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The Fast And Easy Way To Colour Balance With X-rite In Premiere Pro
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- čas přidán 14. 08. 2024
- Learn the fast and easy way to colour balance in Premiere Pro with the X-Rite ColorChecker.
⇊⇊ Timestamps ⇊⇊
00:00 Welcome and Intro
02:27 Correct White balance using RGB Parade and white balance tool.
04:58 Correct contrast using RGB parade and Color Wheels and Match
07:25 Correct colour using Vectorscope YUV and Hue Saturation Curves.
12:36 Outtro
#PremiereTutorial #PremiereHowTo #HowToVideo
Getting accurate colour in Premiere pro is super easy if you have the right tools: like a ColorChecker Video by X-Rite! Today, I walk through the process of how to get a great colour balance to your footage.
X-Rite state the middle grey is 40 IRE, what's the reason for using 30?
@@scottburgess2263 hey mate - wow, talk about a blast from the past.
Someone else asked a similar question about a year ago: let me share my reply with you as well.
"Great pick up. It's an older video, and my usage of colour checker was based on a broadcast TV standard- which is 0, 30, 60, 100. But you're correct... the mid swatch is 40- 50 IRE. So expose to that instead. Easy."
I hope that makes sense, and thanks so much for still being interested for three years after I posted this!
you are the best in all youtube💪
Appreciate the love.
Thank you. What a clear and quick overview of what can be a daunting subject. Will look forward to the videos of her walking around!
Thanks Doug. Glad it could help, and appreciate the comment.
This was really helpful.Thanks man and good luck with the family
Thanks for the wishes! And glad it was helpful. :)
This was super helpful. Thank you!
A pleasure.
Superb video - best one I've seen on this subject. Thank you. Congrats by the way.....
Thanks so much Andy! Super glad you found it useful. :)
I'm late to the party, but here I go:
[First thanks for the awsome video!]
Regarding the grey values and setting the contrast right:
- You are recommending to set the values to ca. 0/30/60/100
- Some xRite "documentation" says 0-10/20-30/40-50/90-100
- The xRite guy (!) in some tutorial says something about midtones (two middle main swatches) to 20 and 50
- Some other random dude sets everything to 0/25/50/90
If I take the extra srip of greys on the panel into account - which is claimed by the xRite "document" to help adjust the area of 20 to 90 (?!) - I must come to the conclusion (by eyeballing) that the main stripes are at percentage values of (black to white) 0/30(or 20?)/50/100, while the extra column with the smaller swatches are 0/10/60/70/80/90/100.
I have to say it is very confusing. Why do you chose 60? I'm pretty sure that the second lightest main swatch is maximum 50% lightness.
And about the vectorscope correction: Do you recon it to be a valid workflow of putting all the colors "into the boxes" at first (via curves) and afterwards taking down the general saturation to achieve the 50% target? Or can this somehow skewer the color relationships again (OK, the this I can and will try out, but I'm trying to create a record for history here...).
Thanks for your work!
Great pick up. It's an older video, and my usage of colour checker was based on a broadcast TV standard- which is 0, 30, 60, 100. But you're correct... the mid swatch is 40- 50 IRE. So expose to that instead. Easy.
And as a process I always adjust exposure first before tweaking the colour: but as you said, try it the other way and see if it works better.
And lastly... tbh... I've started using Resolve for colour adjustments. I find the nodes easy to work with, and the results are great.
I think this is very useful. I used to use my colour checker to match cameras. Now I have three of the same cameras so I have gotten a little lazy. For challenging colour correction, I have been using Resolve but I really appreciate you showing me ways to use PP to get better colour. I use PP for my editing because it seems to be better for multicam.
Oh, Resolve absolutely wipes the floor with colour matching. But if we are used to PP, then it is a steep learning curve trying to understand nodes and power windows and the like. That was why I made this video really... and glad it can remain helpful, even though there are admittedly better ways of doing it. :)
Super Danke
Thrilled it was of use.
Thanks so much man. This was really helpful. I never understood the color charts before. Cheers!
Happy it's helped!
Same for me😅
I'm actually using Davinci but your info transposes to it. Great info, thanks for sharing, cheers :)
It's such a useful tool! Glad the process is similar enough for the vid to have been helpful!
Thx and clearly.
Glad it helped!!
Very helful
Glad it helped!
congratulations on your life rendering!
To exporting a baby should change life 180° of angle, but she must be lucky to have a father like you :)
(Must be an amazing feeling too!)
Thank you so much for such an amazing and simple video,
It was so easy to get into and learn details, Arigatou gozaimasu.
Thanks for the kind words... and you are very welcome! Glad to help.
Is there a way to set up Premier so that you can use the Vector Scope and drag the tips of the color into each color box instead of "eye-balling" it to 1/2 way? DaVinici has a box to check so it does a 50% compensation in the scope so you can use, accurately, the boxes in each color to have tips land inside of. Is there a way to do it in Premier as well?
TBH, that'd be awesome! I don't think that's a feature in PP yet though. And maybe it comes down to DaVinci being a colour grading software 1st, and editing 2nd...? PP has always been editing 1st, and colour has been added along the way.
