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in this tutorial you will learn how to

transform a very boring and dull shot

and do something more cinematic like

this! We're going to take a look at three

stages, first of all we're going to start

with some basic color Corrections and

take a look at what contrast actually is

then have a look at color theory and how

we can do grading and finally we'll have

a look at some more advanced techniques

like masking and blending to really make

the difference so let's get started

Oh

what's up guys it's Jordy here for cinecom

dot net and let's just dive right into

it because as you can see it's a little

long tutorial and that's because it

exists at a three parts like you've

heard me saying in the beginning so

we've got your original shots right here

in the timeline the very first thing

that we want to do is add contrast to it

this here was shot very flat as you can

see for those who wonder it was shot and

a gh4 in the V lock profile now what you

want to do to create that cinematic look

is always make sure that you are

shooting as flat as possible because you

want to avoid having over or

underexposed spots in your shot at any

time and with that I mean that for

example your camera scarf you want to

make sure that that is exposed well that

this is not over exposed but also here

her coat that these darker parts over

here are not under exposed and that's

what really makes that film look so in

other words if your shot wasn't exposed

correctly then it's very hard to get

that cinematic look so this shot here is

perfect so let's start with the contrast

of this shot I'm going to open up the

lumetri color panel here on the

right side you can't see that you can

always head over to window here on top

and just select lumetri and it

should be somewhere right here click on

that and that will open up this panel

that gives you several options to do the

color Corrections and we're going to

start with basic color correction as you

can see right here you've got to be

contrast slider but there are a lot more

tools like the highlights shadows whites

and blacks and all these controls right

here are going to help you with setting

that contrast there is a very big

difference between contrast and

cinematic contrast now to explain that

I'm going to go to this image right here

first and this will allow me to explain

these controls here a bit further as you

can see we've gotten highlights slider

we've got a white slider now we've got a

shadows and a black slider now all of

these are different you might think all

the highlights and a whites aren't that

the same well not exactly and I could

visually show you exactly what they do

by opening up lumetri scopes again

this window can be found from your

window menu you're on top lumetri

scopes for right here now you want to

make sure that you are and you wave form

view you can change to that from this

little icon here this little tool by

clicking on that and then just select

waveform RGB

be now I'm not going to go too deep into

this that's a different story we're just

going to color great without these

scopes for now but basically what this

represents is how much exposed each part

is in your shot and you can clearly see

all of these steps right here that come

back in this image over here so that

means the white area is your on top

which is at one-hundred percent in any

black area is all the way you're on the

right site which is at zero percent and

everything else sits in between so that

means if I'm going to increase for

example the exposure of this shot you

will see that all of these steps also

increase an exposure and if I will lower

that the other thing will happen of

course and by the way always double

click on any of these controls to reset

that value let me show you the

difference between the shadows and the

blacks the shadows work a bit more

underneath the blacks and it will

usually also take a lot more of the

middle tones which lay here around these

fifty percent if I'm going to increase

that shadow slider or just move it up

and down you will see that these three

spots are going up and down as well as

this spot over here which represents

already the second rectangle here so the

shadows are going to work more here on

this area as I'm moving this up and down

now let's see what happens when I'm

going to move the blacks up and down you

will see that the more darker spots are

affected now and the one here on top the

more brighter spots a lot less so the

blacks are going to work more here in

the right side the real blacks as the

shadows like the name says are going to

work more on those shadows instead of

the real blacks now your wife and your

highlights work exactly the same the

right side here more unless site while

the highlights here set more on the

middle left side so now that we know how

this works we know how to do it as well

on the actual clip and just go to close

to elementary scopes because like I said

before that's a whole different chapter

so which are clip selected the very

first thing that I want to do is

actually add a bit more contrast with

this contrast slider and that's because

it was just shot a very flat so we're

going to have to add a lot of contrast

to make it look natural the next thing

that I want to do is crush those blacks

but make sure that we are not going to

underexpose anything to make sure to

look at the code here of Kim and the

same thing is going to have

40 white also increase that that will

give us a really nice contrast but as

for doing this be careful though that

you're not going to make those brighter

spots flat and the same thing goes for

the dark spots as well so what I usually

do to preserve those details is increase

the shadows but decrease the blacks and

that will really make sure to have a

nice contrast and that's difference

between a more video ish contrast and a

film look or cinematic contrast always

preserve those details the same thing

goes for the highlights here as well

bring that down as you can look here or

scarf it's starting to look a bit more

natural as we're doing this but we're

still keeping that bunch as we're

increasing the whites and the blacks

which are laying more on the outer sides

of the exposure spectrum now finally if

it's necessary you might want to

increase the exposure as well but as

you're doing this know that you are

making it flatter to so then again you

have to add some more contrast and you

can do that by either working on those

blacks or just moving that overall

contrast slider but be careful though

with this overall contrast slider again

only do that if your shots are very flat

alright so that was the very first part

on how to add more cinematic contrast to

your shot the next step is going to be

the grading we're going to work with

actual colors now and the first thing

might be the saturation now this is

always the second step because if you

are going to change the contrast also

the saturation will be affected so

that's why we're going to do the

saturation after the contrast so let me

just increase that a tiny bit not too

much not really big fan of adding too

much saturation it's not really that

filmic so perhaps you might want to

decrease that depending on your shot

once you're satisfied and there are some

colors in your shot we're going to head

over to the color wheels inside limitary

and here is where that magic is going to

happen we're going to create even more

contrast with these controls there's

going to be a different kind of contrast

we're talking about color contrast now

if you have to mention here when we talk

about color grading adding a certain

look and feel to your shot for any

project or for any personal preference

that is going to be different of course

I just want to show you one of the very

basics and that is

contrast but there are of course many

other techniques but i believe so this

is considered one of the more basics one

in colored rating to get that cinematic

look so we see these three levels here

the shadows mid-tones and highlights

we've seen before what exactly that they

are for the shadows so what I'm going to

do is add some blue into this and the

reason for it is that the color blue

fits more towards darkness 2 nite seems

to anything that is kind of bad

something that we want to stay away from

and I'm really seeing it a bit more

exaggerated but that's what fits with

shadows so let me just bring that

midpoint to the blue side like that all

right away you will see that the image

looks way too blue so we're going to

lift that up with the mid-tones and

we're going to work on the other side

and that's what I mean with color

contrast we're going to make two

opposite colors as you can see day late

on the opposite side of each shutter so

let me just add that orange into it and

you want to take a look at the skin tone

in this shot here make sure that they

look natural that assup magenta nor

green you want to add nice skin tones

something like this and finally this is

the last step which highlights we've

been shifting these colors here blue and

yellow but something very important is

that you have to look at your whites at

any time and in this case that's game

third scarf so first cart now is

starting to look yellowish or the sky

you're on top because we exchange that

any mid tones make sure to bring that

back to white we can do that by bringing

this to the opposite side so in this

case it's all pretty okay but you might

want to bring the highlights a bit more

to the blue sides here if necessary to

make those white area real white now

let's have a look at sea before and the

after and you can see that we've already

done a pretty damn good job here we've

got a rich contrast and that's basically

just done by adding two different colors

in the shadows and and emissions now

these were any more basic tips they're

definitely stay tuned here after the

break we're going to take a look at some

more advanced tricks and that is really

going to make a difference and make

those shots pop like in those cinematic

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need hey folks welcome back so the next

