To continue on our color extravaganza in Premiere Pro we need to learn what Lumetri Scopes are. We've been using Lumetri, the Panel, I'm going to introduce you to Lumetri, the Scopes. These, sometimes daunting looking graphs here, are going to help us really visualize our clips. Let me discuss what kind of each of them do.
So this seems like a good idea to explain it. I'm inside Premiere Pro, and, I guess the Scopes here, the Scopes over here are bouncing up and down. What you'll notice is, it'll move, can you notice, I know, is that white enough to move, can you see the Scopes moving? It does nothing, you don't use the Scopes to like adjust on the Scopes. They're just a way of us seeing the information, in a little bit more, like exact way.
We're just looking at different parts of the luminance, the saturation, and we'll break down which each of them are good for. Why do we need Scopes? We need them because of, mainly because of consistency, like up until now what we've been doing is we're going-- I'll drag the sliders, so over there you can see me dragging the sliders up and down, up and down, you're like, "Is that better, is it worse?" Yeah, it looks good, but then the one you do tomorrow, you might not drag it to the same place, because other ambient light might be different, different in your room, the shot's slightly different.
So Scope is a way to kind of look at it, a little bit more scientifically, so that you can know that you are not clipping the blacks all the way along, or the weights too high or-- so it's a way of kind of seeing that. What it's also really good for is consistency. So you can imagine, if you've got like hundreds or thousands of different shots, in different places, for say a film, you need to have like a consistent color grade through them all, and just doing them by the old tongue out sliding method is obviously not going to cut it.
So Scopes is a way to kind of-- can see consistency across different clips. So a brief overview before we jump into them all. There are three main Scopes we're going to cover here. There are lots of different Scopes, and ways of looking at it. I'm going to give you the ways that I use, and a lot of people in the industry use, but you will find people in future tutorials who use the waveforms differently, but at least you'll understand how they work, and how you manipulate them. You'll be able to easily follow along with them.
So the first one is the Waveform, that's the white one in the top left hand corner up there. It is bouncing around, that is called the Luma Waveform, and that is a way of looking at the lights and darknesses. Can you see, there's nothing really tall up, up at the top of it, there's lots of darkness, it's because of the way that I shoot my video. I like to not touch the lights, I like to set my camera, so it doesn't over expose the lights, because I've got all sorts of weird bright shiny lights, and a shiny forehead. That ruins all of that, so I like to bump it up afterwards, and I'll show you how we do that with the Luma Waveform.
The next one, next to it, well, next to the white one, is the RGB Parade. It's got a great name, look at that, Parade, that's the Red, Green, and Blue, like technicolor dream going on, and that's really good for kind of color balance. So we'll use that one for that. So Luma Wave is exposure, lights, and darknesses. The RGB Parade is really good for balancing colors, and then the one underneath, the weird looking one, is the Vectorscope, and probably, I don't know, the most helpful of them all. It shows Hue and Saturation, plus Skin Tone, can you see that like big streak, that's running up the middle there along that line, that is all the the tones that are in my skin. If I disappear, will it disappear? Hopefully, it will. Let's have a look. I have no idea if that worked or not, but maybe my skin tones, that little Vectorscope disappeared, because there's no skin tones in it, and that's a really handy way to help correct skin tones, if that example worked.
\So those are the Scopes, what next? Next is a couple of terms, I'll talk about Trace a lot, that is what you just call the junk that is in the Scopes. We say, when we're looking at it, we don't know what to call it, we call it Trace. There's Trace there, and we're talking about when the trace reaches this, that's just all the little things that are moving up and down at the moment, we call that trace.
The other thing, Lumetri, I don't know why I think this is useful. You're at the end of the video, Lumetri, they call it Lumetri, what is this Lumetri, because there's a Lumetri Panel, which we've been doing, over there, then there's Lumetri Scopes, basically it's a technology that was created, by somebody else, not Adobe, and it kind of worked with Premiere Pro, they loved it and they integrated, and they bought it. So they bought the company that originally made it, and they called it Lumetri. So Adobe ended up continuing calling it Lumetri. It's kind of like an umbrella term used for, like the panel and all the different Scopes, but that's Lumetri.
Last thing before we get started, I wrote Scopes over here, so I know which way to point, and look, there's the panel over there, Panel, Scopes, how clever am I. I'm not sure if this video is actually going to work, you let me know in the comments if you think that was just a big headache, or was it a good introduction, I don't know.
All right, let's jump into the video, and let's learn about the first one. We're going to learn about Luma, the waveform, the white one. All right, pointing, these things didn't work at all, did they? I was pointing all over the place, why didn't you say something? Hope you got the idea. Actually, let's go and learn some of the Scopes now.