Color correction can make a huge difference in your finished video, but achieving the best results requires you to understand some core concepts that are beyond many editors. This chapter introduces the key features in Premiere Pro that all colorists use.
The Color Correction Challenge
This lesson introduces the broad range of uses for color correction. In addition to being used correctively to fix problems with color and lighting, it can also be used creatively.
It makes much more sense to think of color correction pixel by pixel, because this is how your computer sees it. This lesson will explain one of the most fundamental aspects of working with color: bit depth.
Many editors never touch the Premiere Pro Reference Monitor, but when working with color correction tools, it's the first place you should go for accurate information about your media. This lesson explains all.
No matter which application you use, there are some universal tools for measuring and adjusting the color and luminance of your pixels. This chapter will give you the core skills and understanding you need to make almost all color correction adjustments.
Standard Tools for Measuring and Adjusting Color and Light
The Vectorscope displays color information for the pixels in your image. At first glance, it may seem like a strange interface for displaying color, but this lesson will show you how quickly you can learn to get important information from it.
The Waveform display can show just luminance information or both luminance and chrominance information. It is your one-stop shop for clear information about the highlights, midtones, and shadows in your media, and this lesson will teach you how to interpret what it shows you.
Curve controls enable you to make very accurate and natural-looking adjustments to different parts of your signal. This lesson shows you one of the most advanced but also user-friendly ways of making luma and chroma picture adjustments.
The Three Way Color Corrector gives you a high level of control, with shadow, midtone, and highlight selections and secondary color correction. This chapter introduces the color correction tool you will want to use for the more detail-oriented corrections.
The Three Way Color Corrector
This lesson introduces all of the key interface controls of the Three Way Color Corrector so you can begin working right away.
In addition to the primary color correction tools in Premiere Pro, there are also many additional tools that you'll use from time to time. This chapter explores a few of them.
Other Color Correction Effects
If you are producing video ultimately intended for broadcast, it's vital that your luminance and chrominance values be within legal ranges. This lesson explains the issue and gives you a surefire way to make sure your content is never sent back by Transmission Control.
The RGB Color Corrector gives you very specific control over your red, green, and blue channels. While the interface is not as pretty as the Fast and Three Way Color Correctors, it gives you excellent control. This lesson shows you why you'll come looking for the RGB Color Corrector from time to time.
Many cameras ditch color information to produce smaller files. While this is fine in terms of the perception of image quality, it sometimes makes color correction harder because there simply isn't as much information to work with. This lesson explains color spacing, a fundamental piece of media technology know-how that will serve you well when working with all kinds of media.
This chapter introduces the concept of using presets to save your color correction settings, then gives several examples of using Premiere Pro's color correction tools.
Fixing and Matching Colors with Presets
Once you have the color correction settings you need for a set of clips, you will want to create a preset so you can apply them to other clips in the future. You may already know how to use presets with Premiere Pro, but if not, this lesson is for you.
Most of your media will only need one set of corrections because the lighting does not change while it plays. For those clips that introduce new lighting and color during playback, Premiere Pro provides keyframes. This lesson gives an example of using keyframes to maintain a consistent quality in your lighting (that is, how to "fix it in post").
If you want to apply adjustments to a specific area of your picture, there are several ways to do it. If it's just shading you want to adjust, a Gradient Map is an excellent way. This lesson shows you how to use Photoshop to create shadows that will enhance your compositions.
Using a combination of filters and multiple instances of a clip, you can create very targeted color correction adjustments. This lesson gives you some simple examples of ways to target adjustments to a specific part of an image.
Curve controls enable you to make extremely nuanced adjustments to your media. This lesson shows you how to use them to give your media a final look based on separate luminance and chrominance adjustments.
Though this is a course for Premiere Pro users, it's quite possible you will also have access to Adobe After Effects. This chapter shows you how to benefit from using After Effects as a color correction tool for Premiere Pro.
Using After Effects for Color Correction
You may be perfectly happy completing your work with Premiere Pro, but After Effects does offer some extra benefits. This lesson introduces After Effects for the uninitiated.
Dynamic Link is a special technology that allows multiple applications to share the same media files and creative decisions. This lesson introduces the concept and shows you two of the most common ways of sharing work between Premiere Pro and After Effects.
Premiere Pro's color correction tools are powerful enough for most purposes, but there are some useful third-party plug-ins available as well. This lesson explains how plug-in special effects integrate into the standard Premiere Pro interface.