thing that we want to do is make sure

that Kim is going to pop out in this

scene you want to draw attention to the

subject so what we are going to do is

lift up those highlights even more to

make it real Bob know do work

specifically on your subject to we have

to actually cut her out and create a

mask to do that simply select your Clips

hold down the Alt key on your keyboard

and drag that clip to channel number two

and that will make a duplication of it

but also it will duplicate the gratings

that we have done fryer now let me head

over to be effects controls here on top

and from the audacity over here we're

going to locate the pen tool this year's

going to allow us to create a mask

around Kim now very important is that

you are going to start in the beginning

of this clip let me take the pen tool

here that allows me to create multiple

points around skim and connect these

lines now it's not that important if

your mask isn't done so correctly you

can go pretty rough over this you will

see in just minutes why that is

something like this and I'm going to set

this for a moment to twenty-five percent

because very important here is that you

are going to go outside of the canvas

because else you might see a little line

here on the bottom there we go now this

mask has to move also together with Kim

so we are going to track that and that's

why you have to be in the beginning of

this clip just press the play button

here under mask pass the mask that

you've just created and that will start

creating keyframes as you see and to

attract that together with Kim and if

everything goes well that mask should

stay on her if something goes wrong just

hit that stop button and i just renewed

it all right so tracking has been done

and as you can see the masked follow

sure pretty good if i'm going to disable

here the layer below Kim you will see

how the mask actually work so we've got

our isolated right now and that is

perfect because what we want to do now

on Kim here is maker pop even more go to

go into the

basic color Corrections and there are

different things that we can do for

example we can increase the exposure if

you like so that will brighten it up a

little bit more making her stand out a

bit more but we can also work on the

contrast for example here on the whites

i'm just going to increase that even

more to make your scarf pop outs but

again make sure that you are not going

to overexpose this that's a bit more

contrast as well bring down those blacks

so as you can see there's a lot of

contrast now on Kim and if you are going

to take a look at the before and the

after you can see what that does to her

and how that makes your pup out from the

background and by selecting and treating

these different parts you can really

guide the viewer to those spots now very

important as well if your mask is

getting visible make sure to fetter that

as well so in your effects controls here

underneath your mask you will see a

better option make sure to increase that

a little bit so that you won't see that

there's any mask here basically at any

cost you want a voice that people notice

your Guler gratings so if your mask is

visible then perhaps change something in

here just never do anything drastic in

here that's something that you should

have done in your original clip here

down below alright we're going to create

another mask skin tones is something

very important when you get your skin

tones right you got awesome footage so

again I'm going to grab the layer on top

here on which we've just added that more

contrast with that mask here as well and

I'm going to duplicate that again by

holding down the Alt key on my keyboard

drag that to channel number three now it

has copied everything so I'm going to

delete the mask around Kim first because

now I want to work specifically on her

face so again grab that pen tool here

and I'm going to zoom in a tiny bit more

on Kim something like this and just draw

a path around her face make sure to only

select the skin tones usually that's

also the neck of the person right here

again it doesn't have to be that perfect

but you do want to do your best as

quickly as possible there we go we've

got it selected we are in the beginning

of the clip hit that play button and

that will track it again if you're

tracking goes wrong dress that stop

button to adjust but don't mind it too

much as you can see here we are a bit

honda line of camera face but that

doesn't really matter that

there we go we've got her face isolate

it right now the tracking went pretty

well and here comes the magic now we're

going to add a bit more warmth into Kim

her face we can do that with you

temperature slider now this is something

that you shouldn't do on the overall

image because that is really going to

push that yellowish color in every tone

and your highlights in the blacks or the

shadows everywhere so that's why I'm

always very careful with this

temperature slider but it does work

great on skin tones as you can see that

really makes your pup out you can also

work with the saturation year and so it

also works very well is just adding more

contrast as you see we are adding

different layers of contrast where the

background has the littles contrast her

