Join Maxim Jago for an in-depth discussion in this video Blending in-camera footage with documentary footage, part of EPK Editing: 3 Color Correction, Visual Effects, and Finishing.
We're working with the mixture of in-camera footage from our music video and behind-the-scenes footage. And sometimes it's kind of a nice effect to merge from one to the other. Now, we could use the two-shot color matching in SpeedGrade to blend in the colors from one to another. But I'm going to take a slightly longer approach to incorporate some keyframing here. So, I've got a shot right near the start, I'm going to mute this so I can scrub without disturbing you too much. So here is the opening of the music video, and then we've got this shot of couple of people, and this is common of course, they're smiling at the camera.
So, what I want to do is some color adjustment over time to bring in the blue in this shot and have it come away into the full color version. And maybe put in a blur and also a graphic I've created in the Title tool. So first of all, I'm going to go to my Effects. And I'm going to just pull in, I think I'll start with the 3-Way Color Corrector. So, let's just throw this on here. Now, I want to be able to see this original shot at the same time as this shot, so I can compare the colors by eye.
And I can do that by dragging the sequence directly into the source monitor. But there's another way. If I go to the Window menu and choose Reference Monitor, instead of using the Reference Monitor to show me scopes or wave forms, I can set this to show me composite video. And then as long as this Gang option is turned off, I can use this to show me any part of the sequence I want. So I can use this as a visual reference. So now, I'm going to go to my 3-Way Color Corrector, but again, I want to be able to see the Effect Controls panel at the same time.
So, well, I'm going to go to the Window menu and bring up Effect Controls, and I'm going to have this open in its own frame. Now, you do this by dragging and dropping. I'm going to pull the panel back in here, so it's sharing a panel with source monitor, and so on. And if I want to separate this into its own frame, rather than dragging it into the main part of any other frame, I'm going to drag it into this kind of trapeze-ward shape just to one side. And now you can see, I've got my Reference Monitor, I've got my Effect Controls, and here I've got the clip I'm working on in my Program Monitor.
First off, I'm going to make some pretty simple adjustments. So let's just begin by switching to Master mode for my color wheels, and they're kind of dinky here, but I think it's enough. I'm just going to pull this over a little bit towards the blue. Let's just try to bring in some of that, almost magenta I think, is in the shot there, and something like that. I don't want to go too far with it. Maybe I'll just pull some in in the mid-tones as well. So I'm making this pretty blue. Now, I want to keyframe this back out again.
So, I'm going to go down here to my Master Controls. And you can see that I've got numerical versions of the adjustment I've just made up at the top. The difference is, I've now got these stopwatch controls. So I'm going to position my play heads somewhere near the beginning of the clip. This is a mini timeline that represents the clip. And I'm going to turn on the stopwatches for all three of these. And then I'm going to go to the well, maybe about halfway through the clip, I want us to have some time with normal color.
And I'm just going to hit the Reset button for this set of effects. When you press the Reset button, you don't remove the keyframes, you're just applying a keyframe with zeroed out settings. So now, as I drag through this, you can see we're going from that blue back over to our warmer colors. I'm going to do the same thing for the levels in fact, so up at the top, I've got this graphic display for adjusting levels. I've got the same controls down here as numbers. It's just another way of accessing the same control.
To get the timing nice and clean, I'm going to click this Back to Previous Keyframe button. So this is lined up with the color adjustment I've made. This might need a little bit of work, it looks almost purple to me. But still, I'm going to just pull up the Input levels a little, so we're making this a bit darker there. Let's pull this over a little, that's our gamma. Let's just raise up the Black level, I'm making this quite dark. And then just stretch up the Highlight, we're getting this contrast range. Now, if you look at the controls up at the top, you can see what I've done is just pull in the Light level and the White level.
Now that I've done that, I can turn on keyframing, these are my input levels. Jump to the second keyframe in my color adjustment, and once again, I can just reset, reset, reset. And again, because I've got the stopwatch on, I'm adding a keyframe. So if I drag through this now, we've got this kind of blue effect that's gradually turning into full color. It's perhaps a bit over the top but it illustrates the point nicely. In fact, I think, if I just make sure we're on that keyframe, if I just jump up a little bit, we can probably afford at this point to warm this up even further.
Let's just pull this up around to the orange and the yellow, so were making this a very nice, bright, colorful shot. Okay, now that I've got this, I've got a cut on the timeline that goes from the music video into color-graded version that moves into warm colors. And I think what might finish this off, would be our title. So, if we look under our Graphics, I've made a graphic that looks, well, it's pretty poor, but it's just an outline of a camera reticle and a record light. So I'm going to show that we're switching from one to the other by simply dragging this onto the timeline.
And I'm going to trim this to fit, so that's over the top. And then I'm just going to keyframe it, so I'm going to scroll with my mouse wheel to increase the height of the video three track. I just zoom in a little bit so I can see this a little more clearly. And now, I'm going to use regular old-fashioned opacity keyframes to make this camera graphic disappear. So I'm going to Ctrl or Cmd+click. This is going to add keyframes on the timeline. And, just pull the second keyframe down.
So now, as time passes, we're blending out from that Color Correction effect. And also blending out the reticle from the camera, and we're back into our regular behind-the-scenes footage. So again, a little bit more work maybe to improve the colors here to get them to be a better match to the greener colors of the shot from the music video, and you get the idea of blending across from one to the other.
- Assessing your video footage
- Repairing and color correcting media
- Warming and cooling clips
- Shot matching
- Workflows with Adobe Premiere Pro, SpeedGrade, and After Effects
- Combining creative visual effects