Adobe Premiere Pro Color Correction Demo and Blur Effect

hello everyone so today uh this will be our um demo uh for um the the assignment for color correction and uh i'm gonna cover just uh that specifically so we're going to have a workflow in terms of how to properly do a color correction workflow and also we'll have a final discussion on luts and adjustment layers as well now with this particular workflow many of you might say like oh yeah i know how to do that i just you know throw down one of those luts and that's it and why not or just quickly go and you know make adjustments on the clip what we're going to do here though is show you a workflow where we start we go in order we take a few steps and in terms of the order of steps you know your first thing you want to do is correct for luminance then the second step will be correcting for chrominance um and and making refinements and the last part we cover is adding adjustment layers and then adding looks um via the let tables and uh that's built into premiere and then making adjustments on those so there's a those are the more or less the steps that we're going to be going over so for this particular demo i'd recommend since you're going to have it at your disposal for the next few weeks take notes i highly recommend you take notes i mean if you haven't figured that out by now i mean that is something i always encourage take the notes um and this way you don't have to keep coming back to the video you can just do the notes and this we can just use the video as a reference going forward so let's go and get right into it i already have my project ready to go it's it's um one that you may have seen before but this is the documentary that we shot in 2020 that is currently scheduled to premiere at the bell play museum in 2021 and we'll play there indefinitely so this is a scene or a shot from one of the interview people or one of the interview subjects happens to be my mother-in-law but we we shot this in the summer of 2020 now um let's start with uh first thing we can do when we're in premiere pro is um in as of uh the 2020 version at least we have a workspace and one we do have a color so we can go ahead and hit color and it can take us it'll take us right into it um by doing this and uh using the the color workspace the advantage of doing that will be that we don't have to necessarily add any extra special effects or any uh or go into searching for effects uh as we open up and start making adjustments in the uh lumetri color space in the lumetri color the the effect um gets of color correction gets added automatically so remember as we've been talking about different aspects of adding effects in premiere remember everything has been consistent in that we have been adding or adding effects per clip and we're going to continue to do that in this particular show or project here now with these clips the reason why we want to do that is because every time we do a shoot the um the color itself will vary it will be different uh depending on the conditions that we shot now for a lot of this that we did and you'll notice even looking at it right now you'll see that she has a very um um what we would actually call a cooler temperature but a a warm look right because what we do know about color theory and here's where we'll talk a little bit about that as well i mean that's something that you should cover in cinematography and lighting but for color theory um these more amber looks are the 34 35 3600 degree kelvin temp color temperatures roughly and anytime we get into looks where the images are are bluer right or have a cooler look well those are hotter looks technically um think of it this way in the morning when the air is cool when you step outside you know you have a nice amber look to the world right it's got that warm feeling or even in the afternoon called golden hour we have kind of a um that that beautiful glow but it's later in the afternoon where it starts to cool off again see those are cooler temperatures but if you notice if you step outside at noon it's though the light can be overwhelmingly bright you know and uh which again goes to the bluer cast and that just is uh the way that the color temperatures work and those temperatures uh traditionally are in the 5000 degree kelvin range and and higher think of it als also think of a campfire if you ever light a match you never notice that the parts that are closest to the burning uh or the the the the whatever material you have that is burning those tend to be the amber color but when you go to the tips of the of the of the flame where it's really hot you'll see that it's sometimes blue or you know you'll see the blue areas of the flame those blue areas of the flame are the hottest parts of the flame so again just to reinforce those ideas that technically hotter temperatures five thousand coming above are blue while cooler temperatures which are 3 600 kelvin and below are more amber of course when we sometimes when you're out in the field you don't we can't assume that people understand all aspects of the color theory so we'll say well give me a warmer cast or a cooler cast that tends to mean uh in terms of the color translations more than the temperature translations so just keep that in mind that's that's usually what people mean but if you want to be specific you say do we want 35 or do we want uh 5 000 or 6 000 and if you say that then you'll know okay if you want 5000 you want a blue look if you want 3 500 you want a warmer amber look so keep that in mind so here we are with color and the the