Color Correction In Premiere Pro Using A Color Card (Premiere Pro Color grading tutorial)
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- čas přidán 6. 07. 2024
- How do you correct colors in Premiere Pro? In this video I show how to use a color checker card in Premiere Pro to correct skin tones and do color correction with a color checker video and you can use this technique with other color cards as well.
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CHAPTERS:
00:00 - How can you correct colors in Premiere Pro?
00:40 - How to film with a color checker card
01:32 - How use color checker card in Premiere Pro
03:30 - How to isolate a color checker card in Lumetri scopes?
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#PremierePro #Filmmaking #ColorGrading
▷ watch HOW TO COLOR GRADE S-LOG3: czcams.com/video/l6RDXArUNqo/video.html
This is the most helpful video to learn color grading in Premiere Pro using a color card that I have found on CZcams. Thanks a ton Jason!
This is the most helpful coloring video I have found! Thank you Jason!
Wow, thanks so much Dale, I really appreciate that - glad I could be of help :)
Great tutorial - exactly the video I was looking for to help with my new colour checker! Thanks.
Glad it was helpful Ben - thanks :)
Thank You Jason for so so great video !! Best tutorial for Color grading.
That's so great to hear - thanks!! Glad to help :)
Thanks for this tutorial, it was very clear!
That's so great to hear - thanks :)
YO! This is one helluva tutorial. Thank you Bud.
No problem!! - Glad to be of help :)
Thank you Jason! Great lesson
My pleasure Andrew - glad you liked it :)
Just NAILED my color correction thanks to you, Jason. Thank you!
Great to hear Jon :)
Super helpful, thank you!
Thanks so much :)
this is a great video, thanks so much for taking the time to make it.
You're so welcome - glad it was helpful! :) :)
Excellent video!! This is the most simple explanation I’ve seen using that product…and I’ve watched over a dozen!!
Thanks so much, that' so great to hear, glad it helped :) Would be nice if the CZcams algorithm picked up on this fact and shared it with more people!! :) All the best, Jason.
@@JasonRobertsVideo One can only hope!! I guess the good news is that I caught you early enough to reply to plebs like me…haha. Seriously, though, loved it and will be sifting through your others since I liked this one so much!
Thanks so much Jason - I really appreciate the support :)
So helpful wow!
Awesome - thanks - glad it helped :) :)
After hours searching, I FINALLY FOUND YOU!! THANKS!! (sorry for the upper cases, i am excited and happy!!)
Thanks Felix - this makes me so happy to hear - glad to have helped :)
great video; thanks for sharing!
You're welcome - thanks :)
Good explanation. Thanks
You're welcome - glad I could help :)
Pretty cool. My ProRes Raw shot looks amazing now! Thanks :)
Yay! - that's so great to hear :) :)
Excellent tutorial, straight forward easy to follow. Helped me match two vastly different cameras - a blackmagic micro cinema and a canon xa40.
That's great to hear David - thanks :)
Gonna try this with my Colorjacker
Cool! :) :)
Nice work Jason
Thank you so much! :)
Thank you this video help me so much 😁
You’re welcome 😊
brilliant!
Thanks :) :)
Thanks 👍👍👍
You're welcome! :)
Very good.
Thanks! :) :)
I’m curious, why did you adjust your middle grey to 41? That’s the IRE value for slog3 but you’d already applied the lut to be working in rec709? You put the white bar at 90, which is the 709 value. Am I missing something 🤷🏻♂️
Very helpful!👍♿
Thanks - glad to help :)
Do you know how to add a adjustment layer to a single layer and not all? I do green screen and I dont want it to color correct my background.
Hi - you could used nested sequences for this :)
Hey Jason, I filmed in S-LOG3 although ordered the photo color card. I'm a little stuck at how to isolate the color checker as the two leaves of the x-rite in the shot are white and grey (followed by the next page which is color boxes.) I appreciate the advice.
Hi David, I'm not sure I understand the question sorry, you can use the crop effect to isolate the area of color boxes if that's what you mean?
@@JasonRobertsVideo Yes, but there's no black on the white and grey page of the color checker (there is a black square on the next page with the colored boxes.)
