How To Read Lumetri Scopes In Premiere Pro - Learn In 3 Mins!

How to Use Lumetri Scopes in Premiere Pro

Essentially, Lumetri Scopes are graphical representations that provide real-time color information about your footage. They're like a GPS for your color grading journey, guiding you to more accurate results.

You see, there are a lot of variables that can throw off your perception of color. Take your computer monitor, for instance. If it's not calibrated correctly—which is often the case with factory settings—you might think you're looking at a true representation of your footage when you're not. Calibration is a process that adjusts your monitor to a known standard. Think of it like tuning a musical instrument; you want it to hit the right notes, or in this case, display the right colors. Professional calibrators can cost upwards of $200, and the process can take a good 30 minutes to an hour.

Then there's the issue of ambient lighting. The light in your room can affect how you perceive the colors on your screen. Imagine trying to view your footage in a room bathed in orange light; it's going to throw off your perception of what's actually there. The industry standard for ambient lighting is a neutral D65 light source, which mimics average daylight and has a color temperature of approximately 6500K.

And don't even get me started on wall color. You might not think it matters, but the color of your walls can actually reflect onto your screen, subtly altering how you see your footage. That's why many professional editing suites have neutral gray walls.

Now, you could invest in blackout curtains, repaint your walls, and buy a professional monitor calibrator. But let's be real, not everyone has the time or budget for that. That's where Lumetri Scopes come in. They give you an objective view of your footage, independent of all these variables.

So how do you use them? In Premiere Pro, you can open the Lumetri Scopes panel by going to Window > Lumetri Scopes. You'll see several types of scopes: Waveform, Vectorscope, Histogram, and Parade. Each serves a unique purpose:

• Waveform: This shows the luminance (brightness) of your image. The scale goes from 0 to 100, where 0 is absolute black and 100 is absolute white. You want to make sure your image hits those points but doesn't exceed them, to avoid losing detail.
• Vectorscope: This one's all about color. It shows you how saturated your colors are and where they sit in relation to true colors like red, green, and blue. A fully saturated color will sit at the edge of the circle, while a desaturated one will be closer to the center.
• Histogram: Think of this as a bar graph for your image's brightness levels. It shows you the distribution of darks, mids, and brights in your image.
• Parade: This separates the RGB (Red, Green, Blue) channels of your image into individual waveforms. It's useful for identifying color imbalances.

By keeping an eye on these scopes while you adjust your footage, you can ensure that what you're seeing is what you'll get, regardless of your room's lighting conditions or your monitor's quirks. It's like having a safety net for your color correction process, and it's a skill that's well worth investing the time to learn.

‍

Parade

If you're familiar with the waveform monitor, the RGB Parade is its more specialized counterpart. It gives you an isolated view of each color channel: Red, Green, and Blue. These channels are read from bottom to top, providing a nuanced understanding of color intensity levels in your footage.

First off, let's talk about customization. You can set the parade type using that handy wrench icon we discussed earlier. Your options include RGB, YUV, RGB-White, and YUV-White. [YUV is another color space that separates image luminance from chrominance, but for most tasks, RGB will serve you well.] Personally, I stick with RGB for the majority of my projects. It's the industry standard and provides a straightforward, comprehensive view of color data.

Now, why is it crucial to keep color information within the upper and lower limits? Well, exceeding these limits can result in color clipping, where you lose detail in the brightest and darkest parts of the image. Just like with the Histogram, you want to avoid clipping to maintain the integrity of your footage. [Clipping refers to the loss of data when a color value exceeds the minimum or maximum value that can be represented.]

So, when should you be using the RGB Parade? Two scenarios come to mind. First, when you're adjusting white balance or color temperature using basic color correction tools. The RGB Parade allows you to see if one color channel is dominating the others, which can be a telltale sign that your white balance is off. For instance, if the red channel is peaking higher than the green and blue, your image might be too warm, and you'll need to adjust accordingly.