other reason why we also want to use this color workspace is it's going to add our scopes which is another tool that we're going to utilize today how to read the color scopes alright so as before i'm using again this project which is the documentary i have the clip already set we don't have to worry about any audio or anything so if you hear i mean it's not a big deal i have my uh my targeting track set here to v1 this way i won't have any weird issues with any other layers getting targeted for color this way we know exactly what we're working on now to even reinforce that we can always click on it and if you notice when i did that because i'm in effects controls it gets loaded automatically and as i mentioned because we are in the color workspace notice then that lumitri color is already added as an effect so i don't have to go looking for it over here you know and uh where i usually would in my effects it's already added so i can just leave this back to my project page yeah it's not going to be something we're going to be looking at in the project pane immediately but we will come back to it on the um the last part when we talk about looks and luts and what those are so we're going to go away from this for now and here we are selected our clip and as i mentioned the first thing that we're going to do is we're going to work on luminance so luminance is are the white values live values and black values so we want to make sure that those are balanced first that's always number one and and again going forward again we balance our light level we balance our chrominance those are the color levels of the hues we make sure those are balanced and once we get all that set then we apply our looks when we by and why do we do that why do we just go and make our video look the way we quote-unquote wanted to it's just gonna give us overall a better color feel and also that the fact that if we remove the light we know that our color is is uh has the integrity of its image this also has to do a dynamic range as well i mean if um if you're experiencing the world outside you know um our our color casts are pretty much always the same but you know might have a cloudy day but it's it's sort of being filtered by uh whether or not the full spectrum of light is hitting us or not or you know if there's a if uh maybe you're shooting light through a red filter a green filter um that there's that aspect of integrity and we don't want to ruin that we don't want to remove our natural color before we add a lot you'll see it just gives us a more satisfying look when we do that if you ever have looked at a color correction tutorial you'll notice that the professional ones like if do a google search for chernobyl as an example if you want to take a look at that i've seen a few of those and look at how much work they do in terms of all the layers of color correction i mean you're looking at about 70 layers sometimes i think that's one that i saw once you have so many layers in this case we're only going to do a few but more than anything else this is a means to get you started and how to think about color um and really at this point the sky's the limit so let's first look at our scope so uh up here in our source pane which is where we have typically been when we're editing we go to lumetri scopes and i already have a few turned on now when we're first uh working in this i'm going to turn on what we typically have this is what you're looking at and even here your um your uh the first thing you're going to see really is an rgb parade um not an rgb career scheme you're going to look at a waveform um full color spectrum rgb and we're looking at a red green and blue and uh just to show you if i push play so now i'm starting by all the color and in fact what i'm going to do is i'm going to mute all this stuff mute because i don't want to hear any audio oh yeah there it is so i got all the meat sorry here we go so i just want to see the notice i'm playing forwards and backwards the movement over here of of the scope is mimicking what we're seeing in terms of movement over here so see as our speaker moves so do the color so it's kind of following her around a little bit um i personally don't like to use the waveform it's just because all the colors are a bit unbalanced so i do i can keep it but i like to switch the waveform over to aluma because i think it's more useful as you look at our white and black levels notice the numbers on the right go from zero all the way to 306 levels on the left go from zero all the way to 120. for our purposes we are interested in 100 and 255. 255 is a number indicative of the bit range system we're working on again related to uh your computer space your digital workspace and these color values are indicative of of of their number corresponding to the digital space the uh dynamic range in terms of a definition is the uh the replication in a lot of ways of the natural world into a digital world uh via photography digital or time-based medium in our case video the dynamic range is a small spectrum so um the dynamic range is a lot of ways like the change to the full dollar a change to the full dollar you're like what does that mean change to a full dollar well if we think about our full spectrum and the visual acuity that we have as humans we can see from zero let's say if we're doing the values of zero to um a hundred and this has nothing to do with this at this moment but just in general let's say zero to 100 is our visual acuity where zero is is black and 100 is for white and everything in between is uh what we