Speaker 1: In this video, we're going to learn how to color correct log footage and make it look cinematic. This is fantastic. I didn't know these things. When it comes to shooting and color correcting log footage, exposing it correctly is of vital importance. However, in this case, I'm going to assume that you've already filmed it. So what we're going to do in this video is we're going to learn how to edit it manually. And then after that, I'll obviously give you some tips and some tools that you can use to save a lot of time when you're correcting S-log footage. So this clip right here is the first clip that I'll be using. This was shot in S-log 3 on a Sony camera, but the same steps will apply to S-log 2. Make sure that you are in the color workspace and that you have the Lumetri scopes visible in the left window right here. And if you don't see this, go to window and then Lumetri scopes. I always use the Vectorscope YUV and the Waveform Luma. If you don't see this, then just right click and select both of the scopes. To change the waveform to Luma, then right click again, waveform type, and then click on Luma. Now let's take a look at our video. As you can see, it looks very flat. When someone speaks of a flat image, what it means is that there is a lack of contrast and there is not really any colors going on. So what we're going to do is, you guessed it, we're going to be adding back the color and the contrast. To make these adjustments and to keep it simple, we're going to mostly stick to the basic correction tab. Now first, let's grab the contrast slider and move it all the way to the right until it stops. Then if it still looks flat, and this is what we're going to do, is we're going to grab the value, the 100 right here, and then we're going to drag it even more to the right. Now I would say that this is a pretty good starting point, so let's up the exposure ever so slightly. Something that I really want to emphasize is that what I'm doing right now might not look good on your video, so just take this video and take the steps that I'm doing as inspiration to make the corrections for your own video. Don't just simply copy the values because it won't work that way. All right, let's look at the waveform right here, and I see that I can increase the highlights a tad bit. I'm also going to lower the shadows and the blacks ever so slightly to create a bit more contrast in my video. Now if we click on the FX button right here, we can see that we've already improved this video by a lot. This is the most satisfying thing of color correcting and color grading in my opinion. I am obsessed with this button. It just makes me feel so good. So in terms of contrast and exposure, I think we're pretty much there for now, so we're going to work on the colors next. Just because we're moving on to the colors doesn't mean that our exposure needs to be perfect just yet. I think it's really important to remember that it is okay to go back and forth and readjust the settings as you go. This is how I always work, and in my opinion, you can just make as many changes as you need. It's not a step in stone, step in stone, set in stone process. And as we do this, keep an eye on the vectorscope, because as you can see, this information or this blob in the vectorscope will expand as we add more saturation. Now this to me looks about right, and since we're working with people in this shot, we want to make sure that the skin tones will remain normal and not overly saturated, which is why I'm keeping it at this level right here. Next, let's adjust the white balance. Now we can do this by looking at the vectorscope to see where the colors are leaning towards. In other words, if your video looks a bit cool or blue, you'll see that the blob right here will be more in the blue area of the vectorscope. So you can simply balance this out by moving it a little bit to the other side. In this example, that would be orange. So you could use a slider right here. And when it comes to color correction, and I say this all the time, you don't want to color correct any of the colors that belong in your video. So if the vectorscope shows that there is a lot of blue, but that is because you have a lot of blue things in your video, then please don't correct those colors. All right, I think this is pretty good. So let's open up the creative tab and add a bit of vibrance. Using the vibrant slider will intensify the muted colors in your video, whereas the saturation slider will intensify all of the colors in your video. So therefore, it is my personal preference to be gentle with the saturation and then add a bit of vibrance. To further correct any colors, we're going to open up the curves tab. Now, in this case, I want to bring back the blues in the shadows a little bit. To do this, we can isolate the blue by creating points on the line and then dragging the line in between the points down ever so slightly. Instead of manually adding the points to the line, what we can also do is use the eyedropper tool to select the color. Now, I made a dedicated video about what all of these curves do and how to use it. So I'll link that in the description if you want to check it out after this video. Now, what is really important to remember when it comes to this, because I get it, you get tempted to change the colors too much. We are in the color correction phase now, not in the color grading phase. So don't make things pretty. Just make sure that you correct the colors. That's it. We're not making anything pretty just yet. Next, if one of the colors in your video looks a little bit off and you want to adjust it slightly, we can do this in the hue versus hue curve. I think that our skin tone looks fine, but it does look a tad yellow in my opinion. So what I'm going to do is I'm going to make a tiny adjustment again by creating two points on this line. And now when we drag it up or down, we will also see a new vertical axis with all of the colors. So I'm just going to drag this line up ever so slightly, just like this. And as you can see, it already makes a pretty big difference. I definitely do not recommend to go wild. Slight adjustments are fine. I know that this is a lot of work, so I also want to show you a tool that I like to use that will help you skip all of these steps and get the same, if not better, to be honest, better. It's better to get better results in just a matter of clicks. I'm sorry to put you through all of that, but it's worth it because now you'll understand how it works. All right, so here we have another clip that has not been touched yet. So in the effects tab, I'm going to search for Cinematch and I'm going to drag and drop that onto the clip. Cinematch is a color correction and camera matching plugin that will do all of this work for you. All we need to do in the effect control step is to choose which camera we used in the source camera settings. I shot this on a Sony camera, the a7S III, and I shot this in S-Log3. Let's click on apply and nothing has happened yet. And that is because we need to go down to this box right here and tick this box in front of apply Rec. 709 transform. Now, if needed, we can change the exposure and the white balance to finish the correction. This is a lot easier than doing it manually. And in my opinion, from what I've seen, and I've seen a lot of different LUTs and whatever, some LUTs are good, but a lot of them are just... It's not the same as Cinematch. So I therefore really prefer to use Cinematch. Cinematch is actually way more than just correcting S-Log footage. They have a ton of tools that you can use to further color correct or grade your footage. But more impressively and more importantly, if that's correct English, they have a technology that will match the sensor of any camera. This means that if you're shooting with different cameras, you can match the colors using Cinematch. And even better, if you have a creator who shoots exclusively on Sony and they created LUTs for Sony, for example, you can now use this plugin to make it look like or to mimic the Sony colors and then apply the LUT and it will look great. Now, if this all sounds interesting to you, I will put a link in the description so you can check it out. There will also be a cheeky little discount code. And what is great about this is that, yes, you can use it in Premiere Pro, but you can also use it in DaVinci Resolve or Final Cut. Now that the color correction is done, it is time to make our video look cinematic. And I'm going to do this by using one of my LUTs. It's called That Cool Kid on this clip. Now, if you want to use this LUT, then definitely check out one of my three LUT packs at this point. I worked on my LUT packs for over a year, perfecting it, making sure that it doesn't affect skin tones negatively. It makes any type of footage look cinematic and no matter what camera you shot it on, it will look good on your footage. Now, if you want some cinematic LUTs and you want to support yours truly, then there will be a link in the description. So go check them out. Now let's check out that before and after one more time. So good. I could do this all day. Oh my God, this looks good. If you want to learn how to color grade your videos, then make sure that you click on this video right here. And also, please don't forget to subscribe. Make sure that you also check out Cinematch. It will be worth it. Oh my God, you should actually see what I've created. It looks so good. I'm not even kidding you. This is the most satisfying thing of color correcting. I am obsessed with this button. Love it.