Hello you, we are looking at the Lumetri Scope called Vector Scopes. It's this thing, kind of jiggles around, remember the trace, kind of moves around while we're watching it, and it's trying to show us what colors are in our image, how saturated they are. We're going to use it to do a little trick, where we actually find a bit of white, mask it out, and we can see that this one in particular has a little bit too much green. We're going to fix it, thank you, Vector Scopes.
All right, to get started I want you to bring in, and start a new sequence with Color Correction I, ring it in, and we're going to switch from our Luma waveform 2, not sure why everyone says Luma waveform instead of Waveform Luma. Anyway, we're going to turn Vector scope YUV, there's two different ways, you can look at it this way, and look at it this way, at this Vector form, and watch it, kind of moves around. This is the more common way of working.
So let's turn off those other two, so just tick off the Waveform one, just so we've got Vectorscope YUV, all on its own. It'll be really common to have both of these up, while you're working, but for the moment, I am going to turn it off. So for this first one, I'm not going to bog you down, with what Red, Magenta, Blue, Cyan, Green, there's what those dot's for, these lines in here, we'll cover those a little bit as we go along.
For the moment we're really focusing on the main use, or at least the way that I use it, and a lot of people use the Vector scopes for. It's a great way of seeing white balance. So in the past what we've done is, gone, all right, it's-- this thing here, is there a kind of a, like a color cast on it? I can kind of see a hint of green, but you might find it hard to see, you're unsure, or it might be that you've got, a little bit of color blindness, and it's a way of actually being able to get in there and see, actually what colors are involved here.
So you could just go 'White Balance', and say, what do you know is white, I know that table's white, click it, and it's gone and done some adjustments here, to the temperature, there's nothing wrong with that, it's an automatic feature, and it's-- do I like it on, off, it's kind of warmed it up, but maybe it's gone a bit red now.
So that thing there is a little bit hit and miss. I'm going to reset it, weedling, hit reset there, doesn't work. You've got to kind of, up here, just double click anywhere on the line, anywhere on the line, to reset those. So we want to do a bit more manually, we want to take control of this.
So what we need to do is scrub through the Timeline. Why are we scrubbing through the Timeline? Because I want to find something in here that I know is white, I know that that is white, because there's a white bit of paper. Now if you don't have something white in this shot, that you can use as a reference, it's harder, you can use something that you know is absolute gray or absolute black, but white's the easiest one to find, and get a good result from.
So what I need to do is isolate this bit of white, because this thing here, showing me all the colors, in the entire image, I want to just see what this white is full of. So to do that you need your clip selected, we're going to switch over here to the 'Effect Controls'. I'm going to find 'Opacity', and I want to use either of these. I'm going to use, just for giggles, I'm going to use this rectangle one. It's a little bit hard to use, I'm going to drag the center, until I get kind of close to where it is, and then kind of adjust the edges here, to kind of try and get as much as the book as I can, without getting too close to anything else. That could influence the color, it's a little bit hard to work, like stitching and pairing, I feel like that's a big chunk, obviously the bigger chunk, the better.
Now let's switch back to my Vector scope, and it's showing me, look, there's way too much yellow in here, like, is it showing me? Ah, this thing here. I leave this in here, my one, watch, it's going to change, I bet you, you, you, you, you. Can you see that? What's happening in Premiere Pro for me, might only be happening to, not everyone, mine's just not updating. Earlier in the course I reset it, so, ah. Premiere Pro sometimes had a few little bugs. So mine's now showing me a bit more what I wanted, so it's showing me, the center part here, is absolute white. So it's showing me that, actually there's, this bit of thing, that should be white, is all lumped towards green. So it's a good way to say, like is there a color cast here, like it might, often it's yellow or red, because it's come from like incandescent lights, or blue from fluorescent lights. It might be lumped this way or that way, or yellow, or green. Mine's got this green cast to it, it's not much, but it's there.
So how do we fix it? Now we can go back to our temperature, you can use anything, you could use our curves, whatever you feel comfortable changing tone with, or Hue, but the Temperature slider is obviously a pretty good one. So I've got too much green, there's a green slider, there's a magenta slider, so I'm going to say, you go away, and what we're going to do is, I'm going to drag it left and right, can you see that little thing moving around, over there, on the Vector scope, want it bang smack in the middle, can you see, it's kind of just a touch down towards cyan as well, just a touch.
So I'm going to go there, it feels good, and then I'm going to go this way, back and forth, so let's just do a little adjust, try and get it as white. That's showing me that it should be pretty close to white. We're going to do the big reveal, to see whether we actually made it better. So I'm going to go to my Effect controls, we're only using this temporarily, we don't-- we could delete it, we could select it, and hit 'Del' on my keyboard, or I could undo that, and often it's good just to turn the effect off.
You can turn it back on later on. So I've turned it off, and I'm going to click off down here to get-- I don't want that blue box anywhere, click on my 'Mask', select my 'Clip', and now let's turn the Lumetri effect on and off, and it's funny, like when I pull this out of the box, especially when I made my tutorial, I was like-- because I found something that felt like I had a color cast, and now when I come back to record this, I was like, does it even-- is this the fixed one?
You might be different, you might be, like, "Clearly Daniel," it's clear now that I turn it on and off, but instantly when I open it, sometimes you're like, "Is that fine?" Something's wrong, what's wrong, and that's why, for other reasons as well, people use things like this, they use these, like clapper boards, because these are very clear white and black in there. So it's easy to do.
So if you're shooting a scene that's-- the lighting is really dull or dim, or there's nothing white in it, at least you've got something clear, that's in the scene that is 100% white, or I use something like this, I don't need a clapper board at home for my stuff, so I use something like this, it's called a Video Color checker, and I'll cover a little bit of that later on, but it's a great way of saying, look, there's complete white, and you kind of throw it in there at the beginning, but so many times I forget to do it, and I have to find something white that is in there.
I'll actually show you real quick, I'm kind of jumping ahead in the course, but I've already introduced it. So I've got this bit of footage in here, it's not in your exercise files, at least not yet, can you see me holding up this, you can see, look, there's a little white bar, and a gray bar, and a black bar, and some color ones as well. It's handy to start your shots, waving that thing around. We'll do it later on, but you can see, it's a nice clear bit of white. If you don't have one of these cards, you don't need one, grab a bit of white bit of paper, hold that up, wave it around, so you get a nice kind of specific bit of white to work from, and use our little Vector scope trick, to kind of get the color balance and the temperature, nice. All right, on to the next video.