fit again and
bring this up full screen, you can see
| | 02:47 |
he's got these vividly green eyes that
perhaps a little bit over the top, but
| | 02:52 |
there's a nice matching with the
background.
| | 02:57 |
Let's just come out of the full screen
there.
| | 02:59 |
This is a static image, of course.
And if it was moving, it might be more
| | 03:03 |
difficult to isolate the two parts of the
image.
| | 03:06 |
But we could get away with using a
Garbage Mat and layering the image.
| | 03:10 |
And then, doing some work separately on
the foliage in the background, either to
| | 03:14 |
match the colors or to tone them down a
bit.
| | 03:17 |
And we can probably just scale back the
green a little.
| | 03:21 |
And if I set this back to 100%, so we can
see them side by side.
| | 03:25 |
Because I've got this Secondary Color
Correction in place, and because that's
| | 03:29 |
based on the original image, not based on
the adjusted image, now that I've
| | 03:33 |
isolated his eyes, I can just play around
and make these alterations more and more
| | 03:38 |
subtle or not as I feel fit.
I think that's just an interesting effect.
| | 03:44 |
You'll see this very, very commonly in
movies where the lead actor or actress
| | 03:47 |
has blue eyes.
They'll really be brought out for the audience.
| | 03:50 |
And it's these kinds of subtle
adjustments to your image that can make
| | 03:54 |
all of the difference to the finish.
| | 03:58 |
| | Collapse this transcript |
|
|
7. Using After Effects for Color CorrectionWhy use After Effects?| 00:02 |
Although this course is specifically
about Color Correction inside of Premiere
| | 00:06 |
Pro, a lot of people will get Premiere
Pro as a part of a package.
| | 00:11 |
Either as part of the (UNKNOWN)
Collection, or as part of Production
| | 00:14 |
Premium from the Adobe Creative suite.
So, that means that it's entirely likely
| | 00:19 |
that you're going to have access to After
Effects.
| | 00:22 |
And I thought it just be worth setting
the scene for why you may or may not want
| | 00:25 |
to use after effects as well as Premiere
Pro for your color correction, and how
| | 00:28 |
you would do it.
Essentially, the major difference between
| | 00:33 |
working in Premiere Pro and working in
After Effects is the way that the
| | 00:37 |
Timeline functions, giving you way, way
more information and control over your
| | 00:41 |
layers than you do in Premiere Pro.
And every item that you have in your
| | 00:47 |
composition in After Effects has its own
layer.
| | 00:50 |
So, if you had 50 clips, you're going to
have 50 layers.
| | 00:53 |
Another major, major difference, and
certainly from a coloring point of view,
| | 00:57 |
is this control here.
If you want to, you can set your project
| | 01:02 |
to be at 32-bits per channel.
And of course, that's the same for
| | 01:08 |
Premiere Pro.
But you'll notice that over in your
| | 01:11 |
Effects and Presets panel, there are lots
and lots and lots of 32-bit Effects.
| | 01:17 |
While there are some 32-bit Effects
inside of Premiere Pro, there are loads
| | 01:21 |
inside of After Effects.
And also, if you want to, you can turn on
| | 01:27 |
a working space.
You can have color management inside of
| | 01:32 |
After Effects.
So, if I set up, for example,
| | 01:35 |
YUV16235ITUC709 colors, if I turn that
on, and then OK, under my View menu, I
| | 01:41 |
can simulate output to various different
monitors.
| | 01:48 |
This is based on using a color profile
for my computer monitor.
| | 01:52 |
Effectively, After Effects will look at
the characteristics of your physical monitor.
| | 01:58 |
You need to set up a profile first for
this to work.
| | 02:01 |
It will then look at the color
characteristics of your original media.
| | 02:06 |
And it'll look at what you want your
monitor to pretend to be.
| | 02:09 |
So, you want it to pretend to be a
universal camera film from Kodak, no problem.
| | 02:15 |
You want it to pretend to be a regular
high-definition TV or standard definition
| | 02:19 |
TV, no problem.