body a bit more interface gets the most

contrast that really makes your pop out

and pull the viewer towards her another

great setting is when you go into the

creative tab here is to increase the

sharpness to make her face more sharpen

and I'm doing that specifically on our

face because real sharp footage isn't

considered that cinematic so you want to

be careful with this slider here as well

if you are going to use that make sure

to use that on specific points because

you don't want you sharp moon stuff that

it's out of focus like the background

here so once that is done again make

sure to perhaps increase the feder a bit

more of that mask if that is necessary

so have a look at this year she looks

great let me just show you the before

and the after of those skin tones isn't

that awesome all rights we are almost

through which we are done with color

grading Kim but there is a bit more that

we can do about the environment again to

pull the attention towards her the scene

is still pretty dull that's because we

don't really have much colors here in

the background so on so what I'm going

to do here is create a custom lens flare

we've got those highlights here on top

and that is great we're going to use

that to create some sort of a son that

is casting light on Kim and to do that

I'm going to create a new salt you can

do that here from the bottom below from

your projects panel click on that and

select the color matte from here press

ok and if we're going to select a very

orangie color mass something like this

press ok and just give that any name for

example the Sun press ok

and drag that layer on top of everything

and we're going to create a mask on this

son I'm going to set the scale here for

a moment to twenty-five percent and I'm

going to disable that layer to so they

can see where i am drawing this make

sure that you have that layer selected

even if it's disabled two can still work

on that I'm going to grab the pen tool

under the opacity and going to draw a

quick triangle something like this I'm

going to enable that layer again so they

can see what I'm doing and what you want

to do now is increase that better a lot

but really a lot something like this now

it doesn't look right yet and that's

because we have to blend this layer 2

under the audacity here we can find to

the blend mode click on that that allows

you to select from different blend modes

we can choose something like an ads

which is very strong or like a screen

which is more softer but I've seen that

it works best with the color dodge over

here that will blow out these highlights

just a tiny bit which makes it look more

like the Sun is there of course the

effect is a bit too much at the moment

so what I'm going to do is just bring

down your fafsa tea and you just want to

add like this tiny bit of warmth coming

through you three something around

twenty four percent looks already pretty

good as you can see and since this mask

is fettered so much we don't have to

track that or animated perhaps if you

are fanning a lot you might want to play

with the position as well keyframe that

too but if you have like this very slow

handheld shot and you don't have to do

that this looks pretty awesome and then

there's one last thing that we have to

do we're almost there guys so stay with

me here you are seeing a lot today I'm

going to grab the clip here down below

where we had the original draining or

color correction on and hold down the

Alt key to make a duplication again and

we go to drag that's to channel number 5

now also in year we're going to create a

mask again so select that layer head

over to the audacity grab your pencil

and again we're going to cut out a

corner from this clip something like

this since we've got this part you're

isolated what we can do now is go into

the basic color correction and bring

down that exposure a tiny bit not too

much just a very tiny bit and what you

also want to do perhaps

add a bit more bluish into that see what

we are doing here again we're adding

yellow or orange to less site and blue

to more darkness to the right site again

here we have that color contrast we're

making this site a bit darker to pull

the attention towards Kim who's a lot

brighter in this shot so as we're doing

this make sure to increase that mask

fatter like a lot something like this

and voila here we have it to the epic

cinematic color grading as you can see

it's a lot of work I must be honest I

don't always do these mass kings myself

only with bigger projects so something

yet you have to consider yourself are

you only going to add some basic

contrast or do some basic color grading

by adding blue into the shadows and more

warrants into the mid tones or are you

going to take it to the next level and

also creates multiple layers multiple

masks to work specifically on certain

points if you like you can also download

this project file so that you can

practice these techniques on the same

clip that was used in this tutorial

thank you so much for watching make sure

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a week make sure if it sums up this

video if you liked it as well and as

always they created

you

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