This video explores the entire color correction workflow using the Lumetri Color toolset. You begin by setting your black and white levels and adjusting midtones (using the Luma Waveform monitor to measure). Then, you remove color casts (using the RGB Parade scope to measure). Finally, you adjust the hue and saturation of the image (using the Vectorscope to measure). You perform these steps methodically for the first image, but more quickly for the second.
- [Instructor] In this movie, we're going to correct a few images by following a proper color correction workflow using the Lumetri Color toolset. And if you didn't watch the previous movie, I definitely recommend it because we covered some basic color correction theory that we're going to touch on again here but won't go into as much detail on. All right, so my workspace right now is set up how I left it from the previous movie, but I'm going to go back into my traditional editing workspace and then get back here just in case you're joining me now. So I'll go to Window, Workspaces, and then Reset to Saved Layout.
And so this is just the editing layout and to actually quickly get me to everything I need for color correction, I'm simply going to click on Color. And if this bar isn't here, you can go to Window, Workspaces, and Color. All right, and then I'm going to load my 11.3 pre-correction sequence. Here we go, okay. And so again, we have our three images of Kyle, Jack, and Casey, and so we'll start by correcting Kyle. Before we do, I want to make sure that you have the right scopes up.
We're going to start by displaying the Luma Waveform and the RGB Parade. And so I just want to make sure that Luma Waveform and RGB Parade are checked. We're also going to display the Vectorscope a little bit later in the workflow, but to give myself more room, I'm going to uncheck that for now. And we'll be using these scopes to guide us through the color correction process. And what is that process? Well, let's take a look at the categories and controls here in the Lumetri Color toolset. First, I want to show you Adobe's official stance on how they suggest you work with the Lumetri Color toolset.
Start by making basic tone and color adjustments using the Basic Color Correction section. Then, move to the Creative section to apply various looks. And you can make further adjustment to these looks using the adjustment sliders. Then, move to Curves to further refine the look using RGB Curves and the Hue Saturation Curve. Then, adjust the shadows, midtones, and highlights using the color wheels for more precise color adjustments. Then, perform secondary color correction if you need to. And then finally, after making all color adjustments, you have the option of applying a vignette to your video to make the image stand out.
And you can certainly do this, have one correction feed into the next. But what I'm going to show you now is to use one category, and that is Curves, because really if you know what you're doing in Curves, you can do most anything in terms of color correction. So as we learned in the previous movie, the first official step in correcting a shot is to adjust the tonal range, or the shadows, midtones, and highlights. And we're going to use the Luma Waveform Monitor to help us out. So as a reminder, right here at zero is video black, and here at 100 is video white.
So that means that we want to map the black as part of our image to zero and the white as part of the image to 100, and that's if we have a true black and white. If we don't, then we'll map those values to approach zero and 100. Before we actually do that, let's take a look at the image to make out what everything is. So we read this left to right, just like the image itself. So the very darkest parts of the image, hanging out down here around zero, are the shadows in the metal brew kettle behind him.
The trace over here near zero are the shadows in his hair and beard. If we take a look at the lightest parts of the image, which are registering right here, those are the reflections on the brew kettle behind him, so these lightest values back here, okay. And then most of the trace is hanging out right between 20 and 40, right here, and these are the midtones. It's basically everything else, including his flesh tones. So his flesh tones are registering right about here. And usually, you want the flesh tones to be more between 60 and 80 instead of between 30 and 40.
So in general, we need to make sure that the brightest parts of Kyle and the background are elevated significantly. The blacks are already black, so we really aren't going to need to change those much. So let's head over to the Curves category and make these adjustments. So first, you usually set your black point, then your white point. Again, I just said we didn't need to set our black point, but let me show you how. You just grab on to this control point in the lower left. And if you need to raise your black point, you drag up. And if you need to lower your black point, you drag to the right.
But I think we're basically good leaving that alone for now, but we do have a lot of work to do on our highlights. And to set your white point, if you would like to lower your white point, you drag this control point down. And if you would like to raise it, you drag it to the left, which is what we need to do. So I'm looking in the Luma Waveform, and I see some values coming to 100. Okay, you can see that these values are now resting at 100. But as we mentioned before, these are specular highlights. When you have a light shining on metal like this or glass or water, it can register as brighter than white.
And in this case, that's what's happening, all right. We still have Kyle down here between 40 and 60. So we're going to keep bringing our highlights up so that we raise our midtones too. So I'll keep bringing my white point up, and you can see that in the image and in the Luma Waveform, things are looking a lot better. I'm going to stop right there, and we've drastically opened up our tonal range. Again, this was before, and this was after. Now let's go after our midtones.
Again, as I mentioned before, Caucasian flesh tones are best right around 70, 80%. Okay. And right here, are Kyle's flesh tones. If I scrub through this, you can sort of see him move right here, and we want to make sure to raise those a little bit more. Okay. So instead of raising my white point more, I'm going to place another control point in the upper midtones on this curve. So I'm just going to click, and then I'm going to drag up and to the left.
Okay, and watch in the Luma Waveform that this is affecting just my midtones. My highlights are staying put, my shadows are staying put, but I'm just affecting my upper midtones. And to add a little contrast to that, I often add another control point in the lower midtones and drag to the right. Let me show what it looks like if I would drag up, okay. Here I'm raising my lower midtones, and so here everything's brightening up in those midtones. But I prefer a little bit more of a contrast. And this is subtle. This still almost looks like a straight line, but we have a tiny bit of an S curve where we've raised our upper midtones and we've lowered our lower midtones.
