Join Maxim Jago for an in-depth discussion in this video Using the Three-Way Color Corrector, part of Premiere Pro CS5.5: Color Correction.
Let's take a look at using the three way color corrector to make an alteration to a particular video clip. In this case, I've got some kids playing tennis, and what I really want to do is bring out the greens in the shot, but I don't particularly want everything else to go green. If I just play through so you can see a little bit about what's going on here. Let me get a full screen. (audio playing) Okay, so it's just a little kids tennis game, but I really want the green to be punchy in this shot.
If I go into my Tonal Range here, and set this to master. And maybe really crank up the green in the color wheel. You can see everything's going green. The clouds have got a green tint. The sky goes cyan. This kid's skin starts to look rather unhealthy and zombie-like. So, I just reset this for a second. What I'm going to do is set the Tonal Range first all of to Master. And I'm going to make the whole image seem you know, go bright pink and really crank up the gain here. So, I'm having a really powerful effect on the image. But going down a little bit to my secondary color correction I'm going to specify a range.
So, I'm going to use this to make a secondary color correction, rather than a primary one. You might well be wanting to apply two lots of the Three-Way Color Corrector, or even maybe to use the fast color corrector first, to get a flat level adjustment, maybe. Work on the gamma range, work on the mid tones, as it were on the image first of all. Get the contrast range nice, and then as a secondary effect, put on theThree-Way Color Corrector, and use it in the way that I'm going to here. But if your generally happy with your image you just want to apply and effect, this is fine. So what I'm going to do, is I've expanded out the secondary color correction, and I'm going to click on the Eye Dropper, right next to this Center option. And this is specifying a hue range to target my color adjustment to. Now there's quite a few different greens here, so I'm going to choose the tennis court ground first of all, and you can see right away I've chosen a range. And notice that this kid's hand and the ball, the yellow, those are all excluded. Then I'm going to click on the Plus Eyedropper and choose some other ranges. You notice every time I click on the plus option, I'm getting the original, unmodified piece of video, so that I can choose a range based on that. And that's looking reasonably okay.
I think that's probably going to do for my purposes for now. Now I'm going to just soften a little bit. In fact, let me expand this control a little, and just give this a more natural look, but I'm getting a bit of the bar. This white cloth along the top of the net. So I'm going to set my Zoom to 100%, and I'm going to use the minus dropper to just pick out this subtle shade. And this may or may not work. If it doesn't work, I may have to use something like a Matt to exclude it, or I might just have to accept that I'm going to have this bar.
Let's see how that's looking. Yeah, I've managed to exclude a little bit of it but still not perfect. I've lost a little bit of the ground here. And you can see right away, what the limitation is in working with secondary color correction, because all you've got is a color range. It's very much like adjusting a key if you're going to compose it. Let's try that again, see how we get on with it. You can specify a specific saturation range as well.
So with all of these controls, you've got a start and an end point, same thing for the Hue, same thing for the saturation. And then a secondary option, this triangle is softening. This is going to give you a much more natural edging to the selection that your making. If you have a really hard edge, if you set this softening adjustment right up next to the selection range that you're choosing, you can get some hard edges, some posterizing. And you can see here, this section of the tennis court is being excluded unless I soften this range a little bit.
It will tend to give you a more natural looking effect. Of course right now, my image looks anything but natural, but bear with me. You can also specify a luminance range. And I think really, in the case of this bar across the top of the net is not going to help us to much to make any of these adjustments because we're getting a lot of reflected color on here from the ground. And it just does look the same range, the same color. We could get around this by doing something like applying a, maybe a four pin garbage mat we can just pick out this range at the bottom and only make an adjustment to the court. But we could spend a rather lot of time effectively rotoscoping, to remove the white across the bar here.
Especially since this is a handheld shot, it could take quite a while. If I'm happy with my selection, then the next thing to do is make the selection I really want. So, I'm going to reset all of these and pull this back into the center, and I'm back to my original. Let's set the Master Balance there to zero, okay. And I'm pretty much set, but I just need to decide what I'm going to do with these greens, so I'm going to pull all of them a little bit greener.
And sometimes by eye this can be difficult to see. I'm going to pull up the Vector scope in my reference monitor, and you can see that there's a definite green, yellow slant, which is what I would expect. But here we've got a subject, his arm, his hair, everything, the yellow ball totally untouched because of the secondary color selection I've made. If this changed over time, of course, any control you see a stopwatch on is key frame-able, and it may be necessary for you to specify some settings, play on a little bit And then tweak the settings with key framing.
Pretty much as it would be for any special effect inside of Premier Pro. Another useful thing is to just toggle the effect off and on to see the results. And you can see right away I'm getting a really significant shift in the greens. Where moving towards super real movie making rather than realistic, and so naturalistic, rather than realistic. And yes, looking at the Vector Scope, if I go full screen with this, let's see if I can get that to refresh. You can see that there is this strong color cast, but I would expect that, because if you look at the original image, most of it is green.
Most of the original image is that color. Again, if I go back to my Vector scope and turn the Three-Way Color Corrector off we're still getting stronger slant towards the yellow and the red there from the parts of the court outside of the play area and the skin tones. So, it's perfectly correct for there to be that adjustment. Looking at my waveform display, I can see that we've got a pretty good contrast range. And there's not much really to do to this shot, although obviously I'd need to see it on a proper monitor. The problem I've got is if I were to make any adjustments, perhaps using these levels controls, because I have specified a Secondary Color Correction Range, any adjustments I make are only going to be applied within that range. And that is the greens in this shot.
If I really want to make an adjustment to my levels, I ought to do that with a separate effect and I really ought to do it first. Because a lot of the controls you're choosing in the Three-Way Color Corrector are based on the luminescence ranges. So, that's an example of using the Three-Way Color Corrector in Premiere Pro.
- The color correction challenge
- Standard tools for measuring and adjusting color and light
- The Fast Color Corrector
- The Three-Way Color Corrector
- Other color correction effects
- Fixing and matching colors with presets
- Using After Effects for color correction