Adobe Premiere Pro 2.0 [Electronic resources] نسخه متنی

1.

View the Lesson 14 Intro video.

2.

Open Lesson 14 to the Lesson 14 Practice sequence.

3.

Drag Video 13 to the Video 1 track.

This is the clip you applied the Green Screen Key to in Lesson 13.

4.

Apply the Color Pass effect to that clip.

5.

Click its Setup button to open the Color Pass Settings window shown in the next figure.

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6.

Move your cursor into the Clip Sample screen on the left and click the Eyedropper tool on the model's purple hair.

That selects the color you want to retain. All other colors in the clip will switch to grayscale.

7.

Adjust the Similarity slider to retain as much of the purple as possible while removing as much of the other colors as you can.

A setting of about 26 should do the trick.

8.

Click OK.

9.

Drag Video 14a to the Video 1 track after the clip you just worked on. Apply Color Replace to that clip.

10.

Click its Setup button to open the Color Replace Settings window shown in the next figure.

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11.

Move your cursor into the Clip Sample screen on the left and click on the back wall. The goal is to find a gray color with average lightingnot too dark or light. That will be the color you'll replace.

12.

Click the Replace Color swatch and select a color from the Color Picker.

I selected bright purple to make the change more obvious. The color you select will retain the shadows, midtones and highlights of the scene it's replacing, so if that scene is generally dark, the color in the scene will look darker than the color you select.

13.

Adjust Similarity. A value of 28 should work well.

14.

Click OK.

1.

Drag Video 14b to the Video 1 track past the clips you just worked on.

2.

Double-click Video 14c to display it in the Source Monitor.

You will select

target colors from the clip in the Source Monitor and assign those colors to

sample areas in the clip on the Program Monitor that you want to change.

3.

Apply Color Match to Video 14b and open its disclosure triangles in the Effect Controls panel.

4.

Change the Method to RGB (red, green, blue).

It's more forgiving than HSL (hue, saturation, and luminance) or Curves.

5.

Twirl down the Match disclosure triangle to reveal the Match button.

6.

Click the Shadow

Target Eyedropper tool and Ctrl+click (to create a 5x5 subsample color) on a shadow in the clip in the Source Monitor (see next figure for a suggested location).

7.

Click the Shadow

Sample Eyedropper tool and Ctrl+click in the dancer's shadow in the Program Monitor to apply the target color to that sample color. Nothing will happen. You need to do one more step.

8.

Click the Match button.

That applies the Target color and luminance information to the Sample color.

9.

Follow the same steps for Highlights (spots of bright lightI suggest the dancers' hands) and Midtones (look for areas of average brightness on both walls).

Here are those steps: Click the appropriate Target Eyedropper, Ctrl+click in the Source Monitor, click the respective Source Eyedropper and Ctrl+click in the Program Monitor. Then click Match.

10.

You can also try a Master Target and Sample, but that might only throw things out of whack.

To check your work, you can add the clip in the Source Monitor to the sequence and play the clips side by side. I put the before and after I came up with in the next figure.

Before applying Color Match (left) and after (right).

1.

Drag Video 14e to the Lesson 14 Practice sequence.

2.

Apply Color Balance (RGB) to that clip.

This is probably the most intuitive color correction effect. It has a settings window where you can manually adjust the red, green and blue levels. The starting point for all clips is 100 no matter what the actual color levels in the clip are.

3.

Change the RGB settings to give this overly gray scene some warmth.

Try Red110%, Green95%, and Blue80%.

4.

Delete Color Balance (RGB) and replace it with Auto Color.

This effect analyzes frames based on your parameters.

5.

Try out some parameters.

Temporal Smoothing looks at several frames at once and averages their values to smooth any color balance differences. Higher Black and White Clip values increase contrast.

6.

Delete Auto Color, replace it with Fast Color Corrector and take a look at its parameters in the Effect Controls panel.

This very detailed effect signals a tidal shift in editing possibilities. It is loaded with options including a color wheelan intuitive means to adjust hue and saturation. You'll find three color wheels in the Three-Way Color Corrector to individually adjust hue and saturation in shadows, midtones and highlights.

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7.

Drag the White Balance Eyedropper tool (highlighted in the previous figure) into the Program Monitor and click on an area that has a neutral color (to the right of the dancer on the wall is a good spot).

You don't have to have a white area to do a white balance. A neutral, medium gray area will work well. Setting a new white balance is only a supporting role for the Fast Color Corrector. The purpose here is to change the look of the clip.

8.

Click the Reset button to undo the white balance.

9.

Click the Show Split View checkbox (highlighted in the previous figure) and set the Layout to Vertical (the left side will show any changes you apply).

You can adjust the relative sizes of the two split screens.

10.

Take a look at the color wheel. Here are its parameters (refer to the next figure):

• Hue Angle Moving the outer ring clockwise shifts the overall color toward red, counterclockwise shifts toward green.

• Balance Magnitude The intensity of the color introduced into the video. Moving the circle out from the center increases the magnitude (intensity).

• Balance Angle Shifts the video color towards a target color.

• Balance Gain Sets the relative coarseness or fineness of the Balance Magnitude and Balance Angle adjustment. Moving the handle towards the outer ring makes the adjustment very obvious. Keeping the perpendicular handle of this control close to the center of the wheel makes the adjustment very subtle.

  
  

11.

Make some adjustments to the Color Wheel (you can use the sliders below it as well):

• Drag Balance Magnitude to about 60 to increase the color intensity.

• Drag Balance Gain (the small perpendicular line) to about 10. That will let you fine-tune your adjustments.

• Change the Balance Angle to about -140 (if the Color Wheel were a clock, that would be about 10:30) to shift the color to orange.

• Change the Saturation parameter (below the Color Wheel) to about 115 to make the colors richer.

12.

Click the Auto Contrast button (below Saturation).

That applies both the Auto Black Level and Auto White Level simultaneously, which makes the highlights appear darker and shadows appear lighter. You'll fine-tune this in a moment.

13.

Select the Black Level Eyedropper tool and Ctrl+click on the darkest area in the scene.

14.

Select the White Level Eyedropper tool and Ctrl+click on the brightest area in the scene.

15.

Take this fine-tuning one step further and adjust the Input Black Level (I suggest 40) and the Input White Level (try 185). Input Gray Level should remain at its default level of 1.

16.

Uncheck the Show Split View and play the clip.

17.

Select Window > Workspace > Color Correction.

Note that you have a third video screen: a Reference Monitor.

18.

Click the Reference Monitor Fly-out Menu and select All Scopes.

These are three Waveform monitors and a Vectorscope (in the upper right corner). For decades broadcast TV station engineers have used these to ensure TV signals meet standards (do not get too bright or have too much contrast).

As you ramp up your color enhancing skills, you might want to use them for that reason as well as to adjust color. To learn more about them, check Premiere Pro Help > Applying Effects > Vectorscope and Waveform Monitors.

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