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Adobe Premiere Pro CC Video Editing: The Complete Guide

Lesson 38 of 65

Color Correction: Lumetri Scopes


Adobe Premiere Pro CC Video Editing: The Complete Guide

Lesson 38 of 65

Color Correction: Lumetri Scopes


Lesson Info

Color Correction: Lumetri Scopes

Going over to the computer, if we take a quick look, I have a scene that we've seen bits and pieces of. This is I think Shanghai at night. It looks like any city at night. I'm going to rearrange the layout of my workspace. Specifically do it default for color correction. We've learned we can modify these to our specific needs. This is the default for color correction. You can again modify it. Though I think out of the box it's pretty good. So I'm gonna switch back and forth so you can see how things jump around. So what we've done here, is because we're basically working with fixing the color, we're not editing our show. Again, don't need a lot of space for our project. We're not bringing anything in. It brings us right to effects control tab. That is where you're starting to manipulate any of your effects or filters. We learned that in the filter class. Well, the lumetri color filter will appear there as soon as we start working with color grading. So I wanna see that big. I wanna see...

my image. And then these are all the controls for this specific filter. And it's nice. It's very linear. I can see a lot of that. So it's a nice workspace to develop. There's a pun. You like how I have to tell you it's a joke. If you have to tell somebody you're funny. (laughing) So, we're gonna go ahead, and we're gonna look at this. Now, the other thing that's here, if you look up in the upper left hand corner it says, lumetri, or lumetri scopes. And by the way, I asked the guys at Adobe, and they say call it whatever you want as long as you use it. So you'll hear both lumetri and lumetri. And I don't think there is a official way to say it. But, what this allows me to do is look at my image in a series of graphical representations. And there's four basic ones that we use. And you can open these up if you go up under the wrench. I'm gonna open up all four so you can see them. I'm gonna explain what they're used for. We're not gonna dig too deep into it. But I wanna give you this as a reference. So, underneath presets, you have a choice of these vectorscope, histogram, parades, and waveform. Under presets I believe I can actually have a preset for all four. And we're gonna do we'll do speedgrade. So, it just turned into these four scopes. And let me go ahead and use my tilde key and make them big. So, vectorscope. What this is, is this telling me about the color information in my shot. So, the more saturated the color, the further out this gray area goes. If you look closely, you can see that there's a little box that has a y for yellow, r for red, magenta, blue, cyan, green. The six basic colors and secondary colors that make up the color space that we're working in. So if I look at this, I can see there's a lot of yellow and red in my scene. A little bit of blue. If I actually bring this down, and I look at my image, yeah, I see it. A lot of yellow. Little bit of red. It's probably mixed into the background. A little bit of blue. But it lets me look at how saturated it is, and how much of each color there is. And we're gonna look at a bunch of different images to help you read that a little bit better. You have this called, I'm gonna actually go to this one, which is our waveform. And that just deals with luminance. Just how bright parts of the scene are. And if I look at this actually, and I play it, you'll notice there's not a lot of movement. But, as the ship moves, little things happen. And I have actually a nice diving shot that's a little bit better. So if I freeze on the diving shot, and if you look very closely, you can see that looks a lot like me. It was really hard to take this selfie. I had to put the camera on the rock. I had to swim by it. The fish took the camera, it was a long story. But, if I look at this, lot of blue. This is leaning towards blue. If I look at this. This is the luminance value. So you want your, ideally everything to be somewhere between zero and 100%. Over 100, you're gonna lose detail. And in some cases, I don't wanna stretch it to because this was never super bright. But it gives me a range to work with. The closer this is, or the more clumped this is, that means that there's less dynamic range. Less, bright and dark diversity. So sometimes you wanna open that up. Because you want greater dynamic range in your image. And this is telling you that graphically. This is the same thing as this, broken down into the red, green, and blue color space. So this is called an rgb parade. It's luminance values based upon those three color elements. And you can see, there's a lot of blue in the shot. And there's supposed to be blue in that shot. So this really doesn't need much correction. But if I looked at a picture of a building in the middle of the day, and I saw a lot of blue here, the odds are, I look at the picture, it'd be very blue. And it might be because my color balance was off in the camera. So you use these for references. And this is the histogram that many of you may be familiar with in Photoshop. And basically a histogram tells you contrast. You can look at these in a variety of ways. In some, some people like to look at them broken down into the color space. I could also look at some of these with no chroma. So I just wanna look at it white. So this is the histogram. So I could change these things to rgb white. Oh I changed it. There we go to rgb white. So you can switch these things as you need. But visually this is telling what you want actually. I don't want that to be that. 