And I'm really happy with this tonal range. Again, we have before and after. Now it's time to move to the second step of the color correction process, which is to remove any color cast. Now removing color cast mostly means that we're going to make sure that the neutral parts of our image, our black and white values, are indeed neutral. So to do this, I take a look at the RGB Parade, and basically we're looking to make sure that the shadows and the highlights have traces of relatively equal amounts within each of the color channels, the red, green, and blue color channels.
Now we said in the first movie of this chapter that the image had a slight warmish color cast, and we probably want to cool it off a bit. If we look at the RGB Parade, that corroborates this. Our blues are little low in the highlights. So I'm going to go over to my Curves and click on the blue curve, and we do the same exact thing. If I wanted to raise the blue in my shadows, I drag up, and you can see this respond in the RGB Parade. And if I wanted to lower the blue in my shadows, I drag to the right. Again, we do not need to adjust the shadows, just the highlights.
So I'll reset that. If I want to lower the blues in the highlights, I drag this upper control point down. And if I want to raise the blue in the highlights, which we do, I drag to the left. And so when those blue highlights even out with the other color channels, I'm going to stop dragging, which is about right there. All right, so we've corrected the contrast by remapping our blacks and whites, and we've removed that warm, brassy color cast. Now it's time to move on to step three, where we adjust the image's hue and saturation values.
And so I'm going to bring up the Vectorscope. I'll click on the wrench, and then I'll bring up Vectorscope YUV. And just to give myself a little more room, so I can see that better, I'll go ahead and deselect the RGB Parade. Now this video scope only measures chroma, or color values. And specifically, we're looking at a replica of the color wheel, so red, magenta, blue, cyan, green, and yellow. And values close to the middle of the Vectorscope are not saturated, and values on the outside of the Vectorscope are very saturated.
To show you this, I'm just going to come to my Hue Saturation Curve and drag in, and you can see that all we have is a little dot with a black and white image. And if I drag all the way out to the edge, you can see the trace extend to the edges of the Vectorscope. I'll reset that by double-clicking. And we'll come back to our Curves. In addition, I want to point out this line right here, and this is called the flesh tone line. This is where you should try to get your flesh tones to reside, all right. And you should also aim for the trace to extend about a quarter to a third of the way along the flesh tone line.
So right now, our flesh tones are along the flesh tone line, but I think I might want to bump up my upper midtones, which again correspond to those flesh tones, just a little bit in the reds and yellows. So I'm going to come over to my red curve, and I'm going to set a point in the middle of the curve and then up in my upper midtones, just so I can isolate this a little bit better. And I'm going to drag up and to the left just slightly, and I'll do the same to the yellows. And you might be saying, "There's no yellow curve." Well, yes, there is.
If you look at the Vectorscope, just look at the opposite side of the scope to get a clue about this. So you can see that blue is opposite yellow. So if I wanted to add yellow, I go to the blue curve. And again, I'm going to just set a control point in the middle and then here in the upper midtones, and then I'm going to drag down and to the right, which means away from blue and towards yellow just a bit. Now I'm going to come down to my Hue Saturation Curve, and I'm going to just place a control point right on that curve and drag out just a bit.
And as I do this, all values of the image are increasing uniformly, okay. So I'm looking at the flesh tone line. I'm looking at the Vectorscope, and I'm increasing the saturation about that much. Okay, you can see the trace extent about a quarter of the way down the flesh tone line. Now if I wanted to affect the saturation of one particular color, then I would just add more control points. So let's say that we really wanted the blue on his shirt to pop. I would just add several control points, like so, and then extend out only the blues.
So you can see those blues begin to pop. All right, so here is the before and after on Kyle. All right, so definitely an improvement, and you can see the changes happen in all three of the video scopes. Now I'm going to head down to Jack, and I'm going to do the exact same thing, but we're going to go through it fairly quickly. All right, so I'm going to display just the RGB Parade and the Luma Waveform, and let's start by setting our blacks and whites.
I'm going to take my black point and drag to the right to about there. I'm going to take my white point and drag to the left, and right about there, we see the specular highlights on those glasses behind him hit 100. But I'm going to keep going to about right there because he has a white shirt on, and we're going to let those values approach 100. Next, we're going to go after his midtones. If I scroll over this, I see that right here is his face. And it's basically good, but I'm going to just raise them just a tiny bit.
So I'm just going to set a control point in his upper midtones and just bring them up just ever so slightly, and then I'm going to take a control point in the lower midtones and then bring them down ever so slightly. So here's the before and after on setting our tonal range, huge improvement. Next, we need to see if we have a color cast. And in the first movie of this chapter, we said that it probably had a little bit of a bluish color cast. And so we see here in the RGB Parade that we are a little bit high in the blue highlights. So I'm going to go over to my blue curve.
I'm going to take my blues and bring them down just a little bit here. And then I'm going to look at the shadows, and it looks like I need to lower my shadows and my blues a little bit. So I'm just going to take my shadows and my blues and drag to the right just a little bit. All right, next I'm going to take a look at my Vectorscope. So let's display Vectorscope and turn off RGB Parade. And I think the flesh tones are good. They're right along the flesh tone line. Let's just bump up the saturation a bit, again, just about a quarter to a third of the way out from the center of the Vectorscope.
So here's our before and after on Jack. And then using everything we've learned in this movie, go ahead and color correct Casey on your own using the Curves category of the Lumetri Color toolset.
This is the first part of a two-part series. The second installment explores more intermediate techniques.
- Touring the Premiere Pro interface
- Asset organization and project management
- Basic editing
- Trimming and refining
- Basic audio editing
- Working with stills and graphics
- Basic effects
- Manipulating clip speed
- Using automatic and basic color correction tools
- Working with titles
- Sharing and exporting