Adobe Premiere Pro CC allows you to apply nuanced color adjustments to specific pixels, based on their Hue, Saturation and Luminance values. This is usually referred to as secondary color correction, and I'd like to show you how it works.

To follow along, copy the assets that accompany this tutorial to your Creative Cloud account. So here I am in the Color workspace, I have the Lumetri Color panel open. And my Lumetri Scopes are displayed. And I'm in this HSLV, Hue, Saturation, and Luminance Secondary section of the Lumetri Color panel.

I am going to pick out the pixels just on this jacket and see if I can change the color. If I want to, I can use these eyedroppers,I can pick out a specific color, add colors to it, and remove colors to get exactly the range I want. But I wanna go over these slider controls and I am gonna start instead with this magenta color picker. This automatically applies a selection for me, and I want to draw your attention to the little triangle at the top and the little triangle at the bottom of this control.

It's also worth noting these little check boxes to the sides that allow me to see whether I am making a good selection or not. The top triangle is the specific range of Hues that you want. If I click and drag this, you can see the selection being adjusted. The bottom triangle is a feathering for the selections. So if I click and drag this out, you can see I'm beginning to get more and more of the other pixels.

This gives me a softening to the selection that can sometimes be very helpful. You'll notice, as I make adjustments, I am getting a display that gives me gray for the deselected pixels, and color for the pixels that are inside my range. I can also click and drag this color range around. This is very useful if you want to go with the edges, of the control. I think round about there is fine.

And next up, I can begin to pick out Saturation ranges and Luma ranges. I'm gonna click and drag here to pull in the Saturation. And this is great, because you can see now I am losing those parts of the image which are this size.

Suppose that's a t-shirt underneath the jacket. Notice as I click the triangle, both sides of the center point of selection move at the same time. See I'm narrowing the selection too much and pulling it out there. That's a little better. Then again, I've got the control here for the Luma. So let's pull this in. Doesn't seem to be making too much difference, but I think we probably want to pull in a little bit. And now to give a more natural finish, I'm gonna smooth out that selection a little for the Saturation and smooth out the Luma.

Now you might want to play with this a little bit to get more nuanced results, but I am pretty happy with that so far. You'll notice, I've got a menu at the bottom here to specify what kind of preview I am going to get for the mask that's being generated by these controls. And a mask really just sets out an area of the image that you're working with. If I turn this on, right now you can see whether or not I am adjusting the controls, I'm getting the mask displayed. But personally, I find very often rather than using Color/Gray or Color/Black, I prefer the White/Black display, because it gives me a clearer indication. It's almost like a difference mask, if you're familiar with such a thing, that allows me to really home in on the pixels that I need.

I'm pretty sure we can get away with a little bit of overlap here, but you can see as I make adjustments to these controls, this is very much an art and a craft, I'm getting a clean area of white in the pixels that are selected, and black where they're not selected. I'm just gonna turn this option off. I should mention one little tiny additional button, which is right over here, next to the menu, if I turn on the Mask Display again, I can toggle to Invert the mask. And I suppose that's pretty useful, if you're working with some subtle grayscales within your media.

Just down under this menu, you'll notice I've gotta Denoise and a Blur control. I'm just gonna turn that Mask Display back on and see if I can show you what this does. Now you'll notice the denoiser begins to remove little pixels in the media that don't fit the range, but you'd probably like them too. And that could just be because you've got noisy footage. Next up, I've got a Blur, and you'll often find this has more dramatic effect to give a natural result. If I turn this right the way up you can see...Well, that's not of much use at all with this media. But if I pull this in and just have little bit of blurring, just so it looks a tiny bit out of focus, you'll find the media will tend to blend better into its surroundings.

So I am just gonna turn this option off again. And of course, at this point, all we've done is make a selection. I haven't made any changes to the media. Now I'm going to. I'm gonna scroll down here and take a look the controls. I've got a Color Wheel here.So in fact, if I click and drag out,you'll notice these controls move slowly to give you extra control.If you hold down the Shift key, these controls will move faster. You can also adjust the Temperature and adjust the Tint. This is really just a green and magenta control. We can adjust Contrast, Sharpen the image, and so on and so on. You'll notice that in addition to Color Wheel, we've got an overall Luminance control here as well. We also have the option to switch to three color wheels, so now we got Midtones, Shadows and Highlights. I don't think it's gonna make too much difference if I pull down the Shadows here towards the blue because this media is mostly in the Midtones, that's the pixels that we've picked out.Now remember, the Lumetri Color panel creates a regular effect that you can work with in the Effect Controls panel.If I go to the Effect Controls panel now, here is my Lumetri Color effect. I'm gonna copy that with Ctrl+C, that will be Cmd+C on Mac OS.If I just click back a little, you can see we've got another frame here with the same color range in the shot. That clip's already selected because our sequence settings are set to select the clips that are under our playhead. So if I press Ctrl+V on Windows or Cmd+ V on Mac OS,I can paste these settings directly onto another clip. So that's working with HSL Secondary color correction in Adobe Premiere Pro CC.