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Color Correction: Lumetri Scopes

Lesson 38 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

Color Correction: Lumetri Scopes

Lesson 38 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

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Lesson Info

38. Color Correction: Lumetri Scopes

Summary (Generated from Transcript)

The lesson is about using Lumetri Scopes in Adobe Premiere Pro CC for color correction during video editing. The instructor discusses the different types of scopes available and how they can be used to analyze color information, luminance values, and contrast in a shot. He also mentions the importance of creating a neutral environment for accurate color correction and the potential for the human eye to be fooled by prolonged exposure to certain colors.


  1. What is the purpose of using Lumetri Scopes in Adobe Premiere Pro CC?

    Lumetri Scopes are used for color correction during video editing to analyze color information, luminance values, and contrast in a shot.

  2. How many types of scopes are available in Adobe Premiere Pro CC?

    There are four types of scopes: vectorscope, waveform, rgb parade, and histogram.

  3. What does the vectorscope show?

    The vectorscope shows the color information in a shot, indicating the saturation and presence of different colors.

  4. What does the waveform show?

    The waveform shows the luminance values in a shot, indicating the brightness of different parts of the scene.

  5. What is the purpose of the rgb parade?

    The rgb parade breaks down the luminance values into the red, green, and blue color space, providing a more detailed analysis of the color composition in a shot.

  6. What does the histogram show?

    The histogram shows the contrast in a shot, indicating the distribution of light and dark areas.

  7. What is the importance of creating a neutral environment for color correction?

    Creating a neutral environment, such as a color-corrected monitor and a neutral gray background, helps ensure accurate color correction and prevents the human eye from being fooled by prolonged exposure to certain colors.

  8. How can one avoid being fooled by prolonged exposure to colors during color correction?

    It is recommended to take breaks and let the eyes rest, as well as occasionally looking at something neutral gray in the room to reset the eyes and avoid being fooled by prolonged exposure to colors.


Class Trailer

Understanding Editing: Bootcamp Overview


Understanding Editing: Overview


Understanding Editing: Video Examples


Tour The Interface: Digital Video Workflow


Tour The Interface: Project Panel


Tour The Interface: Choosing Your Shot


Tour The Interface: Music And Voice Over


Tour The Interface: Video Tracks


Tour The Interface: Edit Markers


Building a Rough Cut: Cut Planning


Building a Rough Cut: Selecting Media


Building a Rough Cut: The Edit


Building a Rough Cut: Edit Points


Refining Your Edit: Preparation


Refining Your Edit: Making Cuts


Refining Your Edit: Using Markers


Refining Your Edit: J and L Cuts


Refining Your Edit: Replace Edit


Working with Audio: Overview


Working with Audio: Levels


Working with Audio: Music


Working with Audio: Mixing And Syncing


Transitions: Overview


Transitions: Effect Controls


Filters & Effects: Overview


Filters & Effects: Using Multiple Filters


Motion & Animation: Motion And Animation Overview


Motion & Animation: Movement With Still Images


Motion & Animation: Picture In Picture


Motion & Animation: Motion Effects


Titling & Graphics: Overview


Titling & Graphics: Advanced Tools


Titling & Graphics: Roll And Crawl Effects


Titling & Graphics: Working With Photoshop


Speed Changes: Overview


Speed Changes: Stills And Variable Speeds


Color Correction: Overview


Color Correction: Lumetri Scopes


Color Correction: Contrast


Color Correction: Advanced Tools


Color Correction: Adjusting To A Master Clip


Finishing: Prepping for Output


Finishing: QC Edit Points


Sharing & Exporting: Overview


Sharing & Exporting: Size And Quality


Ingesting Media:


Ingesting Media: Transferring And Importing


Media Management & Archiving


Multi-Camera Editing: Overview


Multi-Camera Editing: Creating A Sequence


Multi-Camera Editing: Switching Multiple Cameras


Multi-Camera Editing: Finalizing


Creating Timelapses: Shooting Strategies


Creating Timelapses: Editing Images


Creating Timelapses: Importing Strategies


Creating Timelapses: Animation


Advanced Editing Techniques: Take Command Of Your Timeline


Advanced Editing Techniques: Transitions


Advanced Editing Techniques: Keyboard Shortcuts


Advanced Editing Techniques: Preference Hacks


Thinking Like an Editor: Editing Choices


Thinking Like an Editor: Telling the Story


Special Tools: Warp Stabilizer


Special Tools: Morph Cut


Special Tools: Green Screen


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 Materials

Bonus Materials with Purchase

Abba Shapiro's Work File Information
Building a Rough Cut - Project Files
Refining Your Edit - Project File
Working with Audio Project File
Motion Effects - Project Files
Titling and Graphics - Project Files
Speed Changes - Project Files
Color Correction - Project Files
Finishing - Project Files
Multi-Camera Editing - Project Files (Large Download - 3.25GB)
Creating Timelapses - Project Files (Large Download - 1.25GB)
Thinking Like An Editor - Project Files
Special Tools - Project Files

Ratings and Reviews

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 :)

Student Work