Adobe® Premiere Pro® CC Video Editing: The Complete Guide


Adobe® Premiere Pro® CC Video Editing: The Complete Guide


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

This is the class I've been waiting for! Learning the software is one thing, but to watch an experienced editor at work is priceless. It also helps that Abba is an incredible teacher. He's able to hold my attention and explain things in a way that I actually retain the information." - April, Creative Live Student  

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


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