can see well um dynamic range would only be able to let's say cover like increments of 20 let's say one increment of 20. so if you think of it that way then that means you can only see 20 of what we can actually see in the natural world exactly that just gives you an idea of sort of where technology is and where our physiology is we just can see so much more or we we just have a richer uh ability to uh differentiate between color than we can currently capture at this time now we can fool the brain into thinking that we can capture what we see in the natural world but again this is why we always say we're not capturing reality but a version of reality because we can't even capture full reality so there you go if you're ever wondering about those arguments of like well i don't know about that argument there you go that's even more more proof in the pudding that what we're actually doing is um creating versions of reality creating simulations or simulacra of the world that we live in so there you go reality is really just an idea uh or something that we experience daily while what we watch on the screen is a you know it's 30 40 of what we actually experience let let your brain kind of wrap around that for a second but yes it is it's like whoa that is a kind of a neo moment in a lot of ways and the math the way that it breaks down goes up to the the full range of 255 which would be full white this is why you see these numbers here do a google search if you want to know more about that in terms of the color theory but again i'll leave that to your cinematography professors to answer these questions but for us our theory or the theory in our color correction in terms of using the numbers we want all of our colors we want our we want our light levels we want our red our green and blue all of our color levels to be approaching 100 and we also want our dark levels at the same time to be approaching zero we don't necessarily want them on the zero we don't necessarily want them on the 100 but we want them approaching because as we add all the all of our different layers it might push them a little bit further and just kind of add to that richness so we don't want to go over because anything over the 100 is lost anything over the 100 will be similar to an audio clipped file that's usually the part where if we're if it's we're shooting something bright that's when it becomes completely unwatchable when we're past the 100 so we want things to approach 100 and that's the way we're going to talk about the color theory stuff so let's start with our luminance and we can the way uh what i like to start with in all of this i want to make sure that my correct clip is selected so there it is and here's all the audio i guess it goes together it doesn't really matter at this point but there's the clip we're looking at and we're going to jump over here to le meter color because i got added because i just clicked on color if you don't see that remember go to window workspaces and then do the reset to save layout if you have any errors so we'll do that now just to make sure we're okay um make sure everything is back to normal or quote-unquote normalcy so back to lumetri scope what i'm going to start with is curves that's where i like to look but just to show you we have basic correction here um we can do uh automatic white levels with with this dropper but we're not going to do that we're going to do everything by hand we're going to get into creative in a moment again that'll be the last step we're going to start with curves why do we start with curves well i like to start with curves because that's what most of us are familiar with i mean how many have used photoshop before right it's pretty much the same idea so here's our white and our dark so white is over here at 100 black and zero and if we look at our image now we can see that our white level peaks between 60 and 70 or between 153 and 178 if i grab this guy and i move to the left it's going to make it go higher and notice the image i'm seeing the results of it also on in my image as well if i go to the if i notice over here on my for this right i'll see that i do have some information that's getting pretty hot so i want to look at the hottest the highest point right now and i'm i'm pretty happy with it uh i like to stop just before the halfway point between 90-100 and i can see her she looks pretty good and as i mentioned before i don't want things below zero see this is kind of and because anything that goes before that we're just not going to see so i'm going to bring it up a little bit let's see what that looks like let's put it about right there and that looks pretty good if i want to kind of compare what it looked like before to where i am now i can uncheck it before after before after so you can see that we've added a bit of vibrancy to the image not bad not bad so let's continue so that's we covered our luminance already what i'm gonna do then is i'm gonna add more scopes i'm gonna add two more at least i'm gonna add one called rgb parade and i'm gonna add something else called a vectorscope so let's click on the wrench and let's go to rgb parade boom rgb parade is to me extremely useful because we're looking at the red green and blue split up into the three separate elements and this will allow us then to balance each one um accordingly okay because now because remember we saw over here we noticed that there was something that was way over here uh that i could barely see but if we break it down in our rgb we see ah it was a red that was actually doing that so that's