Streaming Media

Streaming Media on Facebook Streaming Media on Twitter Streaming Media on LinkedIn

Tutorial: Applying Looks and Matching Shots in Adobe CC

Recent upgrades to Adobe CC make it easy to apply graded looks in Adobe Premiere Pro CC and match shots with different color temperatures via seamless roundtripping between Premiere Pro CC and SpeedGrade CC.

Shot Matching in SpeedGrade

So that’s a pretty easy way to add a quick look to a shot that you have. Let’s say you’ve got two shots that look distinctly different, or a series of shots that look similar and another shot that doesn’t match at all. In Figure 3 (below), we see a shot from a series of shots that have a cool, bluish, industrial look juxtaposed another shot from somewhere else that looks a bit green by comparison. This could create a jarring transition.

Figure 3. A dramatic change in look that we can smooth out in SpeedGrade. Click the image to see it at full size.

So what are we going to do there? We don’t want that to be such an abrupt transition. I could apply the Color Balance effect and start tweaking it, but that may take a while depending on my knowledge and skill set. So instead I’m going to use SpeedGrade and show you a feature called Shot Matcher.

Since the latest upgrade, the easiest way to go from a Premiere Pro project to a SpeedGrade project is choose Direct Link to Adobe SpeedGrade from the File menu (Figure 4, below). This is going to automatically launch SpeedGrade in the background after you save your project.

Figure 4. Launching SpeedGrade from the Premiere Pro File menu.

It will immediately load your Premiere Pro timeline in SpeedGrade (Figure 5, below), so you can quickly get to all the same clips. And you can choose whichever timeline you want if you have more than one sequence in a project.

Figure 5. Our Premiere Pro timeline open in SpeedGrade. Click the image to see it at full size.

Now, the easiest way to use Shot Matcher to match the “blue” shots with the “green” shot is by, first of all, clicking the 2-Up button on the right side of the UI just above the timeline and changing to a two-up display. You can see in Figure 6 (below) that the 2-Up display gives you two images and two playheads.

Figure 6. The 2-Up display shows the 2 shots we want to match. Click the image to see it at full size.

To move one playhead, #2, which is the image on the left, I’m going to hold Shift and move it to the shot that I want (Figure 7, below).

Figure 7. Moving playhead 2.

All the “blue” shots look pretty good, but I’m specifically going for the clip shown in Figure 8 (below)--that’s the one I want to match with the “green” shots. Now I’m going to move the first one to one of the clips that’s green, which is the one shown in Figure 8. Then I’ll click the button shown in Figure 8, which, as you can see, has a left-to-right-pointing arrow. It’s going to move the color temperature in the image on the left onto the clip on the right.

Figure 8. The shots I want to match, and the button that tells SpeedGrade to match them. Click the image to see it at full size.

You can see in Figure 9 (below) that it does a pretty good job. The two shots look virtually identical.

Figure 9. The matched shots.

Of course, you shouldn’t judge it by one shot--go back and play the transition through to see if it works. If it’s too much for you, you can always go back and redo it by choosing a different frame or a different clip. It’s based on an algorithm that chooses the exact frame that you’re looking at and tries to match the overall color temperature. If you try again with a different frame, you might get a significantly different result (Figure 10, below), so it’s very critical that you choose a frame that’s going to give you what you want. Experiment with it until you get it just the way you’d like it to look.

Figure 10. Matching the shots using the wrong frame. Click the image to see it at full size.

Now, the downside to this automatic stuff is that it’s not adjustable. You can layer primary or secondary effects on top of it and tweak it, but you cannot edit the AutoColorMatch layer that it creates, which is essentially a preset that’s not adjustable. You can turn it off if you don’t like it, but you can’t change it. And, of course, you can delete it.

Lumetri Looks, by contrast, are editable. So if I bring, say, one of the Saturation filters up to a clip in my SpeedGrade timeline, I can then go in and make adjustments.

Related Articles
Clear Online Video's Stjepan Alaupovic demos the new shot matching tools in Adobe Premiere Pro's Color panel.
This tutorial demonstrates how to use an After Effects alpha matte to make your video "shine through" your text.
Today Adobe announced updates to all Creative Cloud video apps that will debut at NAB. Here are details on the updates, plus a video tutorial on four key new features in Premiere Pro CC: Master Clips, Live Text, Masking and Tracking, and new 4K format support.
While After Effects may be daunting for some Premiere Pro editors, here is an easy-to-follow workflow that can enliven your text and titles with pre-built animations found in Adobe Bridge, applied in a few simple steps in After Effects, and imported directly into your Premiere Pro timeline.
iShowU, a Mac-based screencam app from, is quick, easy-to-use, and inexpensive; here's a look at how to use it to produce pro screencams that you can import into Adobe Premiere Pro CC to integrate into your video projects.
In this tutorial, we'll look at how to create screencams with TechSmith Camtasia, and then import them into Adobe Premiere Pro to incorporate them into your existing Premiere Pro projects to create professional-quality instructional videos that seamlessly combine screencams and HD footage.
Here are three quick tips that will streamline your titling workflow in Premiere Pro when you create styles you like and want to use them consistently without reinventing them each time.
This video tutorial demonstrates how to restore muffled sections of spoken audio using the Multiband Compressor in Adobe Premiere Pro CC or Adobe Audition.
This video tutorial demonstrates how to use and leverage 3 key new features in Adobe Media Encoder CC: Lumetri Looks support, and image, text, and timecode overlay.
This tutorial demonstrates how to apply an effect to a portion of a video image while leaving the rest of the clip untouched, and how to track that portion of the image throughout the duration of the clip, using the Track Matte effect in Adobe Premiere Pro CC.
New SpeedLooks in SpeedGrade, Mask Tracker in After Effects, Sync Settings in Adobe Media Encoder, improved multicam in Premiere Pro, expanded UltraHD/4k support, and more
Using Adobe Lightroom 5 to color-grade and apply metadata to DSLR video files is simple and efficient and can benefit live-switchers doing minimal edits, editing novices, and pro editors exploring non-traditional workflows.
In this final round between audio editing champs iZotope RX 3 and Adobe Audition CC, we compare the two audio editors in noise reduction and reverb/echo reduction.
In this first installment of a two-part series, Jan Ozer compares the declipping and crackle and pop-removal features in iZotope's new RX 3 pro audio editor to the parallel features in Adobe Audition CC.
Exploring 3 new key features in Audition CC, the newest version of Adobe's professional audio editing application: Sound Removal for eliminating hums and other variable-frequency unwanted noises, the Loudness Radar Meter for matching and adhering to broadcast volume standards, and Automatic Speech Alignment for ADR.
If you ever find yourself having to render multiple sequences from Premiere Pro, there's an easier way to do it than by using the Premiere Pro Export control. This tutorial will explain the easier and more efficient way using Adobe Media Encoder.
Here's a quick tutorial for Premiere Pro CC users on how to migrate encoding presets that you created to customize and streamline encodes in Adobe Media Encoder CS5/6 into Adobe Media Encoder CC so you can pick up right where you left off.
In this tutorial you'll learn how to create and edit industry-standard closed captions for video using the new closed-captioning capabilities in the just-released Adobe Premiere Pro CC.
Two types of noises degrade the audio you shoot with your video: random noises like microphone clicks and pops, and consistent noises like white noise or air conditioning hum. This tutorial demonstrates how to remove both of them in Adobe Audition CS6.