'Cause I want this to be less confusing for you. Rgb. The other thing that you may come across, and we're not gonna dig too deep into this, but people may see this and go, "What's the difference with this stuff?" Colorspace. 601, 709, and 2020. This is the colorspace of three different types of televisions. 601 was the traditional standard definition television. It had a certain, colorspace. The gamut. The way the blacks looked. The dynamic range of the color. All certain specs. It got wider and different. 709 is hi-def. 2020 is the four k ultra hi-def new flavor. So, you're probably gonna be working in 709. And that's what it's gonna be defaulting to. Because you're doing wide-screen, for computers, for televisions. You're not going back to a square three by four television. And it just basically adjusts the scopes so the scopes work with your images. You don't have to really worry about that. But, if the case that was a question. There was one change that I think I might have been able to make to make your life easier. I'm gonna make these a little brighter. It doesn't do much but it helps. So those are our four scopes. And I just wanna quickly show you, when I switch to pure colors. This is pure red. Pure blue. Pure green. Did you like the fact that I had to look at the colors to remember what rgb stood for. But, if I look at this as pure red, if I look here at my rgb parade, which is luminance broken down into the three areas, no blue and green at all. They're at zero. This is at 100%. I can also look at, what is really the luminance value of just red in here. You know, it's running at 30%. We won't use this to adjust our scope. This is more so you can understand these, understand the scopes. We have a little dot there. It's 100% red. It's right there. Very clean. And then you know, we don't even have to worry about the histogram because it's not even needed for what we're doing. But what I wanna see is I switch over to blue. So there the blue is at 100%. Green is at 100%. The luminance values are slightly different but when combined, they make pure white. If I have pure white, we see red, green, and blue all the way at the top. We see 100% luminance. Again, not a big diversity in that histogram there. I also want to point out, that when something is pure white, it has no color. So this dot's right in the middle. Whereas before you saw it jumping around to the little target that it needed to for blue. So this is just again to get your head wrapped a little bit better around how to read these scopes. Pure black. This is at zero. These are all at zero. Again, color doesn't make any difference. Gray. Gray is made up of 50% green, red, and blue. As expected. So, you see how the colors are built. And just so you can get a little sense for going from black to white, you can see, again there's not color. We see our histogram is starting to look a little better. And then there we go. When we're looking at this it's basically looking at the luminance values from left to right. And then you would add those together. And that's a real quick overview of the way scopes are read with basic colors. And you can use these when you start color grading to see if your eye is being fooled. And here's the deal, if you look at something long enough, your eyes will color balance. So, when you're doing color grading, and it can get very, I don't wanna say complex, but it can get very deep. To the point that, you know, if somebody is color grading a show for broadcast, they're getting the big bucks to do this, or a movie to do this, not only are they getting it so that all images match and you don't even notice any changes in the color and you get that look, but they have equipment that, the monitor is color balanced to be absolutely neutral. Because what if your computer monitor or the tv set you're using as a reference, is a little bit pink, and you're just using your eye. Well then, what happens is, you put out your show and it looks green to everybody else 'cause your monitor was pink. So they have expensive monitors that you can calibrate so it's perfectly neutral. You could also get a little calibration tool, a spider, that you can put on your screen. A lot of folks who do color printing already have those. You can use those. To make sure that your screen is neutral for a television. We're not gonna go any deeper than that because you don't need to know that. You need to understand this first. But, the environment that you're building is very important because if your screen's off, if you have like really colored walls, like in the studio we have this beautiful wall that has all these blues and aquas, that's going to cause your brain to see colors different. So in a real color correction suite, it's like this neutral gray and the lights are color balanced and they're behind. You're not gonna go to that level. Your goal is to make your shots match. And make it look good. And if you get 90% there, or 95% there, it's a win. You're not gonna, you don't wanna go to spending weeks and months color correcting your show. Make a good show. They won't notice the colors are a little bit off. But I just wanna point that out. That your brain gets fooled. It is good by the way to occasionally take a break. Let your eyes rest. So they reset. Maybe even looking at something that's neutral gray in the room. But eventually, if you keep working on the same scene, you'll come back and you'll say, "Wait a second. I'm just gone crazy." So I just wanna point that out.

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers

Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro®. In this series, you'll learn the tools that allow you to build a story with video.

Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video.