what we brought way up at this point we don't necessarily need to have waveforms anymore i in fact i'm going to close them out because i'm not going to really be working with light and dark now i'm going to be working with color so i like to get rid of that and let's just work with this for now so and the beauty about working with the curves is there it is red green and blue so it's almost like cheating not quite but hey we can start working with it i i kind of like how it's already pretty high the red um and it's you know maybe i can bring it up a little bit but the red's looking pretty good maybe just bring it up a little bit because if i what happens if i brought it up notice that the information kind of spread out a little bit more that's another reason why we might want to move it up because the information might have gotten crushed so that's one thing that a term that you may have heard where we say we're crushing the blacks that's any time we go we approach zero or below zero and all of the color information just kind of goes to a muddy black i mean if you've ever done that sort of messed around with this color correction you've noticed that it kind of happened and it gets cruddy black and pixelated and weird that's what that is that's the crushing of the black let's move on to green so let's tap green and now notice that our curve turned green and i'm going to add more green information so i'm going to try to balance that a little bit more with the red and what i did is i'm actually going to use this top point as my my reference and i'm going to more or less bring it to the top i'm liking the way that looks down here too let's see what happens i move my green up let's see if i get more color information moving up and down not necessarily maybe just a little bit so i'll do that i'll get a little bit more of that color information look at that she's looking really good i mean you can already see a big difference i think there's a bit more vibrancy so now let's work the blue a little bit let's go blue let's add some let's spread out that blue a little bit more and notice if i go all the way left see she turns really blue so we don't want that i'm it now if i'm just eyeballing it even i can just look at her image and i'm like i'm just trying to remove some of the green like kind of balance in the middle there we go that's pretty good and i only have to go all the way up but if you notice this kind of major peak moment it's a pretty good balance like maybe i'll balance the green and the blue out a little bit there there we go hey not bad before after notice that she's looking pretty good let's see the black i think the blacks will probably just find where we're at i think so so we're going to leave that alone so she's looking pretty good notice we went from a very amber color to her now she has less of that she i think she looks more uh like she would during the day and that's actually what we did we color corrected her for a more of a warmer cast or let's say uh hotter we should say because she has that more of a blue look again before we we shot her using uh uh an amber light so but we can see we can pull it out of her still again that's what this is why it's very important and i know this is something that many of our your professors will will preach to you and i hope you're paying attention to that the fact is um we want to make sure that we properly light everything from the beginning the better we the more that we are uh sensitive to the way our images are looking and that we're lighting it properly from the beginning the less post work we'll have to do and really the post work will just be sweetening things up and that's kind of what i think of this this is more of a sweetening because if i already just finished you know this was the image i'd be fine with that it's a little gold but hey it's fine but the fact that now we can do a nice color image look at that that just looks great because what this also will do is notice that the blues will come out you know some of the other aspects of the color will come to life where here so you know the earth tones will kind of get drowned out now we kind of can see different aspects of the blues and the greens come out a bit more all right so uh we're not done yet though because uh while we did give her more of a cooler cast right again you were talking about that look um you know we still want to give her a little bit of warmth to her as a you know as a person so we're going to open up go to the wrench we're going to do one more thing we're going to do the vector scope and we're going to do the vector scope yuv now uh we we don't wanna do the hls the hls is uh similar it's pretty it's good but we're gonna start with the yuv first the reason why we're gonna work with the yuv and while we're looking at this this is pretty much a color wheel that's why it's a color wheel overall with um with just the color kind of drawn up but we can kind of see it in the background now the re another reason why we're using the yuv um also is because of this line here this is called the skin tone line uh now the default for skin tone line is more towards a caucasian skin color but we can err on you know one side or the other where if we're going more towards the yellow or more towards the red in terms of someone's skin tone um like for me i you know if you're mexican i think it would tend to be in here this is where i kind of tend to cast things but how do we use this and how do we affect this change well what we're going to do is we're going to scroll down or actually