Vignettes & Secondary Color Correction
So you'll see the vignette. Some people like it, some people don't. I just wanna explain how to use it. There are vignettes in other effects that you can get to in Premiere. You can actually use the masking to make a vignette shape however you want, but if you use this, I want you to understand how it works, 'cause most of the time when I've seen people explain this on YouTube, they have no idea what they're talking about. So, you have four sliders, and they go, oh, look, you can do the, this is what you hear. You can control the amounts. There's a midpoint you can play with. They say that, literally, that's how much information they give you, and they go, oh, you can make it rounder or squarer, and then of course, softer and whatnot. Well, let's take a look at what really is happening. I'm gonna go ahead, grab this and take the feather all the way down to zero, so you can see the vignette, and I'm gonna go ahead, if you bring it all the way to the right, you're making it lighter. Grea...
t for weddings and whatnot. All the way to the left, it's darker, okay? So now you have a sense of what that slider does. Roundness, is it square, is it a circle? Okay, so I generally, if I wanna create a vignette, I wanna know what it's covering. I want it to be on her, so I wanna see it like this. Midpoint, which nobody ever explains, really could be called size. Okay, so here, you can say what size it is. So now I've adjusted the size the way I want. I can start feathering it out. I can say, you know something, I don't want it to fall off that much, and now, I can actually control vignette, knowing what my sliders are doing, so it's a real quick explanation. You can see what's happening. The downside, why some people don't like this vignette, is that it only works from the very center of the screen, and that's more of the way a lens would vignette, but a lot of times, when you're color-correcting, when you're grading, your goal is to say, oh, I wanna focus the eye of the viewer on a certain area, and our eye is naturally drawn to the lightest part of the image, so I might put a vignette this way, which as you can see would be a little bit off-center, so that's why some folks don't like doing a vignette that way. What I wanna do is I wanna talk about secondary color correction, and I have a little shot here, if I can find it quickly in the time that we have, with the Tab key. I'm gonna go ahead, Shift + 1 should bring me back to my project. Make that full screen. So you can say is, I'm looking for. This little shot here. So I have the car driving. I wanna change just the color of that car. That's what secondary color correction allows me to do. It allows me to isolate something, either by its luminance value, its hue, or its saturation. That's exactly why it's called an HSL secondary. So I'm gonna go ahead and click on that, and I get this interface, and what I can do is with these eyedroppers, I can select the color that I wanna work with. So I touch that, and it actually selected that red based upon its hue, saturation, and luminance values. If I wanna see what was really selected, I click this little button here, Color/Gray, and I can see what it selected, which wasn't very much, and I can look at this three different ways. Color and Gray, Color and Black, or what I usually like is just Black and White. This is the mask. So I can go back here and I can add, with the plus button, more areas of red in the car, until I can get almost the whole car, and I'm kind of doing this kinda fast and furious here. We're not doing a bad job. I'm guessing it's starting to look like a car. Overshot a little bit there. Cue to the minus key, and try to bring out some of that. Okay. So let's say that's the car, and I'm gonna go ahead, turn it on and off, and if I wanna look at Color/Gray. So I kinda have the car, sort of. There's a couple other tweaks I can do. I can say, you know something, it's a red car. I don't really care how the hue of the red, and I could say, oh, what if I just ignore that? Well, obviously, it's gonna show other areas. What about saturation levels? No, that doesn't help me either, but in some cases, like maybe I can turn off and say ignore the luminance values, and it will give me a cleaner key. In this case, this is probably the best I'm gonna get. Don't know, I just killed something there. Come on, come back, and oh, I probably reset this. The joy of teaching. Live. Grab that. I'll just do, oh, I bet I could've hit on there. But then as you start panicking, 'cause people are watching, so everybody close their eyes, it'll be a lot quicker. You out there in Australia, I saw you peeking. Okay, and I now I wish out here, so, just to do this quickly, I wanna make sure, so I have basically this red car, and I'm gonna go to Black and White. If I wanted to, see there I can see what the overlap is, and there's a couple problems that I'm gonna be facing here. First of all, there are other red areas around here that I don't wanna change the color of. The second thing is, is that there might be some speckles here, so I wanna do is I wanna refine this mask, then do a little bit of de-noising. That takes away some of the really small little speckles as it plays. Little bit goes a long way. Then I may blur it a little bit, just so you don't have the edges. So once I've been able to get this, I can go ahead, I'm gonna just show the original, and now, I can go ahead and use this correction box to change the color of the car. I can either do it globally, so now I have one big area, and I can say, you know what, I'm gonna go ahead and bring it more into the, add blue to it, so now we get more of a purple car. Okay? I could do that, that way. I can also hit this little button here, and now I get three color wheels, so I can actually work with changing the color in the highs, the mids, and the lows. Okay, so I can really focus on how I want to change the color of this car, and I'm kinda going a little fast and furious here. That's close enough, but it is changing the color of some of the other things around it, including me, who suddenly has a blue face 'cause I (mumbles) blue face. (mumbles) Okay, blue face. It's actually more work. Close enough. In the final (mumbles), you'll see it's perfect, with the time we have. So now I have my correction. I could actually brighten up elements if I wanted to again. Brighten it, darken it, so I have this multicolored car. Instead of the red car, it's blue and pink, and if I play it, it tracks it, because it's really dealing with the color, okay? But if I wanted to isolate this, I can do that, and this is something very useful. I can do that with a mask, and if you're familiar with all the other effects, every effect comes with a mask. You can't see it here, but as I said at the beginning, the Lumetri panel is basically the Lumetri effect right there, and I can go ahead and I can go to the beginning and find the car. There it is. We'll just take it from there when it's fully in frame. I'm gonna grab a mask, move the mask over the car, so you see right now, that the only thing getting color-changed is the car, 'cause I'm just masking it out. Okay, now, if I hit Play, the car will drive out of my mask and I'll be upset, but if I go here and I press this little Play button, from here, if it's good, should have followed my mask. Stop it, bad. Missed it. Doesn't even wanna do the Stop button. Car is out of control. It won't stop. Okay, so we drove out. Obviously, I did a horrible job selecting them. Pick it up from there. Maybe make my mask a little bit bigger. It's dealing with contrast. I love the fact that I did this. We're about to wrap time, but I can go back, pick it up from there. It's trying. If it falls out, come on, you can stop. It must know it's almost time to stop, but tracking with a mask is really useful. It just absolutely went crazy, but if I do a face, I can do skin tone. We saw that, and I can isolate just one area, just one color, and I have a lot of control, and in a nutshell, that's how you can use color correction in Premiere Pro.