The latest version of Adobe Premiere Pro (v25.2.1) has a totally revamped color engine. Which is excellent, actually. But, if you are shooting iPhone video, when you load that clip into Premiere, it will look, ah, terrible. Here’s how to fix it – quick.
Larry Jordan and Tom Huczek discuss why he invented Nobe OmniScope which contains 19 extended audio and video scopes, who it’s for, how it is used, and ends with Tom describing several of his favorite scopes.
Larry Jordan and Bram Desmet discuss new HDR monitors, the importance of Quantum Dot screens for high-quality color, and a long look at where HDR is heading and why Rec. 2020 may not be the best option for HDR monitors.
If you, like me, scoffed when Blackmagic Design introduced their URSA Cine 17K 65 digital film camera, well, Blackmagic just published two Behind-the-Scenes video showing the camera in use. (The filmmaker quotes below are from BMD’s press release.) Now, there …
This guest post from Steven Kerr describes cinematic techniques for strong visual storytelling hold great importance in captivating your audiences and sending across the intended message. Here’s how you can achieve it effectively.
We all want accurate color in our video. But, good golly it’s hard, as this conversation between Gary Bowman and myself illustrates.
This video showcases how to improve a gray, washed-out image using the color wheels in Final Cut, as well as applying different LUTs.
Last week, I demoed how to create a magnetic mask to remove a background. Later, I exported a still frame from FCP to promote the webinar. At which point, the weirdness started. Still frame exports don’t come close to matching Final Cut. Here are the details.
Editing may tell stories, but visual effects make those stories eye-catching. In this short video, Larry Jordan what visual generators are in Final Cut, how to modify them and ways to use them.
Editing may tell stories, but visual effects make those stories eye-catching. In this short video, Larry Jordan illustrates how to use blend modes to fix image problems, enhance an image or create a surreal effect.
Here’s a very fast technique that can reduce (or emphasize) wrinkles in an actor’s face – without resorting to plug-ins. Watch as Larry Jordan illustrates how this adjustment works – improving how an actor looks instantly!
This short video showcases the differences between using Lift – Gamma – Gain and Shadows – Mids – Highlights to change the gray-scale values of a clip. These differences are significant, powerful, and highly useful, as Larry Jordan illustrates.
In this interview, Larry Jordan and Victor Ha discuss when is the time to step up to a camera from a mobile device, FujiFilm’s emphasis on color and film emulation, and how the process of creating images has evolved over the last few years.
In this interview, Larry and Bram discuss the new Quantum Dot technology for HDR monitors, the challenges of bringing prices down, and when is the best time to invest in a high-quality HDR monitor.
Saturation and vibrance control the amount of color in an image. What’s the difference between them and which should you use? This tutorial shows how to use them for video.
In this short video, Larry Jordan shows how to improve the look of your video using the new Color Adjustments effect in Apple Final Cut Pro 10.8.
Andy Wilson asked an interesting question recently. He wrote: “I shoot outdoors in sunlight in HDR on my iPhone 13 Pro Max (so nothing gets overexposed) and edit on a SDR timeline for publication to the web. I find that …
New effects features in the 10.8 update to Final Cut Pro, when combined with existing effects features, can make your post-production life faster and more consistent. These include renaming custom effects and building effects presets.
Understanding what video scopes tell us about our images is essential to creating great looking images; regardless of which video editing software you are using. In this article, I explain the basics of the waveform monitor and vectorscope, how to read them and how they affect color correction.
A video interview with Angus Mackay, Product Marketing Manager for Matrox Video. Angus describes Matrox image hardware and technology, their latest announcements and the challenges of displaying high quality images.
A secondary color correction adjusts the color of something in the frame – like changing the color of a shirt. In this short video, Larry Jordan shows how to create these in Premiere Pro.
One of the harder tasks in color grading is changing the look of a clip when the lighting color itself changes during the shot. In this short video, Larry Jordan shows how to use color keyframes to change the color grade during a shot using Premiere Pro.
LUTs are a color lookup table. In this short video, Larry Jordan explains what LUTs are, how to use them to change the color of your clips, and how to properly set the new Color Settings panel in Premiere Pro.
In today’s world of digital video, the Broadcast Safe effect (or Video Limiter in Premiere) is gathering dust in a corner. But, there is a BIG benefit to using it when you have a lighting problem to solve, as this tutorial illustrates. This trick works for all the major NLEs.
In this short video, Larry Jordan shows how to create and motion track a shape mask to change the color of objects in a frame. He also shows how and why to use the Broadcast Safe effect.