i'll just close out curves i'm going to pop into color wheels and match now this is what i like to use and when we're here in color wheels and match we have something called face detection uh make sure that that's checked off remember and then and the examples i'm giving you are the 2020 edition of premiere uh we can skip shadows and highlights in fact depending on on different people you talk to and i've had several conversations with people um some people say like they don't even touch the highlights and shadows they do most of their stuff in the mid tones and maybe shadows but they leave highlights alone and typically if you are again if you are lighting it properly usually in a professional workflow that's correct usually don't even mess with highlights notice again this is the color wheel mimicking the vectorscope and what we want to do then is move this further along this line here i wouldn't be surprised if future versions actually include this line but i believe even davinci is starting to do it so i'm going to move a little bit more left and notice like immediate i don't have to do a lot but i start to see her warm up look at that real nice before after before after see we just gave her a little bit of warmth and i think it's it's a lovely image we kind of broader the life i think very nicely we can maybe give a little bit more and as we do that this uh will start to move creep further along this line see before it's further towards the center after see further along that line there we go very nice but we can even see when i did this it affected even more of this stuff over here as well this is where we are now so again i and if we do it proper from the beginning we notice that it everything looks pretty good though we didn't affect it too much um uh the color is is pretty nice so there you go and it's all set if we go to effects controls it's all being saved here at any point i can hit the reset button and remove all the work that we just did in fact let's do that now boom see that's everything and what i did is i undid it and brought it all back but let's see reset boom reset it everything's back to our zero and if we look at our curves we'll see that everything is back to our zero where everything is started let's undo that and back to where we were so i think uh we did a pretty good job with that that look before and even this before and after i mean huge difference i think huge difference i remember we're applying this uh color correction to the clip at this point all right let's see so we've done that we've done the saturation levels we did the vector scope um here's a fun tip i want to show you guys so let's say that um i used to do this demo also um as part of this lesson where we started talking about looks and luts but before we get into that we'll do one more quick thing it's because it's in the rgb curves area and it's right here under the hue saturation curves hue saturation curves are what can allow you to create these really it's kind of interesting looks it's and uh something like the movie uh pleasantville you might say what's pleasant but well in the movie pleasantville um most uh of life if you haven't seen it it's a fun movie i'd recommend it toby mcguire role um and i think reese witherspoon are both in and then when you and william h macy and jeff daniels and um i forget the the woman who's in it it's from blank anyways the movie is about a couple kids especially this boy it's total mcguire who's addicted to tv he watches this old show that's in black and white called pleasantville um and uh it's one of those movies where like um the two siblings fight over a remote or something and then they both get sucked into the world so one of those like oh no i'm sucked into the world how do i get out kind of things well in the movie everything's in black and white they get thrown into this black and white world and through uh let's say awareness of life and not being so you know it's funny it's a sort of an anti-conservative movie but to say that once you are celebrating life and all the richness of life the world itself starts to turn into color and the people in the world start to see in color and so even in that movie you have certain characters that are in color and you have certain um aspects that are still in black and white interacting back and forth so we can do that also in premiere i'm going to do that with green let's say i'm going to turn everything uh black and white maybe keep this green color over here so the way we do that and with premiere it's pretty easy we're going to go to humor saturation now there's other tools out here that can help you with that as well but we're just going to focus on this one today in the interest of time but we hit the dropper and let's say i want to sample the screen over here and let's say boom and when i did that here's the green that's where it lives everything else is outside now what it did is it added uh three key frames just like when we did our lesson on on change over time but in this case it's going to apply the keyframes to color and i can't even make these keyframes slowly dissolve in the black and white or slowly go from black and white to color watch how i do this so if i get the middle one what i'm doing is i'm emphasizing the green color look at how this became super super bright let's bring it down this is where it was i could also remove all the color so all the saturation from it look at that now this became kind of almost black and white especially this area let's undo that now at the same time i can keep the green