In fact, if you go into the Custom
| | 02:22 |
Settings, you can simulate a whole range
of different profiles.
| | 02:26 |
Let me see if I can show you the list
here.
| | 02:28 |
It's going off the bottom of my screen a
little bit, but you get the idea.
| | 02:32 |
So, having proper color management is a
big deal and, of course, After Effects
| | 02:35 |
comes with the synthetic aperture, color
finesse application which is a really
| | 02:39 |
nice color correction tool, that supports
haptic devices for setting up your
| | 02:42 |
colors, and so on.
It's entire possible though that rather
| | 02:48 |
than using After Effects to do your
general color correction, you might do
| | 02:51 |
your matching inside of Premiere Pro, and
then use After Effects to do something
| | 02:54 |
like a finished grade.
Because here, for example, in the
| | 02:59 |
Composition panel of After Effects I can
right-click or Ctrl-click, and choose to
| | 03:02 |
make a new Adjustment Layer.
And Premiere Pro doesn't do Adjustment Layers.
| | 03:08 |
(UNKNOWN) an adjustment layer is that any
effects you apply to it are applied to
| | 03:12 |
any layer that's underneath it.
And right now, I've just got one layer,
| | 03:16 |
which is this balloon shot.
But if I were to take let's have a look
| | 03:20 |
now at Hue and Saturation Effect, and
drop this on to the Adjustment Layer, and
| | 03:24 |
maybe change the hue quite dramatically,
regardless of what's underneath this
| | 03:28 |
Adjustment Layer, I'm going see it
through it.
| | 03:34 |
So, it's kind of like a filter on the
lens of the camera in a sense, if you like.
| | 03:38 |
And this means that I could use After
Effects for my final grade and use its
| | 03:42 |
excellent color management, combined with
the subtle control to give a finished
| | 03:47 |
film look for my movie.
So, there's lots of reasons to want to
| | 03:53 |
use After Effects but you don't
absolutely have to, you've got great
| | 03:57 |
color correction tools already inside of
Premiere Pro.
| | 04:02 |
| | Collapse this transcript |
| Dynamic Link| 00:02 |
Sending your work from Premiere Pro into
After Effects, and using Dynamic Link to
| | 00:06 |
share the media between both applications
at the same time, is very easy.
| | 00:11 |
And it's very easy because of Adobe's
Dynamic Link feature.
| | 00:15 |
I'll just show you a couple of ways of
doing this, the quick, lowdown and dirty
| | 00:18 |
ways of doing it.
There are more subtle ways, but here we go.
| | 00:21 |
I've got a shot here, and maybe I've got
five or ten shots that I want to send
| | 00:25 |
into After Effects to work on them.
And to do this, I'm going to right-click
| | 00:30 |
or Ctrl+click on the clips on the
timeline, and from the contextual menu
| | 00:33 |
I'm going to choose Replace with After
Effects composition.
| | 00:39 |
Now After Effects is going to pop up, and
it's going to ask me where I'd like to save
| | 00:43 |
the project.
I'll just give this a name, dynamic link begin.
| | 00:50 |
There we go.
And I've now got a project created
| | 00:52 |
automatically for me inside of After
Effects without me knowing anything about
| | 00:56 |
how After Effects works, that contains
the clip, which in this case is just one clip.
| | 01:01 |
As I say I could have put several in.
And it's got a composition which is the
| | 01:05 |
After Effects equivalent of a sequence,
that already contains that clip.
| | 01:10 |
Now you'll see on the Timeline panel
here, the Composition panel, as it's
| | 01:13 |
called in After Effects, I've got three
layers.
| | 01:17 |
But if you look very closely on the left,
you'll see that one of them is the
| | 01:20 |
Pictures and then I've got the left and
right Audio channels for this clip.
| | 01:26 |
If I want to work on this inside of After
Effects now I can, and maybe for example,
| | 01:31 |
if I Drag and Drop and effect on here.
