ACADEMY
SOHO EDITORS
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Grading the look 5 A huge amount can be added to the tone and feel of a filmusing colour. Putting colour theory to one side for this article, once shots are corrected, we can enter the final andmost fun stage – adding the look. The Creative panel in Lumetri is usually the best place to start, with all its Film Stock Looks and Speed Looks built right in. Of course, you can get other pre-made Looks and import them, as well as saving your own customised Looks. What makes this workflow so efficient is that once you have chosen a Look you can tweak it with the sliders, increasing or reducing the intensity. As with other Adobe applications, Adjustment layers are always available and helpful for colour work, but the Intensity slider saves you frommaking extra layers, keeping your timeline looking slim. In the Creative panel there are sliders to add Faded Film, which lifts the black point up to give the footage a vintage look, and there‛s a Sharpen slider to add sharpness to the image. This is great when used carefully,
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“There are sliders to add Faded Film, which lifts the black point up to give the footage a vintage look”
for crisping up your shots and bringing out fine details. 6 The other useful panels for stylising the look are, again, the colour wheels, which offer three-way control of value and colour to the shadows, mid tones and highlights, and Curves, to selectivelymodify individual colours to change their hue, saturation and luminance. The last panel is Vignette, which can help focus the view of a shot by darkening the outer area.
More information Find out how to use it and learn from industry professionals at Soho Editors, either on one of its classroom courses or on one of its new live online sessions! sohoeditors.com Summary While Premiere Pro is one of the top editing applications used in the industry, it might not be the first stop for grading an entire feature film. For promos, documentaries and online content, you‛re going to be hard pushed to find a faster andmore intuitive colour grading workflow to complement your Premiere Pro project. 7 These tools aremost dynamic when paired withmasks. Every effect in Premiere Pro can havemultiplemasks added, animated and even tracked during the shot. This means you can draw areas where you want certain colour treatments to happen, andmake themapply across time even as the shot moves. 8 With all these tools, there is really no limit to the amount of creativity you can add to footage. As Lumetri is accelerated by most graphics cards, you can play back in real time to view results andmake changes. If you are looking for even faster results and quick presets, there is a whole host of plug-ins available. My personal favourites are the Red Giant collection: Colorista II, as it is a fast and accurate alternative to Lumetri. Denoiser II is an essential for removing noise fromgrainy footage, Cosmo is a great tool for fixing skin tones and beautifying skin texture, and then there‛s Magic Bullet Looks, which is easy, intuitive and integrates the other tools with hundreds of customisable presets.
LEFT Masks can enhance results, proving a versatile addition to the toolbox
BELOW Premiere Pro can accommodate many plug- ins, further augmenting its already impressive array of imaging solutions
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SUMMER 2019 PRO MOVIEMAKER
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