color and then pull down the rest of the color around it so let's go ahead and pull down this side look at that and we'll pull down this side look at that pretty cool huh i might want to keep a little bit now what i could also do if i wanted to add more keyframes so i can add more green or keep more you know because of this because i have multiple green but look at that and not only that but just to show you that it works on video it's not just a mask see and there we go that's what it looked like that that's the color correction but there we go now she's in black and white and this is in green yes we can do that as a mask effect and whatnot but isn't this much easier to do it this way so there we go and we can of course just undo that if we don't like it one thing that i've also seen is that you can also double click your any of the keyframes and they'll go away so if you had set some green in here or let's try to do like a brown let's try to let's say i want to keep like a brown color over here look at that there we go and i'm gonna keep a little bit of that and so you know again it's it's obvious very subjective and if i want to remove them i just double click and boom they'll go away so i can always reset it so this is a fun tool to use if you want to play with different aspects of looks and colors emphasize some things make everything black and white and keep it keep one color or you know one of the more famous examples of this if you go out you're shooting a rose and you want the rest of the world with black and white you want the rose to be red well you just sample the red color it'll put it'll put the dots here or here depending on your hue and then you just pull down everything else and there you go you have your red not only that but again to emphasize the screen again to do that as i pull everything down i can also emphasize the green and pull that up see so there you go so again multiple ways of doing that technique so it's a fun one all right so now the very last thing we're going to look at is i was showing you this color correction technique by applying per clip now one more thing we can do is we can work with something called adjustment layers if you've ever worked in photoshop then you've done versions of that it's the same thing an adjustment layer is just um sort of like an empty shell or some or like a section of time that in our case it'll have a certain it'll have a certain color but that you can then apply put effects on and it'll affect everything that's underneath it in terms of the layers so my goal would be then to put a adjustment layer if i want to affect everything under here i want to put it at the top so i'd have to put it like on layer six there this way all the video underneath will get that color look what do i have here bus driver okay i don't even know i was like what is this image what's going on well either way i'm going to put it up here and this way you'll be able to see how it affects everything underneath so what we want to do and let me select my pane i'm going full screen here all right so here is our uh project pane with our different bins and what i'm gonna do is go to the bottom right over here and do new item click on that and there's my adjustment layer and i just click that it's gonna ask me when my video settings are and what it's going to do is really just default to whatever the sequence is so i'll just say okay to that that's fine so here's my adjustment layer at this point i can click on it and call it whatever i want so i'm going to call this one brown layer because i'm going to make everything underneath brown or let's call this one blue layer because i already have a brown layer what do you mean see i already have a folder called adjustment layer so let's put this inside and open that up and i'm going to have something that says make everything brown so let's do that so the way we add adjustment layers is all i do is drag and drop i don't put it on the clip remember i'm going to put it on a layer itself and i want to assign sort of a layer just for that adjustment layer because everything is going to go underneath it okay every or everything that's underneath it will be affected so that's what i want to do i'm going to put it in fact on up here on six because i also want this funky little clip up here to to get colored so we're gonna put make everything brown on layer six boom just like that now i don't see anything right now i'm like well i don't necessarily need it there perhaps because this is just the titles so i just wanted to start right here where the video starts and like i mentioned i wanted to run for the entire length video so i'm going to pull this all the way out so go to the edge pull out the section there we go it actually goes a little bit further there we go now i'm at the very end there we go and there it is so that's what the adjustment layer is see it's as long as it needs to be i can make it as long or as short as i need it to be and everything that'll be underneath it will be affected so there we go the adjustment layer remember i can i can add effects to it i can add blurs i can add animation stuff to that layer and again it'll affect everything that's underneath it so how do i do those adjustment layers well let's close this out let's close out curves because we actually find it under creative so i'm going to open up creative and and i'm going to apply a lut so what is the lut the famous well the uh definition lut is just look up table that's what a letter is a lookup table and it's just a reference to the uh in color