And make a change something really
| | 01:37 |
obvious so there's kind of a greeny blue
tint to that.
| | 01:42 |
If I now toggle back to Premier Pro,
you'll see that this updates
| | 01:44 |
automatically and here's the important
thing that's happened.
| | 01:49 |
If you look very closely at my timeline,
the original clip is no longer present.
| | 01:54 |
What's now happening is I'm seeing a
linked composition that comes from inside
| | 01:59 |
of an After Effects project.
If you look carefully, this is called
| | 02:04 |
dynamic link begin, which is the
composition name.
| | 02:09 |
And that is a linked composition, which
is taken from, well it's linked
| | 02:13 |
composition number two, which is taken
from the dynamic link begin After Effects project.
| | 02:20 |
And if I toggle back over to After
Effects, you can see there is the name of
| | 02:23 |
the composition.
Let me switch over here, it's rather a
| | 02:26 |
wordy name, dynamic link begin linked
comp two, that's a bit much really isn't it?
| | 02:31 |
But then the projects called dynamic
links begin.
| | 02:34 |
And that's what I'm seeing on the
timeline inside of Premier Pro.
| | 02:37 |
And this means that any changes I make
inside of After Effects will now
| | 02:41 |
automatically update.
So I can toggle back to After Effects.
| | 02:47 |
Maybe I'll select this layer, go to the
Effect Control panels, maybe I'll make
| | 02:50 |
this brighter, increase the saturation,
there you go.
| | 02:53 |
It looks truly awful.
Now I can toggle back and, bing, that updates.
| | 02:59 |
So that's one way that you can share
media with Efter Effects, particularly if
| | 03:02 |
you want to do little spot effects,
little bits of work on one clip or another.
| | 03:08 |
And there's another way, and, but what
I'm going to do here before I get onto, the
| | 03:11 |
other way of approaching this.
I'd just like to mention that if you
| | 03:15 |
follow the workflow I've just shown you,
any effects that you've applied to the
| | 03:18 |
video will not come with the effect into
After Effects.
| | 03:22 |
Opacity adjustments will and volume level
adjustments may be, but, and definitely
| | 03:27 |
the metadata, but not any effects.
Which means that if I had put something
| | 03:31 |
like a color correction effect on here,
in the hope of working on it further in
| | 03:34 |
After Effects, it's not going to happen.
It's either one or the other.
| | 03:39 |
You either do your effects work in one
application or the other.
| | 03:42 |
So, a work around to losing the media
from inside of the Premiere Pro timeline,
| | 03:46 |
is to make sure you've got it inside of
After Effects.
| | 03:51 |
Just toggle over now.
I'm going to Save this, Ctrl+S, Cmd+S, so
| | 03:54 |
I now have my linked composition and I've
got my beach shot inside of After Effects.
| | 04:01 |
If I toggle back to Premier Pro and Undo,
I'm just using Ctrl+Z or Cmd+Z, I've now
| | 04:05 |
got my original media back on the
timeline.
| | 04:09 |
Of course not much use to me having the
contents inside of AfterEffects and not
| | 04:13 |
having it inside of Premier Pro, because
well, where's it gone?
| | 04:18 |
If I want to come back into Premier Pro and
finish off my project, and play out the
| | 04:21 |
tape, for example, I've got to have some
way of getting that composition back into
| | 04:24 |
my project.
And the way to do this is to simply Drag
| | 04:28 |
and Drop.
So I'm going to toggle over to After
| | 04:31 |
Effects again.
I'm going to resize this panel, so that I
| | 04:34 |
can see both applications at the same
time.
| | 04:36 |
And now I'm going to grab this Dynamic Link
Composition, and drop it straight into
| | 04:41 |
Premiere Pro.
