Join Todd Kopriva for an in-depth discussion in this video The redesigned Three-Way Color Corrector, part of Premiere Pro CS6 New Features Overview.
The Three-Way Color Corrector Effect has been redesigned in Premiere Pro CS6. Controls that you use most often have been brought to the four and moved closer to the top. Here on the left I have the Three-Way Color Corrector Effect in Premiere Pro CS6. And here on the right I have Three-Way Color Corrector Effect in Premiere Pro C5.5. Let's begin at the top and work our way down looking at the changes. For output we now have video and luma as options, whereas previously it was composite, luma mask and tonal range. With video replacing composite as a terminology change. The split view controls, which took up a lot of this top space in Premiere Pro CS5.5 have been collapsed.
You can expand them by clicking this triangle. I'll collapse them again. Also, notice that there's a new checkbox or master here. When you click that check box all of these color wheels behave as the master color wheel. So any change I make within one is simply reflected in the others. I'll click the reset button there, compare this to Premiere Pro CS5.5 in this menu Choose master. You have a single master color wheel.
And then if you Choose Shadows, you go back to having the shadows, midtones, and highlights color wheels. Many people found this confusing. If you uncheck Master, then you have the shadows, midtones and highlights color wheels, that are now labeled. So you don't have to guess which is which. When master is unchecked, each of these wheels is behaving separately.
So if you make a change in one, it does not reflect it in the others. Also note ,that shadows, midtones, and highlights have color pickers and eye droppers associated with them. In Premiere Pro CS5.5 these properties which reflect the changes that are made in the color wheel were all listed beneath the color wheels. Which seems somewhat redundant. If you still want the properties numerically in Premiere Pro CS6, they're available, they're just a little farther down.
And here's the set for shadows, midtones and highlights. And now you can even see them all at once, instead of only being able to see them one at a time in Premiere Pro CS5.5 by choosing from this menu. I'll collapse these again in Premiere Pro CS6. The input levels and output levels sliders have been moved closer to the top, since they're so frequently used. These are both master controls, and significantly secondary color correction controls have been moved closer to the top.
So that they're more discoverable, and Premiere Pro CS 5.5 and earlier, they were buried down here where very few people found them. Note that there have been some changes within the secondary color correction controls. In Premiere Pro CS6, there's a Show mask checkbox. In Premiere Pro CS5.5 and earlier, the same functionality was here, in output, you had to Choose mask. Going back down to the secondary color correctional controls the Invert Limit Color checkbox has been replaced by an Invert menu. Where the options are none Invert Limit Color, and Invert Mask. Note that all changes made to the secondary color correction controls also apply to other effects that use second color correction. Including luma curve, luma corrector and RGB curves. Now that we'e walked through the differences between Premiere Pro CS5.5 and Premiere Pro CS6 for the Three-Way Color Corrector, let's actually put it into use.
I'll close this Premiere Pro CS 5.5 instance. I'll press the Accent key to return my panels to their regular size and I'll reset the Three-Way Color Corrector to its default. Let's actually do a little bit of secondary color correction. Let's begin by sampling the color that we want to correct. We want to make this red a little bit brighter. So we'll start by sampling some red. Then we'll click Show mask.
That'll show what's being targeted. We're not getting quite enough of the red so I'll click Show mask again to deselect it. And I'll add more of this dark red here and then see how much more we've gotten. That's getting considerably more of it, I'll add a little bit more in this bright area. Click Show mask again and now I'm going to start to use these controls to expand a little bit. The luminance and, we'll actually let it get a bit more of the Hue. What we're doing here is allowing for a broader Hue to be matched. So it's going to match more colors than exactly that red, going out closer to these violets and oranges.
And that's actually getting enough. So I'll unclick Show mask, and now let's actually change the colors a little bit. Now since what we're trying to do is to brighten up those reds. One thing that I can do is to move the output levels, so that no dark reds are output. The farther to the right I drag this, the brighter the darkest red can be within that range. If I pull it all the way to the right, you can see it's quite extreme. We're only allowing the very brightest red.
But if I pull it just into here, compare that to where it was before. I'll drag it all the way to the left, and then I'll slowly drag to the right, and you can see that red brightening up. And I'm getting a little bit of artifacting, because we don't have a soft feathered edge. So I'll go back into secondary color correction. I'll choose to soften this a bit. There, that looks pretty good to me.
Let's turn the effect on and off just to see the difference. There. I like it. Now you've seen how the Three-Way Color Corrector Effect has been redesigned to make it easier to use and how to use basic secondary color correction.
- User interface improvements
- Importing and sequence setup improvements
- Editing improvements
- Effect improvements
- Performance improvements
- Audio improvements
- Exporting improvements
- Miscellaneous new and removed features