information that will be applied to a clip to change that color and if you've ever looked over here in again your effects pane so let's go look at effects i want to show you just how many colors we have so if we look at lumetri presets i'm going and open that up we have all these things that are cinematic film stock monochromatic speed looks and technical cinematic looks here you can drag and drop any of these and apply it immediately to your clip and this is the color that it'll it'll adopt of course in combination with its own existing color palette here are film stock so if you want to kind of mimic a film stock look here's the fuji kodak 695 fuji one two five two three nine five and then um the raila 500d codec2393 and again we can apply all those we have monochromatic looks so we have different types of single color looks speed looks now the speed looks are interesting because we can apply them via different cameras look at these cameras boom boom boom if you have these are predominantly re alexa this is predominantly black magic canon 1d 5d 7d c3 100 500 gopro nikon and red so if you've been shooting on an icon or let's say you're shooting on a nikon and a red and you want your nikon [Music] to look like a red well you can go and find the red that you're shooting on and you can apply the lut to both of your clips and they'll both have that red look to it so it kind of helps match some of your content let's close out cameras let's look at universal so here are kind of universal that don't necessarily have any camera attached to them again you can use those as well let's close up the speed look and let's look at technical um now these are just different uh 12-bit range 8-bit ridge timber reads now this all has to do with the color space and how you recorded and how you filmed it again these are questions typically that you answer in production or in cinematography and this is a setting that you will have set up within your camera in the color space before you started filming so we're not really going to talk about these too much all right so i wanted to show you all those presets and i mean you have all these effects whatnot again check those out at your own leisure when you're ready all right let's get out of here so we're going to look at look and i'm going to click this boom here are all my looks look at that all these so many and these are the looks that are that i have right now in terms of um that are installed in premiere without even adding anything new uh some of you have already gone to different sites like i think it's red giant and whatnot that have uh free luts for students whatnot so that's what they're going to be giving you and you can add them to premiere just follow their instructions we're just going to be using the default set so when i start all i want is i want to make sure i have this selected because it's my adjustment layer so i even my um [Music] paranoia or my uh uh um obsessiveness my compulsiveness requires me to double click it because i want to make sure it gets loaded and then what i'm gonna do is i'm gonna look and uh because i call this one make everything brown let's find one that's like a brown look um one that'll be very obvious let's see matrix blue steel [Music] turn the monochromatic synthespace this one ac is a gold orange let's do gold tobacco because i know that one's very very extreme there we go and now i've added this gold tobacco look to my adjustment layer how do i know it's on everything because if i go forward i can see it's all over all my clips even this uh this bus driver look well how do we know it's true because if i undo creative note look how he will change see he goes back to a blue cast so just by adding uh the lut to the adjustment layer and now it's here i can even move this around see and and even make you know again if i keep adding more clips i can add more to that adjustment layers are very powerful because i can even turn it off any point this way by hitting the uh um the toggle output see there we go if that's i'm not looking at it back on on off on off see and this is also again this is why we balance first because this is not balance this is balanced notice the difference see bright it even looks like she herself has life and is not overwhelmed by that tobacco look and instead she has vibrance to her face she has that lightness to her face especially on the light levels over here and on the skin tone over here this is still blue that's still green where if i don't do the color correction notice that we lose the green we lose the blue there's no vibrancy anymore and then we lose her she kind of almost fades in the background this is why this is your evidence and this is why we always do a color correction uh before we apply our lut and before uh we uh attempt to make any other specific um looks uh and you know and and this is why we're we're also disciplined and don't skip steps okay so this is what i want you guys to do uh when you're applying your looks and your and uh um your luts uh again after you do your color correction all right so that's very important let's see um you can add more of these adjustment layers let's say if you want it to be only for your one clip or if you'd like again if again i've added this clip now and if i look at my effect control um i can reset that color myself if i want a new point like that because again i selected her and i loaded her into my effects over here i can add more though if i want another one of these again i can just go into my [Music] effects and if i want i can just type in the word lumetri