If I go back into the Premier Pro
| | 04:45 |
interface, this is just an asset like any
other.
| | 04:49 |
I can Drag this down to my timeline, drop
it into video two, so it's in front of my
| | 04:54 |
original video one, and I now have both
items inside my Premier Pro project.
| | 05:01 |
I've got my Background layer unaffected.
I can go in and make changes to it if I want.
| | 05:06 |
And I've got my Foreground layer which is
the dynamically linked composition.
| | 05:10 |
You do need to be aware that there's no
connection now between this Background
| | 05:14 |
layer, and if I toggle over, the After
Effects composition.
| | 05:18 |
The After Effects compositions now has
its own unique copy of this beach media.
| | 05:24 |
I should say of course just like Premiere
Pro, After Effects does not contain any
| | 05:29 |
media inside its project files.
This is just a link to the original media file.
| | 05:34 |
So let's say both After Effects and
Premiere Pro have links to this beach shot.
| | 05:40 |
So if I toggle back I can now make
changes, and if I decide I want to make
| | 05:43 |
an alteration to my original sequence, I
have the media there, I can go through
| | 05:47 |
the process of sending it to after
effects again.
| | 05:52 |
So I'm just going to undo a step here, and
another step.
| | 05:55 |
Get rid of that media and get rid of that
dynamically linked comp, because I want
| | 05:58 |
to show you one other way, that you can
send your media in to After Effects.
| | 06:03 |
If I had a composition here, let's say
for example let me put another couple of clips.
| | 06:09 |
I'm going to put, two or three clips down
into this sequence.
| | 06:13 |
Just randomly.
And here is my Dynamic Link sequence in
| | 06:19 |
the Project panel in Premier Pro.
If I now resize Premier Pro, and Drag
| | 06:28 |
this over so that I can see the Project
panel inside of After Effects, I can grab
| | 06:33 |
this and, Drag and Drop it into After
Effects.
| | 06:39 |
And just as I was able to drag a
composition from After Effects to Premier
| | 06:43 |
Pro I can drag a sequence form Premier
Pro to AfterEffects.
| | 06:47 |
Now be careful if you're using any of
these procedures because you can't have a
| | 06:50 |
never ending loop, you can't have a
sequence inside a composition that's
| | 06:54 |
inside the same sequence and so on.
it'll just, it won't work.
| | 06:58 |
But I can now, if I drag this onto the
new Comp button, which is just the same
| | 07:02 |
as the new Action button in Premier Pro.
You'll see, that I now have, all of those
| | 07:08 |
clips nested as a single dynamically
linked sequence.
| | 07:12 |
And you can see the root of this file,
the origin of it, is a Dynamic Link
| | 07:16 |
inside the DynamicLlink Begin project.
That's because my sequence is called
| | 07:22 |
Dynamic Link.
And because that's now nested inside of
| | 07:26 |
After Effects, I can for example, just
pick up my fast Color Corrector.
| | 07:31 |
Put that on one of these clips, maybe may
make a, very impressive change to the
| | 07:36 |
medias make this, bright blue.
And if I toggle back over to After
| | 07:41 |
Effects, it will update.
Effectively, the nested sequence from
| | 07:46 |
Premiere Pro is working inside of After
Effects, in the same way that it would if
| | 07:50 |
it were nested inside another sequence
inside Premier Pro.
| | 07:55 |
I'm seeing the results of the changes I
make.
| | 07:58 |
And that way, I can have access to my
Premier Pro effects.
| | 08:03 |
So we went pretty fast through that.
But those are wo of the ways, that you
| | 08:08 |
can use Dynamic Link to share your media
assets and edit, between Premire Pro and
| | 08:13 |
After Effects.
| | 08:17 |
| | Collapse this transcript |
| Using third-party plugins with Premiere Pro| 00:02 |
Premiere Pro has exceptional color
correction tools, scopes, and waveforms
| | 00:06 |
and so on.
