Hi there, in this video we're going to look at matching two different clips. This is the same interview, shot on two different cameras, two different lenses, two different sensors. So the colors don't match, and a lot of the work we do, is trying to get consistency across a bunch of different shots. Imagine if there's a button that did this, ready, 3, 2, 1, literally a button you can click, so good. It's called Color Match, it's a Lumetri color. Actually, let's do one more. So we need them both to match, three to one, oh, pretty good, it's not perfect, but it's pretty good one click solution. Let's jump inside Premiere Pro, and I'll show you how to do it.
Actually, quickly before we get started, you get a little bonus. I, at the beginning said, let's make a new project, and you make one, and it opens here, but the old project's still open, you're like, "Oh, why are the two of them open?" It's kind of handy but kind of problematic. So there's the project that's kind of like, forgot to close before making a new one, and this is the old Timeline.
So as long as you've got your new project, that's what I've called it, 'Color Matching', and as long as you've got that open, you can go to 'File', and just go to 'Close All Other Projects'. So it's going to close everything else, but that one you have selected here. I find that's quite useful. Do I want to save that one? No. So now, just Color Matching is open. All right, let's get going.
So this one, we're going to use the Tourism footage from before. I'm going to use A and D, hold down the 'Command' key on a Mac, or 'Ctrl' key on a PC to select them individually. I've probably covered this already, I don't know, I do a lot of this, just dumping it straight into the sequence. It imports, it creates a sequence, puts them in it. So now we're going to match this one to this one. You can see, they are very different in terms of their colors. This one has a really kind of dark moody blue, and this one here has, yeah, it's a sunnier day, it's warmer, but we need them to be consistent for our ad. So let's look at using that Color Match.
All right, Color Match is hiding under 'Window', it's under 'Lumetri Color', click on that one. You can kind of close this down, you can see, there's Basic Correction, you can close that down. Creative, we want the one that says, 'Color Wheels & Match'. They do change it, they change the name of this little tab a few times. So if you're watching this, and you're like, "I have no Color Wheels & Match," keep on clicking them, you'll find something that has these little wheels on them. What you're looking for is Comparison View first. So you click on that, and we've only got two in here, so it's pretty easy.
Let's say we've got a third one right there. So I've dropped that one in there, and I want to move it along, and just put it in between-- remember our shortcut, dragging, dragging, hold down the 'Command' key, and it pushes along, look at that. So I've got this one, A, that I want to match to D, but I want not to do B. So that's what, this has got a reference siders. I'm going to make my reference bigger. So this is the side that it's going to take the color from, and dump it onto this side. So it's not this side, so this side is controlled by the CTI, you put it kind of where you want it to be. So I want this one. Find a good shot, this is pretty easy, because it's the same, it's a really slow turn of a drone, so it's not going to be, there's not a lot of change in it.
So find a good generalized place to start, and same with this reference side, this reference side is a bit weird to use. You see the slider here, you kind of just drag it left and right, or you can use this little slider, and that's your entire Timeline. You've got to kind of guess, that's the middle there, and this is the end. We're not going to match to the same, it might be different parts of this, that's going to be too hard. Let's just do different clips.
So right back here is that clip, now I don't have proxies on, do I have proxies on? No. Remember, proxies off, my button's gone, where's my button gone? There it is there, come back, proxies, and just make sure it's off. I haven't made proxies for this one, but if you have, turn it off, and all you do is, hit 'Apply Match', ready, steady, go. Oh, so good, this is definitely, probably the most exciting update for me, it gets you like 90% of the way there, and often for me, don't tell anyone, that's enough.
So there are some yellows in there, that probably still need a little bit of work, still too warm, but that's pretty amazing, let's undo, redo. I'm just using this, shortcuts, undo, redo, I'm using the side by side. I can't remember what it is by default, it's probably side by side. You can do vertical split or horizontal split, and you can drag this line on Comparison view, but I'm going to go side by side, that looks good. So it gets us close.
One thing I didn't mention was this, you can switch sides, so it doesn't change what your reference is, but you see, the reference just moves from that side to that side. You might like that. The other thing we might do, what we're going to do is, it got it close, it's not perfect, so these here, this is what it's adjusted. Let's go 'Edit', so watch this, actually, I'm going to undo with my shortcut, and let's all watch this. So undo, redo. It’s basically moved the targets from the center here, out a bit further.
