Oscar Winning Color Grade - Premiere Pro Tutorial
Вставка
- Опубліковано 26 чер 2024
- All Quiet on the Western Front won an Oscar for best Cinematography. We recreated the movie's color grade in Premiere Pro.
This video is a part from our Premiere Pro Color Grading Masterclass. To watch the full course, consider enrolling at course.movieluts.com
LUTs & Lightroom Profiles - www.movieluts.com
Footage that we are color grading - www.pexels.com/video/man-with...
Free LUT - movieluts.gumroad.com/l/all-q...
This video is a part from our Premiere Pro Color Grading Masterclass. To watch the full course, consider enrolling at course.movieluts.com
Link dont open
@@prometheuuzst9348 it should be working now.
@@prometheuuzst9348 works for me!
@@movieluts It´s already wonrking, thanks.
AS SOMEONE WHO WENT TO FILM SCHOOL I CAN TELL U THAT YOU ONE OF THE BEST TEACHERS HERE ON UA-cam
Thank you, this means a lot!
I think some of the best color grading I’ve ever seen has come from Peaky Blinders (specifically season 5 and 6). Every scene, if not the whole episode only uses three similar colors from a matching pallet at a time and it sets the scene/mood perfectly.
I feel like I’m always trying to get the most dynamic range but “cinematic” looks seem to just blow out colors to pertain a certain look
Impressive job at explaining everything 👍🏼
Thank you!
This video is a gem...✨
Thank you for this!
Bro you are amazing i just learned soo many new things from you appreciated
Glad you learned something 🙌
Since av been watching premiere pro color grading on UA-cam. U re the best
Thanks! Glad you like it!
Knowledge within knowledge. So many layers of theories. Amazing!
Glad you like it!
your videos are the best. thanks for the knowledge 👏
Thank you! Glad you like them!
Thank you.
This video has a lot of value!
Glad you like it!
This is incredible
Thanks!
OMG this channel is money. Straight forward, easy to understand, damn I wish I found it earlier!!!!
This was so helpful!
Glad you like it!
this is awesome, keep doing it
Thank you!
Thank you ❤❤
You're welcome
learned alot about color grading fom you didnt know you could go that in depth with Pr thanks
Glad you liked the tutorial!
could you please do a similar course but for editing and vex or just for overall editing a movie? Thank you for your videos!!
Tutorial for lightroom please
Here from your color grading swap reel
I was learning so much I had to take a break , get some water and come continue
😅 🙌
Did you have the test footage in rec 709 then put on the LUT? Or was it in log?
Impressive i like it. Let's see paul allen!
huoo increibleee
Glad you like it!
Man, I don't know English, but your work is legendary
Thank you!
Hi, thanks for the video
that was perfect! Thank
Please include English subtitles for your videos.
English subtitles make non-English speakers (like me) understand the videos better!
So upload English subtitles for all your videos, please! ❤💫
May I understand why the final step of adding the LUT again is essential?
It’s not essential but it helps to tie together the whole grade, that’s why we use a low intensity for that LUT. Especially in this example where there was a lot of HSL Secondary work, it might be a good idea to add a final color grade at the end which will affect the whole frame.
Have you found any solutions to Premiere's color shift upon export issue? I love grading in PrPro, but the desaturation + color shift that occurs during export has plagued me for years. Only solution Ive found is to add a Lumetri effect to oversaturate and overcontrast my image to account for the export issue.
I don't get the color shift when exporting. Have you checked the color spaces of you composition? It might be a different color space from the footage you are working with and that might cause a slight color shift when exporting.
Just got here from tiktok😁
Nice! Hope you like our videos 🙌
why you are editing directly on the clip and not using adjustment layer for each part of the footage? so if u want to remove something wrong u don't have to delete the the whole clip or am I wrong? I'm newbie btw
I believe its because when using the HSL Secondary color picker on an adjustment layer, the adjustment layer is blank with no visual data other than what you give it, so it will not select the greens, yellows, blues, etc
Man I don't get it.. it looks good in video. but if it were a photo, i would think thats way too much blue. idk.
I have to ask, is it really standard practice in the film industry to do so much rotoscoping/masking? This is not a rhetorical question I am legitimately asking. It feels like it would definitely cause issues with shots that have lots of movement or lots of subjects to mask as well as being inefficient overall on top of being overly complicated. I just can't see a giant studio(s) like that which did the grading on All Quiet on the Western Front having people doing manual masking for every single shot in the 2 1/2 hour film.
I would say the opposite is true. Giant studios usually have the time AND the budget to painstakingly mask and polish every single shot.
@@MONIKUH This does make sense but on paper it just sounds unprofessional you know? The amount of problems that could potentially arise from that is enough alone to make me question it, but it also would be very difficult to do even if secondary issues weren’t a thing. It’s not an elegant approach it’s the most rudimentary approach I can think of.
It depends. Usually, they will have one grade for multiple shots and then grade each shot individually to match them even more. Skin tones and parts like that, where you want to emphasize the colors, have to be done by keying or masking. So, if most of the colors on the set have already been done with the right set design and lighting, the colorist won't have to do much keying and masking, as they just have to finish what the production team did on set. But if you try to recreate a look of a film, like this one, which was established on the set, and you are working with different footage, then you will have to use a lot more masking and keying if you want to get it as close as possible to the reference.
@@movieluts Great answer, thank you
Big studios definitely touch up each clip that needs adjusting. And it definitely looks good on paper when a production crosses every T and dots every i. Aside from importing reference LUTs on monitors to get and idea from the end result; footage is often received in log and then corrected and graded.
How bout for mobile tho
Debería tener subtítulos en español:/
very complex is everything blue lol
the real world is not teal...
yeah but this is not the real world , it's a movie , you know like every other movie in history
its supposed to be “cinematic” when you lean into one dominant color and drown everything in saturation. Or so I’m told by UA-cam professionals
is this an ai generated voice?
Wrong. The best appealing movie of 2022 was Avatar: The Way Of Water. This was an other insult to filmmakers.