And it's a great environment for color
| | 00:09 |
correcting and finishing off your
projects, but it also has support for
| | 00:13 |
massive numbers of plugin effects by
third parties.
| | 00:18 |
And I just thought it would be worth
taking a moment to show you how you can
| | 00:22 |
use plugins with the application.
Under my Effects list here, I've
| | 00:27 |
installed the Red Giant Bullet Suite,
it's just a trial version, but you can
| | 00:31 |
see right away that the effects you
install as plugins and really, it's just
| | 00:34 |
a question usually of running Uninstall
and you get the right one for your
| | 00:38 |
operating system and for your version of
Premiere Pro.
| | 00:44 |
You can see here that each of the
different categories of effect were just
| | 00:48 |
being added to my list of Video Effects
like any other.
| | 00:52 |
And if, for example, I want to use one of
them, I apply the effect in exactly the
| | 00:56 |
same way that I would and the other
effect that's a, a native effect, if you
| | 00:59 |
like, inside of Premiere Pro.
So here, I've got the Magic Bullet Looks effect.
| | 01:06 |
I can drag this on to a clip, and because
this is a trial version, of course, I'm
| | 01:10 |
getting a, a cross over the image, that's
fine.
| | 01:14 |
And if I look at my Effect controls, I've
got the option to add a mask directly
| | 01:17 |
inside of the effect.
And this is something that the higher end
| | 01:22 |
applications tend to have.
This, this is a really useful feature
| | 01:25 |
because it allows you to mask an effect
without doing what you would normally
| | 01:29 |
have to do in Premiere Pro, which is to
layer the image on top of itself and put
| | 01:32 |
something like a Garbage Matte on or
something like that, or a Track Matte.
| | 01:38 |
By having the Matte Controls built into
the Effect, it just makes the Timeline
| | 01:43 |
that much cleaner.
And having feathering built into it,
| | 01:48 |
makes a big difference to how elegantly
you can incorporate your effects into a
| | 01:52 |
region of your image.
But what I'm interested in is the look.
| | 01:56 |
And in particular, I want to show you how
plugin effects very commonly don't use
| | 02:01 |
the standard Premiere Pro Effect
Controls.
| | 02:05 |
Here, I've got some effect controls that
are standard Premiere Pro ones.
| | 02:10 |
You'll recognize the stop watches, the
positions, and so on, and so on.
| | 02:13 |
But if I click on Edit, this is going to
come up with a completely different interface.
| | 02:19 |
Here you can see, I've got a whole bunch
of different looks and I can apply these,
| | 02:24 |
I can scroll down, let's go for the Grad
Sunset.
| | 02:29 |
This is a completely different interface
that has absolutely nothing in common
| | 02:34 |
with the Premiere Pro look and feel.
It's a stand alone application that's
| | 02:39 |
plugging into Premiere Pro.
I can click Finished.
| | 02:43 |
This is then applied to My Media and
you'll notice in this case at least that
| | 02:47 |
the application isn't making use of the
CUDA support on my machine.
| | 02:52 |
There are some plugins that will use the
Cuda support, and you'll get great real
| | 02:56 |
time performance from them, and some just
won't.
| | 02:59 |
It's just down to whether or not the
company who have produced the
| | 03:03 |
application, or the plugin application,
have designed it to support that technology.
| | 03:09 |
You can create Presets in just the same
way that you would with any other effects
| | 03:12 |
inside of Premiere Pro.
And let's save that Preset as our Film look.
| | 03:21 |
And that'll then appear under the Presets
inside the Effects panel.
| | 03:27 |
I can put that onto any clip I like in
exactly the same way that I would with
| | 03:33 |
any other effect inside of Premiere Pro.
So, in terms of the core functionality of
| | 03:41 |
the editing system, using plugins is very
straightforward.
| | 03:44 |
But do expect to spend a little bit of
time with the Help Guides that come with
| | 03:48 |
those plugins just to get familiar with
the different interface.
| | 03:52 |
So, that's just an introduction to using
plugins with Premiere Pro.
| | 04:00 |
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