How To Get Perfect Skin Tones In Premiere Pro CC
SUBSCRIBE ON YOUTUBE FOR MORE! (120+ FILMMAKING TUTORIALS):
https://youtube.com/alliandwill
OUR VIDEOS ARE EDITED IN ADOBE PREMIERE PRO. GET IT HERE:
https://adobe.prf.hn/click/camref:1101lr4SX
In this video editing Premiere Pro CC tutorial, Will teaches you how to get perfect skin tones every try using the Vectorscope graphs inside Adobe Premiere Pro.
GENERATED CAPTIONS:
In this Premiere Pro tutorial, I'm going to teach you how to color correct skin tones. I have footage here that's a bit too green.0 So I'm going to show you how to use the vectorscope graph to get accurate natural-looking skin tones every time.
All right, I have footage here of myself talking to the camera from one of my last videos, and I have purposely changed the overall color to be more green. Let's first talk about what a Vectorscope is and how it can be beneficial to get accurate skin tones every time.
Let's go to window > lumetri scopes and you'll see here a whole bunch of different graphs. These represent the colors and exposure in your footage. In this tutorial we're going to be talking about the Vectorscope.
After removing others, we are left with the Vectorscope YUV. This can look pretty intimidating when you first look at it because there's a lot going on, but it's actually pretty straightforward. You have the colors of your image represented by this sort of cloud part in the middle. This inner selection that connects all the little boxes that's your broadcast safe. So if you push your saturation too far, the colors will go outside of that selection and then you were to submit your film to a broadcast network. For example, they'd probably not accept it because it would be past the broadcast safe standard. In most cases, if you're working with stuff on the internet you don't really need to worry about this. I would definitely make sure you don't go past the outside box. Though that's your
100 max limit and each of the quadrants here have their own color area so yellow green cyan blues magentas reds and depending on the footage you're working with your colors will appear differently on the graph. The reason we're using this Vectorscope graph is it's very handy for dialing in skin tones, no matter what footage you're working with. Whether the skin tones are lighter or darker, all skin tones will fall under this line between yellow and red. So the goal is then to look at the graph see where your footage sits and then try to adjust it to get as close to this line as you can now if you've color graded your footage. Given it more of a look then of course it's going to be a little off, so keep that in mind okay so let's make some room for this.
I'm going to copy and paste the Lumetri Color and then reset the bottom one. Keep in mind the top one is just for the purposes of this tutorial to make it greener. We'll work off the bottom one and we'll go into the color wheels and match. Then using the shadows mid-tones and highlights, we're going to adjust the footage away from the green because just by looking at it you can see that this footage is a little more green. Also by looking at our vectorscope you can see that the footage does fall more towards the yellow-green and cyan colors so we'll start by adjusting the shadows. While I'm doing that have a look at where our colors sit and how they start to shift away from the green. Then we'll do the mid-tones and then the highlights and then I'll turn on and off Lumetri Color for what we just did and you'll see how much more centered our colors are with the skin tone line.
Then I'm going to fine adjust it just a little more. Pull back the shadows a bit because there were a little too much magentas happening in the dark areas. Now that I've done that, let's go up to the basic correction, and then we can use the tint because we know there's green in the footage. We will shift it to the opposite which is magenta. Depending on the footage you're working with, it might not be the best thing to use the tint to correct this but we know there was a lot of green and when I adjust it using the tint in our case, you'll see that it will thin out the color and make it a little more in line with our skin tone line.
Next, I'll adjust the temperature to be a little more orange so that our skin tones move a little bit more away from the greens and blues. Again have a look at this when I turn on and off the Lumetri Color that's where we started and that's where we ended up. Now I think I could go a little further into the magenta.
Of course, you could spend hours color correcting and then many more hours color grading your footage. The idea is to understand that the vectorscopes can be a fantastic tool to help you dial in your skin tones when you're color correcting.
So that's it for this video. If you found it helpful, give it a thumbs up and leave a comment down below. Those really help us keep creating tutorials like this one. We also have over 60 other filmmaking tutorials on the channel. So subscribe and hit the bell to be notified when we release a new video each week and we'll see you next time.
SUBSCRIBE ON YOUTUBE FOR MORE! (120+ FILMMAKING TUTORIALS):
https://youtube.com/alliandwill
OUR VIDEOS ARE EDITED IN ADOBE PREMIERE PRO. GET IT HERE:
https://adobe.prf.hn/click/camref:1101lr4SX