The second scenario is when you're using the RGB curves tool to match colors between multiple shots. Let's say you're cutting between two scenes shot at different times of the day. The RGB Parade can serve as your guide to ensure color consistency. By closely monitoring each color channel, you can make micro-adjustments to ensure that Scene A matches Scene B, down to the smallest color detail.

‍

Vectorscope

If you've ever looked at a color wheel, you'll find the vectorscope eerily familiar. It's like the color wheel's tech-savvy cousin. The vectorscope shows you 'Hue' and 'Saturation,' just like a color wheel, but in a more analytical way. [Hue refers to the type of color, like red or blue; Saturation is the intensity of that color.]

When you see a line or dot on the vectorscope, it's giving you a snapshot of the color or 'chrominance' of your shot. [Chrominance is a fancy term for the quality of color combining hue and saturation.] The longer the line extends from the center, the more saturated the color is. Think of it as a color intensity meter.

Now, let's talk about those small color targets on the vectorscope. These are your guidelines for color accuracy. You'll notice a drop-down menu that's usually set to 75% by default. What does this mean? Well, that little box in the outermost target represents 70% to 80% saturation of a given color. In the world of broadcasting, exceeding this limit is a no-go; you'll end up in the realm of 'illegal' or 'non-broadcast safe' colors.

If you switch the drop-down to 100%, the game changes. Now, the inner box represents the 75% point, and the outer box marks total saturation. This is useful when you're not bound by broadcast standards and want to push your colors a bit more.

So how do you see all this in action? Let's run a quick exercise. Create an 'HD Bars and Tone' sequence. You can find this by clicking the new items icon or going to File > New > HD Bars and Tone. Drop this onto the 'New Items Icon' to create a sequence. Now, open your vectorscope.

What you'll see is a graphical representation of the colors in the 'HD Bars and Tone' sequence. This is a great way to familiarize yourself with how colors are displayed on the vectorscope. Pay attention to how the lines and dots move as you make adjustments to the color in the Lumetri Color panel. This real-time feedback is invaluable for understanding the impact of your color grading choices.

‍

Waveform

Let's get into the nitty-gritty of the Waveform monitor in Adobe Premiere Pro, a tool that I consider the "MRI scan" for your video's luminance and chrominance. Unlike the Histogram, which gives you a global view of tonal values, the Waveform shows you the intensity levels of each pixel based on its location in the image. This is a game-changer for those who are meticulous about color grading.

First, let's talk about the scale you'll see on the left side of the Waveform: the IRE units. The range starts at 0, which represents pure black, and goes up to 100, signifying pure white. [IRE stands for "Institute of Radio Engineers," and it's a unit used in the measurement of composite video signals. It's crucial for broadcast standards.]

Now, you have options when it comes to the type of Waveform you want to use. The RGB Waveform shows the Red, Green, and Blue signals overlaid, giving you a comprehensive view of their respective intensity levels. This is particularly useful when you're trying to balance the color channels in a shot. For example, if the red channel is peaking, it's a clear sign your image might be too warm.

The Luma Waveform focuses solely on the brightness of your shots and the contrast ratio. [Contrast ratio is the difference in light intensity between the brightest white and the darkest black.] This is my go-to when I'm working on scenes with tricky lighting conditions. It allows me to see if my highlights are blown out or if my shadows are too crushed, and I can make adjustments accordingly.

Lastly, you have the YC and YC with no chroma options. The former displays both luminance and chrominance, while the latter shows only luminance. [Luminance is the brightness in an image; chrominance includes the color information.] These are more specialized and are often used in broadcast settings to ensure the video signal is up to spec.

‍

Histogram

Think of the Histogram as the pulse monitor for your video's brightness and tonal values. It's a graphical representation that reads the highlights, midtones, and shadows in your footage.

