PDF-chapter on Color Grading in Premiere Pro
Finally, the first complete chapter from The Cool Stuff in Premiere Pro is ready for download! Using the techniques explained on these 69 pages on Color Grading in Premiere Pro will bring your film to a new level of awesome!
Download the PDF file below and learn everything about Primary and Secondary Color Correction, Shot Matching, Creating Looks, Using the scopes, Color Correction Workflow, Memory Colors, Masks, Vignettes, Qualifiers, using Presets, dealing with LOG material, grading ARRIRAW, CinemaDNG and REDRAW, Sky fixes, and much, much more!
Primary and secondary color correction explained
Learn how to properly adjust the color balance, contrast and levels and how to use masks and qualifiers to separately tweak specific areas or colors in the image. You’ll learn how to use the scopes to take the guesswork out of your color grading and how to grade different types of material, including DSLR recordings, footage shot on RED, Arri and the BlackMagic Digital Cinema Camera.
Create your own Looks and presets
Looks creation in Premiere is dealt with in great detail, with four methods for achieving the oh-so-popular Bleach Bypass and Teal & Orange looks. Cross process looks, Black & White, Blooming Whites, Sepia and Color Negative are also explained – and you’ll even learn how to make more commonly used presets like Cooling and Warming Filters and Highlight Roll-Off.
Read it on your favorite device
The chapter is available as a standard password protected PDF file. You can read it on Mac, PC, iPad, iPhone, Android devices or any other compatible device. The images are stored in high resolution so you can zoom in to see the details even on a small screen. Read more about using iTunes to get your PDF files into iBooks.
Download the chapter now! Only NOK 50.00 (about US $9.00)
You’ll be sent an e-mail with a personal download link.
This chapter is now obsolete. The chapter has been updated to cover more features added to Premiere Pro since this was released, and is now part of the book. Read more about The Cool Stuff in Premiere Pro here.
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Table of content
If your film isn’t graded, it isn’t finished
It’s not black magic
You can use the monitor you have
Color correction, grading or look design?
Why color grade in Premiere?
Dedicated grading software forces a convoluted workflow
Is this chapter for you?
How much can you push it?
8-bit or 10-bit?
Karl’s “clicks on a knob” analogy
LIN, LOG and RAW formats explained
Why we get clipped highlights and crushed and noisy blacks
How cameras interpret image data
Linear image capture
LOG image capture to the rescue
LOG is basically a gamma curve
What about LUTs?
Tweaking the camera settings
Standard gamma settings
Cine-like gamma settings
LOG space if possible
Expose to the right
Working with LOG material
Working with ARRIRAW material
REDCODE RAW Workflow
32 bit magic
It’s a matter of accuracy
Please don’t transcode (Box-out?)
See the 32-bit magic in action
Clipped and crushed levels
GPU accelerated color precision explained
Multi-generation production workflows
Using the scopes
The Reference Monitor
Scopes in real-time
Scopes don’t lie, do they?
YC Waveform Scope for Noobs
Vector Scope for Noobs
RGB Parade Scope for Noobs
Cropping for accurate measurement
Title for accurate measurement
Using the Histogram
Miss the Y′CBCR Parade scope in this walkthrough?
Accurate vs. pleasing
Color correction workflow overview
1: Decide what’s important in the frame
2: Make primary corrections
3: Make secondary corrections (optional)
4: Create a look (optional)
This order is not accidental!
Adjustment Layers as Grading Tracks
Know when to stop
Workflow for primary color correction
Setting Black and White Levels
Setting midtone contrast
Lift, gamma, gain
Avoid Brightness & Contrast (Boxout)
Curves – my grading tool of choice
Why I like Curves so much
Don’t take my word for it
The versatile Three-way Color Corrector
How much is enough?
Keyframed color correction (boxout)
Foliage and grass
Perceived color and contrast
Secondary Color Correction
CTRL samples 5×5 (boxout)
Blur your matte
Masks and shapes
Moving mattes and manual tracking
Center your masks box-out
Track it in AE
Workaround for variable feathering
Vignette using Circle
Vignettes with style
A highly flexible vignette approach
Combine Qualifiers and shapes
Multiple monitor panel set-up
Procedure for matching shots
Step 1: Set your workspace
Step 2: Find a hero shot
Step 3: Adjust the clips using scopes and your eyes
Step 4: Play the whole piece
Walkthrough of a simple shot matching job
Miscellaneous tips on shot matching
Are more fixes needed?
Reuse the grades
Balance, then stylize
Find all instances of a clip in the timeline
Fixing problematic video
Flat and dull images
Pushing skin tones
Add some blue sky
Get back the blue sky
Relighting an image
Changing autumn to summer
Don’t fake it too much
Achieving a “look”
Teal & Orange
Presets – your secret weapon
More useful presets you may need
Black & White
Warming and Cooling filters
Warm and Cool Highlights
Blue, blurred highs
Day for night
Additional tips on color grading
Kuler is your friend
Use textures to add lighting effects
Don’t make color grading your only tool