@@JasonRobertsVideo Is there a way to be in touch directly? Am just on a deadline
@@JasonRobertsVideo It's cool. I figured it out
What about if you're using a Red Komodo? do you have a rec709 lut out? Maybe a dumb question
Never used one so don't know - ultimately you will need to source footage to rec.709 if that's what you're targeting (assuming incoming footage is not already 709)
I'm confused..lol. normally I would just raise the saturation level in the Hue vs Sat and then continue aligning the colors to the vector scope. I was re-watching your vide today since it's been so long as I was forwarding this to an editor and I heard you mention about dropping in a Lut over S-Log...So I thought maybe you know of a Lut for the Komodo.... Other than that awesome video..I appreciate your time making this video and thank you for writing me back.@@JasonRobertsVideo
Why there is no plugin or official program like in DaVinci Resolve - when you do it i 1 click all corrections :(
Don't know - maybe Adobe will add it to Premiere one day
At 2:49 you added a lut before you did the color correction. Don't you normally want to add the lut after you've done the color correction? Great videos, thanks!
Hi and thanks! Depends on what workflow you are using I think and what working color space yo are working in, for example in DaVinci Resolve you can setup a pipeline where you're color correction/grading happens in a HUGE color space and then get's converted to eg Rec.709 at the end - check these 2 vids that explain it more: czcams.com/video/pfg1bekE1lI/video.html czcams.com/video/-IZHSPkCnmg/video.html
I'm working in premiere, would I apply the lut before color correction like you did in this video. It seemed to work for you, but I've heard others say that you shouldn't do that. Thanks for the previous response! @@JasonRobertsVideo
There's an in-depth read on it here: community.adobe.com/t5/premiere-pro-discussions/faq-premiere-pro-2022-color-management-for-log-raw-media/m-p/12711183/page/2 I think since using resolve I would try and approach any Premiere Pro color grading work differently now and try and "recreate" the nodes pipeline mentality in Premiere where I would try and simulate taking the log footage into the widest color space (not sure if Premiere has a DaVinci Wide Gamut/Intermediate equivalent) - do correction/grading in this larger space and the have a technical conversion lut eg to Rec.709 at the end - so in this way you would be "grading under" the rec 709 lut ant the end. The usefulness of this approach will depend on how far you are "pushing" your log footage - if you're just maybe adding a bit of contrast and some minor color correction then this approach might not give you a big enough benefit for the complexity. Also depends on the "quality" of the log footage, for example if it's 4:2:2 10-bit color vs 4:0:0 8-biy color etc. I would test both ways and look for artifacts and if there is no difference then use whichever. In Resolve I have the technical conversion/CST happen at the end of the chain - Resolve Color Management workflow makes this super easy, I don't even need a rec.709 LUT file - it's built in.
Thank you so much Jason. This is incredibly helpful!!
@@JasonRobertsVideo
You're welcome :)
Whats funny about this video is the skin tone on the card looks way better than the skin tone on the person. The neutrals are PERFECT,....this was exposed correctly using the correct lut at the correct ire....but i think an extra step is needed to just match actual skin tones with the ones on the chart
Yeah, I see using the chart as the first step to get a base image and then use that as a foundation for the rest of the grade, I should have made more time (or another video) to actually grade the image a bit more and get it looking awesome!
the only downside with the card method you cannot get any benefits from it in harsh weather conditions or sunset, sunrise senarios
I still dont understand why on earth the luma scopes have the markers so far out... makes no sense to me as the colour is clipping HARD before then. Why not have a 'about halfway' marker? Honestly it's such terrible UI/UX I'm amazed it hasn't changed in so long. Moreover, why hasn't this been automated yet like it has in DaVinci?
Don't know! I'm guessing color grading professionals is not the target audience given the amazing color tools in Resolve.
Use the MBR Color Corrector instead
That's ok if you're happy to install (and pay for) the plugin in Premiere Pro - It's a shame Premiere Pro doesn't have this built in like Resolve's Color Match tool. Maybe I should make a vid on a manual correction using the technique in this video and then compare it to a MRB match :)
@@JasonRobertsVideo The trial version is just fine to do most stuff you did in this video. Only thing is, that you can't control the whites and blacks. Agree on your demand with a Color Matching tool for Adobe, but hey, we're talking Adobe..
Cool - thanks :)
results are better before cc XD
Color correction is only the first step and is not meant to produce a "pleasing" image but a "neutral/correct" image from where to start color grading which is the fun creative bit :)
That video is enormously bad for me. Now i need such a card and more time to correct my video "foodidge" ;)
Sorry :) You can use other techniques to get skin tones looking better without using a color card - I'll cover that in a future video if that would be helpful?
@@JasonRobertsVideo i think i am going to get the card, but the video you can do anyways, maybe someone will be glad.
Cool - thanks :)
@@JasonRobertsVideo now i got the card and did a test, but i think the colors are to "harsh", is there a way to get them smoother but correct too?
@@rae2-j Hi - color correction is just the first step to get them "accurate"/correct. Once you've corrected with the color card that gives you the starting point for color grading. Color grading is where you make it look "nice"/dramatic/the feeling you want to give.