so i can add let's see where are you here we go under video effects color correction those lumia colors so i can add another one if i want just by double adding dropping and dropping there's the one that we have and there's the one i just added so right now this color is going to be subordinate to the lumetri color if i want to change that i can always drag and drop and put this up top like this and uh why would i do that well maybe i want to mask her face because i can do that i can create a mask now see like i'm going to show this to you guys really quick let's close our creative let's go back to curb and then on her let's say i want to add a little lightness to her see look how light that can go and let's go back to the scopes because the scopes are really what's going to help us out this is where maybe i can go back to add my waveform luma so i can see how my light will be affected look at this there we go see now i can see where it's changing let's feather her out a little bit look at that and that actually comes out all right if i do that you know i actually like that now the thing about it see she has a little brightness in her face so this is like another technique you can do for example like if you are uh that will mimic adding an extra little spotlight on your actor and let's take it off so you can see what it looks like without it here's what it looks like without it and here's what it looks like with just a little bit see it just adds a little extra now what do you see that's happening and we'll do it this way so you can see it notice that the uh the mask isn't moving well you all know how to do a mask effect so what you can do is you go over here let's say you want to make it move to her face let's go to effect control here's my mask well we want to do a mask path right so we'll turn it on and then as we go forward i want to see what that mask looks like let's select it there we go i moved it over a little bit she moved over so i move it back over and it's really just because she's moving a little bit off and on so there we go so let's see and again that's because i know how to how to do my um uh mask effect so let's let's select that mask effect look how it's going to move it's kind of cool it looks like now it's following your head look at that just doing those simple keyframes gives me enough and that extra little light again it's just going to give me these are the subtle these are the very minor kind of almost uh subliminal types of effects that you add to your show that will again these are the ways you can cause your audience to look at with at certain aspects of your misinsult right of your frame and that's what we're doing this again continuing the theme of manipulation where the audience is looking where i want them to at all times so there you go even as an editor you have control over aspects of the lighting and the cinematography in terms of where you want your audience to look so a very powerful technique and this mask effect what i just did that's that's exactly also how you can do a search in your effects for like a blur so if i did like a little blur um here we can do a channel blur comp umber gaussian blur the vr blur fast blur especially these um um the gaussian blur you can add the gaussian blur and shrink it down and or make it into a mask and there you go that's how you can do then the the old effect for don't look at me you know i'm uh i'm uh you know i'm i'm a character in in a in a uh a cop show and i don't want to show my identity so let's see we bring it put it on on on the actor here let's see where's my my blur there it is i want it to be a mask there's my mask put it on her head let's go from the beginning so we'll start here and then i can because right because it's a blur so i want this to be like with the gaussian blur i want this 100 percent you know i want the blurriness to be at 100 so let's go all the way to 100 there we go i can't see it right and because it's a mask i can you know create a little feather to make it look a little you know a little not as harsh and then what i do again is i do mask path turn it on move it forward a little bit and then i can move it and again if i lose it just tap mask and we know it's correct because every time i move a keyframe will appear there we go and now if i just push play here's what it looks like see now we can't see her identity via gaussian blur there we go so that's how you do that so i gave you guys a lot of cool little techniques a lot of tips this week um and uh even with the effect stuff i mean really at this point it's your imagination um you know um [Music] which can what's also kind of fun again in terms of your imagination remember uh you can uh switch it out uh some of these you can do the inverted where it's the opposite look at that the only thing that's not blurred is her head see and it looks like a very complicated like a more complicated technique than it really is and it's just a matter of just knowing where these tools are so what is the final lesson experiment have fun with this stuff i mean you're only going to be as good as how much you understand where the tools are and how much you want to experiment so go for it uh try these different techniques but remember to go in order um the lesson or how i want you to present your work will be listed so um go at it break a leg and as always i want you to contact me with any questions you may have and go break a leg everyone and yeah have a very very productive week take care

2022-04-11 14:03

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