I've been told that the white of the card should be at 90 IRE and (super) black with no reflection is around 7.3 IRE.
If that is for broadcast TV, then that probably tracks TBH. So run with that if it best suits your needs mate, for sure.
Hello and thankyou for the video. I noticed when you was setting the black & white levels you said right on black on 0 and white on 100. This is what I was taught as well however another person on his chanel said white at 80 !!! I find this hard to believe but perhaps I've missed something. You might be interested in watching the video.
Thankyou 😊
Somehow missed this comment Dobos! Sorry mate. Yeah, white at 100 is the max broadcast TV standard. In most instances they'd balance to that, then back off 5% to ensure broadcast safety. Saying we should white balance a full 20% down is, humbly, ridiculous though.
How would you apply this to all of your footage clips filmed under the same conditions at once? By nesting them and then adjusting the nest?
Absolutely! Though i would be personally inclined to copy the Lumetri colour and paste it to all those clips just in case i need to tweak some of them individually to really dial it in. Also, that way, when nested (or when using adjustment layers), i can apply a colour grading effect to the whole project from there.
Perfect video !
Got yourself a new subcriber !
Have you use or see the MBR color corrector 3 Plugin (mattroberts) to quickly match the color without doing it manually in adobe premiere ?
Thanks for the tip! I'll definitely check it out!
Great video! Thank you. Just to clarify, the Wagon wheel on the Vectorscope isn't going to be symetrical, because the Green and Magenta legs will be just a bit longer, correct?
And if I'm adding a REC709 LUT (in my case to .BRAW), I should do that first before any CC, correct?
yes, I think that because the wagon wheel is the mathematically correct lengths - each colour ought to represent what we might consider true colour.
And as to your question about the LUT. I don't use them all that often... but I have heard it said that Result = Source Material + LUT. SO, on that basis, if the colour space you plan on using is Rec 709, then it makes sense to apply that first. And when I play out this correction in Resolve, I actually do that too: the first serial node is just about confirming the colour space of the footage.
Very helful ~~~~~~~~~~!
Thanks so much.
I have not used Premiere Pro after Final Cut X but I wished you have shown applying this color correction to the actual video clip that needs this correction.
Hi Don, thanks for commenting. And I hear what you are saying! Though I also think that if we have a piece of kit like the color checker, then we should use it to capture close to correct colour in the first place. That way, this post production technique is really just about fine tuning, and not outright colour change.
gr8. tnx
You're welcome!
cool
Thanks!
Thank you, great tutorial! Would this also work with the passport photo?
Thanks so much! And yes, it should. All the Xrite colour checkers - passport, video, xl video, etc etc - use the same 'tech'... so the principle application ought to be the same.
@@Waiting2BScene Thank you!
What are the other colors use for?
The other colours (on the same swatch side) represent lower saturation level (50 saturation of the first swatches). And then on the other side of the ColorChecker there are skin tone swatches, so you can compare with your talent.
Hi, can we actually use the colour side of the chart to do the white balance? ie can we use the 2nd row from the top (the light grey or is it 18%)? Is it effectively the same as the white balance side of the card?
Hey Danny: oh yeah, you could try using the white card on the colour swatch side of the checker to get a white balance, for sure. I wouldn't recommend the first grey swatch though, as that is 60% grey when exposed correctly. It'd be too dark.
@@Waiting2BScene Thank you! I have the Colour checker grayscale - which only has 3 scales (white, Gray and black) - is it better to use the Gray over the white?
I haven't seen that bit of kit: so I did some checking. Very useful still! I would suggest using the white swatch for the white balance: use the grey swatch to help you with establishing exposure levels instead.
@@Waiting2BScene Thanks so much! Yeah I wasn't sure if I could use the grey, because it does claim its 'neutral' but I'll go with using white as you suggested.
Additionally, can you please also check and let me know if the 'X-rite ColorChecker White Balance' (I believe it's a grey colour swatch) will provide better results? I'm just wondering whether it's just a larger version of one of the swatches on the ColorChecker Grayscale?
@@itsdannyftw - the neutral that they talk about is the amount of spectral reflection that we get bounced back to the camera. So, the card won't absorb blue light and bounce back a little less blue, for example.
And yeah mate, that white balance card is awesome. Exactly the same as the white on the greyscale card, and the full colorchecker for that matter: just the white at a large size (i think it's almost 30cm).
Doing this for a roll of film makes sense, but with video you've only calibrated the shot that has the colorchecker IN it... nothing else
Thanks for your input! I'd disagree somewhat though, as you would use the colorchecker in every new scene in order to ensure consistency. At least, that's how I've done it. Though I confess it gets tricky if you find yourself using cameras that use different colour science (eg, Sony v Canon).
I am not sure if I can trust it based on how this video looks
Thanks for your input Emad. The ColorCheckers are an industry recognised tool: but you are under no compulsion to use it, or to use my technique. Perhaps you could try it in Da Vinci Resolve: you might find it has better results for what you are looking for. All the best!
Bad results on your video
Thanks for your feedback. Personally, I have moved to colour balancing in Resolve. But this is not a video for colour GRADING. Just ensuring it was technically colour arcuate. And that that end, it was.