Masks hide things – even in video. In this short tutorial, Larry Jordan shows how to use shape masks and color masks to change the color of objects in a video.
In this short video, I show how to change the color of a single object in a frame. This is called a “secondary color correction.”
When it comes to removing backgrounds using a green-screen key, not all video codecs create the same image quality. Here’s what you need to know to shoot and edit the cleanest keys.
DaVinci Resolve is a state-of-the-art color tool for video. Whatever you can imagine doing with color, Resolve can do. But, oh. my. goodness. It is complex. Here’s an overview of how to use it.
Recently, I needed to create the effect of a spotlight on a wall in Premiere. The only problem was that the only image I had to work with was a brick wall in sunlight. Here’s how to create this effect in Premiere.
You probably learned this trick years ago, but I only discovered it last week: You can instantly correct color casts in Photoshop with a single mouse click! (I mean… who knew???)
3D text is exciting because of its depth and the variety of textures available for each surface. But the real excitement comes when you start to play with lighting. Here’s a simple tutorial on how this works.
One of the hidden challenges in Adobe Premiere Pro is to adjust a color grade during playback. The Lumetri color panel provides tons of color controls, but no way to change them during playback. But, there IS a way. Here’s how.
Shooting log video is a great way to preserve highlight and shadow detail in an image. Here’s a step-by-step tutorial on how to color grade Log video without using a LUT in Apple Final Cut Pro.
Apple Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan demos two quick color tricks that fix color casts and make sure skin tones are accurate.
Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan shows how to keyframe a color correction, plus an easier way to correct white balance problems.
Final Cut Pro provides powerful color tools that improve video. In this short video tutorial, Larry Jordan explains what LUTs are, how they can improve your images, how to use them – and what to avoid – plus, how to create a custom LUT for your next project.
The new Color Conform in Apple Final Cut Pro takes a really complex subject – matching color spaces – and makes it accessible and easy to use. Here’s how it works.
Recently, while writing a review of the BenQ PD2725U monitor, I realized that I have described how to change color space settings on external monitors incorrectly for years. Here’s the key rule you need to know.
About a month ago, I purchased a BenQ PD2725 monitor because I wanted a color accurate monitor for scanning still images and video editing. Based on what I’ve learned and seen, I’m comfortable making color and composition decisions based upon what I see with the BenQ PD2725U.
In the old days, to monitor video to see exactly what it looks like for color grading required an external video monitor. Today, that’s no longer necessary. Here are three different techniques to view full-screen video from cheap to high-quality.
As AI continues to sweep through creative industries, I was introduced to a relatively new product specifically for video professionals: Colourlab Ai. To learn more, I interviewed Dado Valentic, CEO of Colorlab. Here is our conversation.
The Apple Studio Monitor is an amazing display. But, as a monitor, it has too much — and too little. This could be the perfect monitor for you – or it could be far more than you need. It’s complex. Here are my thoughts.
Still photographs, slides and digital images are common in many video projects where editors often need to bring them to life. In this short video tutorial, Larry Jordan shows three simple, AI-based, Photoshop tools to repair still images for video projects.
“Ask Larry Anything!” is a free-form conversation about video editing technology.In this short tutorial, Larry Jordan illustrates how to read the video scopes inside Apple Final Cut Pro and, by extension, Adobe Premiere Pro, because they share similar scopes. He also provides a table describing where to set skin tones to make people on camera look “normal.”
One of our favorite – and most wide-ranging – sessions returns with “Ask Larry Anything!” Presented by Larry Jordan, this is a free-form conversation based on questions submitted by viewers. In this short video tutorial, Larry shows you how to read the video scopes in Adobe Premiere Pro, then how to use them to match skin tone colors.
Color management for HDR media in Premiere Pro is rapidly changing. For now, it’s a mess with too many color settings that need to be changed manually, with color results that vary inconsistently between clips. iPhone video is a special problem. Here’s what you need to know.
Picking a high-quality computer monitor for video editing is surprisingly confusing. Here is Larry Jordan’s explanation of what specs you need to look for, which you can ignore, and what criteria he uses for picking computer and video monitors.
No monitor is perfect, but if images are your life, you should make the effort to check out the ViewSonic VP2776. When I look at the same image on all three monitor connected to my Mac, the ViewSonic looks the best. Here’s a detailed review.
August is vacation time. Still, over these five weeks, we published 19 tutorials and product reviews. Here’s a summary of everything we released this month. Something to look through during the holiday weekend.
