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Using the Reference Monitor

From: Premiere Pro CS4 Beyond the Basics

Video: Using the Reference Monitor

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.

Using the Reference Monitor

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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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20112 viewers

Chad Perkins
Author

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

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