SOHO EDITORS
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poor camera work, but it‛s often down to different cameras and lenses being used, or weather and lighting changes due to filming over a series of days. When the footage is edited together, it just doesn‛t flow. 1 Shot A (left) was filmed early afternoon. By the time the drone was up for shot B (right) the light was fading. In the edit, there is clearly a jump; I could have tried to push shot A and B tomatch, but I preferred tomeet both shots midway. I used the Comparison Viewmode to select my shots, then jumped into the Lumetri Workspace and opened the Basic Correction panel. In Tone controls, I lifted the Exposure to see howmuch brighter I couldmake the darker shot. As the footage was filmed with a high data rate, I had quite a lot of information in the shadow areas to work with. The bright highlights on the car, road markings and horizon looked very strong in the Luma Scope, so I used the Highlights slider to bring themdown. As the sun is much lower in shot B, I had darker shadows to bring up via the Shadows slider. To view the change, I hit the tick box for the Basic Correction to viewBefore and After. 2 Next, themedium shot of the car. The Basic Correction panel again was the best place to start. As it‛s naturally a brighter shot, I started by bringing the exposure ABOVE Footage taken at different times of the day proved problematic for colour consistency. Instead of matching one to the other, a middle ground was achieved
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colour sliders and colour wheel to enhance the grass. In this case, I wanted to increase the saturation and contrast, bring the brightness down and introduce a bit more green from the colour wheel to help the grass colour match shot B. After a bit of back and forth, I could tweak both shots to bring the whole edit much closer together. 4 If you have a bunch of shots that are similar, you don‛t need to start from scratch every time. You simply select the clip with the correction you‛re happy with and hit Edit/Copy. Then find the clip you want to paste the effect to and Edit/Past Attributes. This gives you the option of which Attributes (video effects, audio effects, speed effects) you want to paste onto the clip and it instantly applies all the changes. If you havemultiple shots, just select them all before hitting Paste Attributes and you‛ll have all your shots matching in no time. Some shots will be harder than others to match, but there aremore tools available. Including the three-way colour wheels, you also have Hue/Saturation and Curves, which allows detailed selecting of colour based on hue, brightness and saturation. The number one tip for correction is – never use Auto correction; it‛s more trouble than it‛s worth as it uses computer values to balance, rather than the human eye. Best of all, if you don‛t trust your eye - or more likely, your monitor - you have the Scopes to check what is black, white, and what colours you are adding or removing.
down and the highlights up. As I did, I noticed a hot-spot on the car, so I used the Whites slider to bring the overall white level down. As the sunlight isn‛t as low in shot A, the shadows are not as dark, so I brought the shadows down a touch. In the Comparison view the two shots lookedmuch closer, but I wanted to tweak further. The grass in shot Bwas more vibrant, the grass in shot A less so, therefore I needed to bemore precise in the detailing. 3 In the HSL Secondary Panel, I selected a sample of the grass colour using the colour picker. As there are a few shades present, I used the plus colour picker to increase the number of shades selected, and then tweaked the selection. Then, I used the
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SUMMER 2019 PRO MOVIEMAKER
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