Lesson Plan

  • Understanding Editing 
  • Tour the Interface 
  • Building a Rough Cut 
  • Refining Your Edit 
  • Working with Audio 
  • Transitions 
  • Filters & Effects 
  • Motion and Animation 
  • Titling and Graphics 
  • Speed Changes 
  • Color Correction 
  • Finishing: Prepping for Output 
  • Sharing and Exporting 
  • Ingesting Media  
  • Media Management & Archiving 
  • Multi-Camera Editing 
  • Creating Timelapses 
  • Advanced Editing Techniques 
  • Thinking Like an Editor 
  • Green Screen, Warp Stabilizer and other Special Tools 

By the end of this class, you will feel proficient in creating video with this complex program. If you've been paying for Adobe's Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription. You’ll be able to bring your images to life, organize your media and begin to build stories to share with your family, friends, and clients. If you’ve been thinking about expanding your business to include video, this class will give you the tools to successfully start creating quality products that will impress!  

For more interaction with Abba during the bootcamp, you can join his Facebook group: 

Abba Shapiro CreativeLive Facebook Group 

"Great class -- wasn't ready to take the leap into Premiere Pro until I had a framework. Not only did Abba give me that framework, but he gave me the tools to manage and balance the story, the editing process, and the start to-finish workflow to create a finished product. And it was fun!" - Creative Live Student 

Software Used: Adobe Premiere CC 2017


  1. Understanding Editing: Bootcamp Overview
  2. Understanding Editing: Overview
  3. Understanding Editing: Video Examples
  4. Tour The Interface: Digital Video Workflow
  5. Tour The Interface: Project Panel
  6. Tour The Interface: Choosing Your Shot
  7. Tour The Interface: Music And Voice Over
  8. Tour The Interface: Video Tracks
  9. Tour The Interface: Edit Markers
  10. Building a Rough Cut: Cut Planning
  11. Building a Rough Cut: Selecting Media
  12. Building a Rough Cut: The Edit
  13. Building a Rough Cut: Edit Points
  14. Refining Your Edit: Preparation
  15. Refining Your Edit: Making Cuts
  16. Refining Your Edit: Using Markers
  17. Refining Your Edit: J and L Cuts
  18. Refining Your Edit: Replace Edit
  19. Working with Audio: Overview
  20. Working with Audio: Levels
  21. Working with Audio: Music
  22. Working with Audio: Mixing And Syncing
  23. Transitions: Overview
  24. Transitions: Effect Controls
  25. Filters & Effects: Overview
  26. Filters & Effects: Using Multiple Filters
  27. Motion & Animation: Motion And Animation Overview
  28. Motion & Animation: Movement With Still Images
  29. Motion & Animation: Picture In Picture
  30. Motion & Animation: Motion Effects
  31. Titling & Graphics: Overview
  32. Titling & Graphics: Advanced Tools
  33. Titling & Graphics: Roll And Crawl Effects
  34. Titling & Graphics: Working With Photoshop
  35. Speed Changes: Overview
  36. Speed Changes: Stills And Variable Speeds
  37. Color Correction: Overview
  38. Color Correction: Lumetri Scopes
  39. Color Correction: Contrast
  40. Color Correction: Advanced Tools
  41. Color Correction: Adjusting To A Master Clip
  42. Finishing: Prepping for Output
  43. Finishing: QC Edit Points
  44. Sharing & Exporting: Overview
  45. Sharing & Exporting: Size And Quality
  46. Ingesting Media:
  47. Ingesting Media: Transferring And Importing
  48. Media Management & Archiving
  49. Multi-Camera Editing: Overview
  50. Multi-Camera Editing: Creating A Sequence
  51. Multi-Camera Editing: Switching Multiple Cameras
  52. Multi-Camera Editing: Finalizing
  53. Creating Timelapses: Shooting Strategies
  54. Creating Timelapses: Editing Images
  55. Creating Timelapses: Importing Strategies
  56. Creating Timelapses: Animation
  57. Advanced Editing Techniques: Take Command Of Your Timeline
  58. Advanced Editing Techniques: Transitions
  59. Advanced Editing Techniques: Keyboard Shortcuts
  60. Advanced Editing Techniques: Preference Hacks
  61. Thinking Like an Editor: Editing Choices
  62. Thinking Like an Editor: Telling the Story
  63. Special Tools: Warp Stabilizer
  64. Special Tools: Morph Cut
  65. Special Tools: Green Screen


a Creativelive Student

I've never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together (basic of course, but still pretty cool). I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can't even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I've learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won't find this thorough of a course for this decent price!

Patricia Downey

Just bought this yesterday and cannot stop watching!!!! What a FANTASTIC teacher-- just love the way he explains everything. For someone like me (who has a zillion questions) it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that's easy to grasp and remember. So, so happy I got this. Thank you Abba and CreativeLive!

a Creativelive Student

I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can't wait to learn more :)

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