Join Maxim Jago for an in-depth discussion in this video What is color correction and why do you need it?, part of Color Correction with Premiere Pro CS5.5.
Hello, and welcome to this workshop video course about color correction with Adobe Premier Pro CS 5.5. The phrase color correction has actually quite a number of different meanings. Broadly speaking we would say that we're fixing problems with color. So, you might have a shot like this one here, which has got a bit of a blue tint. We can fix that, we can bring out the whites, and we can adjust the contrast. It might be that you're producing something for a green screen, and you want to Chroma key.
You can't because the lighting's been set up completely wrong, and again, we can fix that and make it careable. These are the sorts of problems that we might encounter if we are correcting color and this where I suppose the classic phrase let's fix it in post comes from. But of course there's a limit to how much can be fixed in post. And understanding that tools you have available will make a big difference in your role as an advisor in the pre production of a shoot. As well as fixing problems, we might want to perhaps add a bit of a color tint, or change a color tint. Perhaps the DP of a shoot set up a shot to have a little bit of a green glow, and actually the director decided they wanted it a bit more gray. Or you might want to bring out some color, you might have a shot of the sky here we've got a shot of some balloons, and you might want to just really make the blue punchy really pull it out of the shot.
Or then again, we might want to use our color adjustments creatively to create a completely different composition. So in fact while I'm going to be referring to color correction generally within this workshop cause actually we're talking about a whole range of different adjustments and you can see that if you look in the video effects category in the effects panel in premier pro. You can see here it's got a whole load of different control some of which are going to correct color problems and in some cases hold that automatically and some of which adjusts to add a little bit of artistic flair.
So we might well be fixing color, color matching between different shots, perhaps different angles at the same location that need to look like they're in the same scene. We might be grading, which I would broadly describe as giving the final look and feel to the piece. Let's say that color correction is keeping everything equal and nice and steady colors and good shadows and highlights, and grading is giving that, that finish to it to give the, a feel to the film. And we might just be making our video standards compliant, it might be you need to produce your video for broadcast and, let me see now, in here we've got a limiter which will limit our levels to broadcast levels.
If I pulled this onto this beach shot, for example, take a look at My effect controls we've got here, options for how we're going to keep the tonal range of our video within legal levels for broadcast. My goal in recording this course is not so much to make you an expert colorist, that's a vast subject and we could spend several days on it before you really felt confident as a creative colorist. My goal here is to give you a proper understanding of the tools, of the interface elements and the wording if you like.
So that you can dive in and begin doing much more comprehensive color work on your projects, alone. And also, I want to give you these skills inside of Adobe Premiere Pro specifically, rather than encouraging you to go off and use After Effects. After Effects has fantastic color management and great color correction tools. It comes with the synthetic aperture color finesse, color correction application are standard now and that's fantastic. But actually much of the time you can do all the work you need to do inside of Premier Pro and really benefit from the CUDA support and the power that that offers inside the editing environment. You just don't get that real time performance at all inside of After Effects.
To that end it really does make a difference if you have graphics called the supportsCUDA or at least one of the supportive graphics cards on your system. Now you know if you go to your project settings you know if you have got cuda enabled because this menu will work. If you look in your project settings, if you don't have the right graphics card or if you have the right graphics card and you have got the wrong drivers this is going to be grade out and it is going to say. Software only. What you need is an in-video graphics card that's on the supported list. So just take a look at the adobe.com website and there's a specification list there and then you can turn on this fantastic GPU acceleration. Now you'll know also if this is available By going to your effect controls panel and turning on this CUDA filter.
These three buttons at the top of the effects panel will show you any effects that are, in this case, CUDA enabled, so, you know, very, very good real time performance, 32-bit. And YUV, and the CUDA enable ones all have this go faster arrow. So if they're grade out you know you don't have it working. Getting the right graphics card is not that expensive so I encourage you to look into that and it makes a really big difference into the perfomance of Premiere Pro. Another thing worth noting is that you can't see the type of colors that you are going to get on a regular television monitor by just looking at you pictures on a computer screen. If you go to, let me just get my sequence active here. If you go to your sequence settings, you'll notice you've got a playback settings option where you can specify an external device. If you have a deck connected via FireWire or if you have dedicated hardware, perhaps an AJ card, or a Blackmagic card, or something like that, then I really encourage you to have that TV monitor connected.
Now, it would be great if you could have a proper grade one broadcast. HD monitor, that you can really see your colors on properly. But to be honest, any television of any kind however awful, is going to be better than just using your computer screen. Computer screens will show you more detail in the shadows and in the highlights, and will display the colors using a different color mode, they display in RGB while TV monitors use YUV. And so you really can't tell how it's going to look until you see it on the medium that it is going to be used for display.
Of course, if you're producing things for web distribution, anything that's going to be on a computer screen, don't worry about it, it's absolutely fine. What you see is what you'll get. If you're familiar with Photoshop you'll be familiar with the color management controls in there that will allow you to treat your computer monitor as all kinds of different display mediums. You get the same kind of feature inside of After Effects, but you do not get that feature in Premiere Pro. So you kind of have to trust Premier Pro to be reproducing the colors accurately and again you need to view on a medium that ultimagtely will be used for distribution, a TV if you're using a TV, computer monitor if you're using a computer monitor.
In this course, I'll be covering some really core concepts, like how pixels work, how color works, how scopes and waveforms work, and so on. And my hope is that by the end of it, you're going to be really ready to dive in and do some much more advanced coloring work on your own productions.
- 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