You can see, definitely in the mid-tones. So what I want to do is, look at-- it's done a pretty good job everywhere. I'm looking at it, going, it's still probably the mid tones, they needed to be bluer, but maybe even a little bit more. So I'm dragging it down left and right. If you're dragging it, it's going very slow, that's meant to be like that. It's meant to be very slow, it's like fine adjustments. You can hold down Shift if you want to drag this thing, and go all over the place, without holding Shift, it will just kind of move really slowly, and that's meant to do that. It's good.
I'm looking at these highlights here, you can see, I like these mid-tones, this lower color, but can you see the trees here versus the trees here, there's a bit of blue creeping in. So I'm actually going to see if I can grab the shadows and say, actually, warm those up a little bit, weirdly, to try and-- all right, too far, almost there, there's a little bit of contrast, that needs to happen, I think so. Can you see here, the shadows versus highlights, this is the brightness of the shadows and highlights. This is the kind of fine tuning, I still think there's probably, too much warmth in these greens here, in these mid-tones, and in these highlights.
I'm going to make them a little bit bluer as well. You can't do it all from this panel, because I think as well that the contrast, is maybe a little high on the blacks here. So I go back to Color Correction, and maybe the Shadows, I want to just, wash them out a little bit, too far obviously, but, there's a lot of kind of back and forth, but Color Wheels get us pretty close, and remember, you can drag these mid tone shadows, and highlights to make adjustments. You can make mid tones brighter, and darker, or you can hold Shift on any of these things, to make everything just run a bit smoother, and face detection there, will just protect skin tones, without trying to make too big a changes to those skin tones. It's pretty clever.
Now that's where I should really leave this Color Match, and that's what I did with my notes, I'm like, move on. The problem is that these are still too rich, you're like, "Hey, these greens don't match, he said they do," but they don't, and we just can't do it all in the Color Wheels. The Color Wheel & Match is great, gives 90%, and you can do some more adjustments here, but you end up crossing over a few different tools, to kind of get the look you want.
We're going to jump into, we're going to do this later on, look for a video called Selective Color Adjustments, but we're going to have to jump to it now. I'd love to separate these videos out nice individually, but hey, that's not real world. So we're going to use this, Hue Saturation and Luminosity, luminance, lightness, they're all the same thing. So what I want to say is-- we're going to cover it better later on, but I'm going to say, greens, I want down here, I want to do some correction. I'm going to use just the single one, rather than individual, and I'm going to say, the greens, I want you to be a bit more blue, and just keep an eye on at the top there. I'm going to go really far, you see what I mean.
So it's just picking on the greens, it's leaving anything else. So the warmth, and the buildings and stuff. So I'm just kind of dragging it down here, again, holding Shift will speed it up, or you can just drag it around. We'll do that more in depth there, so there you go. It's getting better, close.
So what else? Let's do another color match. We're going to use two clips from the 'Exercise Files', under 'Color', and we're looking for '02 Color Match'. So grab both of these two for me, and bring them into your project, either using the Media browser, or dragging it in, like I am. What I'm going to do is make a clip from this first one. So right click, 'New Sequence from Clip', and we'll dump in this other one here.
So I've got two of them, still the same. Good work, Dan, Cam A and Cam B, where are we, Cam B. Does everyone get lost a little bit when the sequence gets named the same as the clip? Ah, all the time. I was going to call this Color Match. So I've got two clips in here, remember, open up 'Lumetri', open up 'Color Wheels', have the reference of where you want it to match, like I want it the other way around, I want, like, can you see, they're shot on two different cameras, so there is a very different look, different cameras, different lenses, different sensors.
So these are similar but not the same. So what I want to do is, I think I like this camera B, and we're going to try and match the close-up. So I want the close-up to be here, and I want to steal from this one. So yeah, this is the end result, this is the one I want to change. So I'm just going to hit 'Apply Match'. Oh, pretty good, pretty amazing, I love it, like there is some, maybe pink in the skin tone, we'll do skin tones later on, and I'll show you, I'll separate that one out completely, but man, pretty good. Maybe just a little bit too much in the Magenta. It's probably the same in the original one as well.
We're trying to match this original shot, which we're trying to do, but there's a little bit of pink in the skin, so at least they're consistent. All right, my friends, I should have started with that one, because it's a lot easier, just like Apply Match, and it works. I probably use this a lot, I like it, because I end up shooting, like in my office, and then downstairs, and around the place, and it just adds a bit of consistency to the shoot, like I said, it gets you 90% there to get started. All right, let's get on to the next video.