Combining Lumetri Scopes to correct an image in Premiere Pro

Hi there, in this video we're going to look at using the Luma waveform and the Vector Scope together, because, we don't use these things in isolation, often we need to do a couple of things to get our video to where we need it to be. Let's use both of these Lumetri Scopes, to try and fix this image of this handsome man. This is a very old shot of me, you can tell by all the extra hair, well, not much, there's more than there is now. Let's go get him looking as good as he can. 

So let's bring in 'Color Correction L'. I got a bit carried away with these naming conventions, A, B, C, should have broken them up a bit better, but hey, I didn't, let's make a sequence from it, and there's my smiling face. Lucky for everybody, I've got this built-in, like giant skin patch, that we can use for Color Correction, or at least Skin Correction, you're welcome, but what I want to do in this one, is actually use a more real world project, where there's not just one thing to be fixed. 

This one here needs a couple of things, in this particular case, I always shoot, staying away from the kind of lights and brightnesses, that I can bump them up later on, otherwise I end up over exposing them with reflections in the glass, and I don't have a particularly shiny head today, and yeah, so I do-- so it needs some fixing, it needs both our Luma Wave to fix the things, like exposure and lights, and darks, and then we'll fix the skin tones. 

So it's that way around, fix, get the kind of basics in there, in terms of the whites white, the blacks black, and then do the skin tones. So what we're going to do is turn on the two that I have on most, so I've got-- if you haven't got them, go to 'Window', 'Lumetri Scopes', open, and then I want to turn on this 'Vectorscope YUV', and the 'Waveform', and if your waveform is not set to Luma, change it to 'Luma' from RGB. 

So I've got these two, let's play it through, "Hello YouTubers, my name is Dan," Let's mute that a little bit. It's funny to see, it isn't working, but you can see, there's nothing up here. I've kind of stayed away from it. There's lots down here, probably too much. I need to fix that as well, so let's do that first. I'm going to start somewhere, it's all-- I've already kind of cut it out a little bit, so you can start right at the beginning here, look at that smiley man, and we are going to get, over here, we're going to look at our Basic Correction and Tone, and in this case, I guess I want to admit that--

You know, I say I start with blacks and whites, and shadows, not always, I know that the exposure in this one just needs to come up a little bit, and often I can get a lot of it just by this first one. So it's not always like you have to walk around only starting at the bottom, because that's the way I do it, but I do start at the top sometimes. Sometimes I find myself feeling too definitive, with my tutorials, like do it this way, there's a million ways. So I've kind of chopped up the black a little bit, I think I liked it a little bit smooshed at the bottom, don't squeeze your mouse. 

The whites definitely need to come up, and then the shadows, where do I want to be? I'm looking at the Luma Map, and this, I'm practicing, just looking at the Luma Map now, because I'm with you. Somewhere in there. The highlights, they need to probably come up a bit, contrast, probably all needs to get smooshed. Oh, I feel like that's good, and I feel like we might catch the rest of this with the exposure. 

How do we feel, better, worse? Let's turn this on and off. I feel like maybe I went a bit high with the whites, they're up there, that's great, you want them not at 100, around the 90-ish, is kind of where a good white should sit. So there's a tiny bit left over at the top, you can see mine, see that spec, it's weird, that spec is that spec in my glasses, because it lines up, remember, if we play it, can you see, it moves around, so I can see that, that is that, and I don't want to grade for that, I don't want to like correct for that particular one, because that's okay to get overexposed, because it's a giant bit of white. 

So I've got my Lumetri Scope, in particular the wave Luma or the Luma wave. I feel like I've got that to a point where I like it. Now I'm going to work on my skin tone, so I'm going to go over here, I'm going to switch to Effect controls, let's do a little circle around my head here, perfect. Trying to get too much of the dark stuff. I want generic skin, and I'm now going to go back to my Lumetri Scopes, and I'm going to wait for Premiere Pro to kick back into gear, there we go, it's working. 

It's funny seeing the waveform there, it's not really what I want at the moment, but you can see that it's a little bit off center, so I'm going to drag this whole thing a bit bigger, so I can see my Scope really good, because I don't really care how that looks at the moment, and I'm going to decide which one, this one works, it's never the first one, this is the second one, I'm going to move it across, and remember, my skin tone, so there's about half. So maybe you could come up just a tiny bit. 

Skin tones is a weird one, like there's kind of like-- I'm giving you some general rules, don't stick to them if it looks bad, that feels about good for like what I've told you. Let's have a little look, how did it work? Tiny, Dan, this looks good from this distance, let's go there, let's click off. I think we're okay. This is not my best camera or best lens, so there's like a lot to be desired, in terms of the actual quality of the image, but in terms of the skin tones, let's turn all Lumetri off and on. I think I was definitely a little bit red there, I feel a little bit more myself in that shot. 

So I've kind of combined the two, we've used our Luma Waveform and our Vector Scopes, to get everything consistent, really some form of natural, and it was a good bit of practice. All right, that's it for me, let's jump into the next video.