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In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.
To begin our look at color correction, we're first going to talk about creating a Reference Monitor. A reference monitor allows you to view different parts of your footage at the same time. So, let's say, for example, I am color correcting this clip right here. This is actually a nested sequence with two clips in it. And I've applied the Fast Color Corrector effect. So, here is the before and here is after the effect. That looks pretty good. It has this cool, grungy, warm effect I am going to look for. But later on, when the clip cuts, there is a different clip entirely with a different color scheme. So, this, obviously, was not adjusted with this clip in mind.
So, with this clip it looks good, with this clip not so much. So, what we can do to see both of these at the same time is to create a Reference Monitor. So, go to the Window menu at the top of the interface and then go down and choose Reference Monitor. Now when you open up your Reference Monitor, it might be docked to the interface such as this here, or if I Command+Drag, or Ctrl+Drag on a PC on this little grip, we can have a floating panel. For the purposes of this tutorial, however, I am just going to dock it, for the sake of cleanliness, of this great interface.
So, I'm going to grab these grip marks here on the left-hand side of the name of the panel, drag it to the center drop zone, that colored rectangle in the center there, and let go, so it's docked. And by default, when we move our Current Time Indicator both of these monitors move in tandem. However, if we deselect this option, which is Gang to Program Monitor, which connects these two, if we let go of that, then we could see one view while we're looking at yet another. This is helpful because then if we go back, we'll go back to our Effect Controls panel, and maybe we'll drag that tab over to the left, so we have the left drop zone active there.
Then what we can do is while we're looking at the reference monitor, then we can open up the Fast Color Corrector effect and we could make adjustments while viewing both parts of our timeline. So, maybe we might want to bring up the brights a little bit, and we're seeing, dynamically, that affect at both parts of the timeline at the same time. Now, this is really important. Color correction on video has become a huge thing in video. Maybe 15-20 years ago it wasn't such a big deal, but it is now.
Modern audiences expect color to be stylized to fit the genre of whatever is going on, especially in a dramatic presentation. To see this in action, just go see any summer Hollywood blockbuster movie and almost every single scene will be tinted either orange, maybe red, blue, green. It will have an overriding color theme to it. You'll never see something with just a bunch of kind of random colors, as you would in real life. And because of the importance of color correction, it really pays to know the rules that go along with color correction, and making sure that all of your footage looks good from the first frame to the last frame is one of those big rules.
And a Reference Monitor can help you make sure that all parts of your video are looking good.
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