First, let's break down what you're actually looking at when you see a Histogram. You'll notice it has a scale that starts at 0 and goes up to 255. What does this mean? Well, 0 represents pure black, and 255 signifies pure white. Everything in between is a gradient of tonal values. [In digital imaging, a grayscale image is an image in which the value of each pixel is a single sample, that is, it carries only intensity information.]

The Histogram isn't just about the overall tone; it also breaks down the individual Red, Green, and Blue (RGB) channels. This is crucial when you're aiming for color accuracy. For instance, if you notice the red channel peaking more than the green and blue, it's a sign that your image might be too warm.

Now, when is the best time to consult the Histogram? Personally, I find it invaluable when I'm working with RGB curves or making basic color corrections. Let's say you're adjusting the levels of your highlights, midtones, and shadows. The Histogram serves as a real-time feedback loop. If you push the highlights too far, you'll see the right side of the Histogram start to spike, indicating potential overexposure. [Overexposure means that the brighter parts of your image will lose detail, becoming a flat, featureless white.]

Here's a pro tip: aim to keep your tonal values spread across the Histogram but avoid touching the extreme ends. Why? Because once a pixel hits pure black (0) or pure white (255), it loses all its detail. This is known as 'clipping,' and it's generally something you want to avoid unless you're going for a specific stylistic choice.

‍

How to change Lumetri Scopes in Premiere Pro

First off, accessing the Lumetri Scopes panel is a breeze. You've got two straightforward options: either go to Window > Lumetri Scopes or simply select the Color workspace (Window > Workspaces > Color). The latter will also open the Lumetri Color panel, which is your go-to for all things color grading.

Now, let's talk about that little wrench icon at the bottom of the Lumetri Scopes panel. This is your customization hub. Clicking it opens a menu that lets you select which scopes you want to monitor. You can choose to view one or all five, depending on your needs.

Why would you need to view multiple scopes at once? Well, each scope provides a different piece of the puzzle. For instance, the Waveform is your best friend for luminance levels, while the Vectorscope is the go-to for color accuracy. [Luminance refers to the brightness in an image; Vectorscope measures the color information.]

The wrench menu also allows you to select the type of Waveform or Parade you want to use. You'll find options like Luma, RGB, and YC. [Luma represents the brightness in an image; RGB stands for Red, Green, Blue; YC is a composite video signal]. Each has its own use-case scenarios. For example, if you're working on a project that requires precise color matching, like a product commercial, you might opt for the RGB Parade to get a detailed view of each color channel.

Now, let's talk presets and custom setups. Adobe Premiere Pro offers presets for certain scope setups, but you also have the freedom to create your own. This is particularly useful if you find yourself repeatedly working on similar types of projects. For instance, if you're frequently editing interviews, you might have a custom setup that includes the Waveform and Vectorscope to ensure skin tones are accurate and the background is well-exposed.

Last but not least, you've got settings for your color space and the brightness of your scopes. [Color space refers to the range of colors that can be displayed; think of it like a painter's palette but for your video]. Adobe Premiere Pro supports a variety of color spaces like Rec. 709 for HD video and Rec. 2020 for UHD. Choose the one that matches your project settings to ensure what you're seeing in the scopes is what you'll get in the final output.

And about scope brightness—this is more of a personal preference but can be crucial when working in different lighting conditions. If you're editing in a dark room, you might want to dial down the brightness to reduce eye strain.‍

Adobe Premiere Pro Lumetri scopes not showing

Navigate to Window and then select Lumetri Scopes. This is your gateway to a suite of tools that can make or break your color grading game. Now, at the bottom of this panel, you'll find a wrench icon—click it. This is where you customize what you're going to see. For our purposes, let's focus on the Waveform (Luma).

Now, if you've got other scopes open, you might find it a bit cluttered. You can toggle them off in the same wrench menu, making it easier to focus on your Waveform. This is especially useful when you're new to scopes and want to zero in on one aspect at a time.

‍