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Using scopes

From: Premiere Pro CS4 Beyond the Basics

Video: Using scopes

As much as we hate to admit, as human beings, we have a tendency to overdo things a little bit sometimes. This is especially true in the case of color editing with video. One of the bigger problems when dealing with video with this is that when these colors that are maybe too saturated or too bright are displayed on screen, they create really weird artifacts and just don't look right. So, we have these things called Scopes, which are kind of like dynamic charts that show us live feed about how our colors are doing and how our brightness levels are doing.

Using scopes

As much as we hate to admit, as human beings, we have a tendency to overdo things a little bit sometimes. This is especially true in the case of color editing with video. One of the bigger problems when dealing with video with this is that when these colors that are maybe too saturated or too bright are displayed on screen, they create really weird artifacts and just don't look right. So, we have these things called Scopes, which are kind of like dynamic charts that show us live feed about how our colors are doing and how our brightness levels are doing.

We're going to talk about the two most common scopes, Waveform Monitors and Vector Scopes, here in this movie. We can access these by going to the Program Monitor and going to these three circles right here, the Output dropdown and clicking that. Now, we're typically looking at the Composite Video output, but as you can see, there are a host of options to choose from. Now, the first one we're going to look at is YC Waveform and it's a little bit confusing, and I'll explain what this means in just a moment. However, this is a little bit tough to work, because now our original footage is gone.

So, I am going to take this Output back to Composite Video and this is another instance where I like to use reference monitors. Go to the Window menu, open up your Reference Monitor and, in this case, we actually do want to Gang this Reference Monitor to our Program Monitor so that as we move in tandem, we're seeing the same frames. So, what I'm going to do is I'm going to go back to the first frame and on the Reference Monitor, I am going to click the Output dropdown and change the view to YC Waveform.

Now what we're seeing is the waveform readout of this particular frame. And you'll notice that as we scrub in time, the waveform monitor and the reference monitor changes to update what's going on. Now, although this chart seems a little weird and a little spacey, it's actually fairly simple to understand. Here we have the IRE values. Basically, this is the specs of allowable brightness for video from zero, with this dotted line here, up to 120.

Typically, you want your values to stay between 7.5 to about 100. So, we want to make sure that we don't go over bright or too dark. The way this reads out is like this. From left to right, the Waveform Monitor gives us a readout that correlates to the left to right values of our image. So, in other words, the right side of the monitor represents the right side of our footage, left side of the monitor represents left side of our footage and so on. The height of this chart represents the brightness of those parts of the footage.

So, you'll notice that on the left half pretty much, of the footage, it's just pitch black and so we have a flat line, down at the bottom, and then we have a little bit more brightness in the guy's shirt a little bit, not too much. And then over on the right-hand side we've some blown out highlights and so we have a big spike in the right side of our waveform here. And as I scrub in time, you'll notice that the footage pulls out and then as we start to see this arm here, this is another little spike in brightness, so we're seeing a little spike in brightness here on the left.

And then we start seeing some holes of light, like right here. About in the center of the image, there is a little bright spot, and so right here, we have a little tiny spot, not very wide, but it's very bright. So, it's very tall. And again, as I move in time, and there are more bright spots, you see these little speckles up here indicating which spots are bright. Now, what I could do is go into the Effect Controls panel and add something like the Fast Color Corrector effect, if I wanted to.

And we could go in and perhaps take down some of that brightness, maybe go to the Output Levels and take down Output White and we could go back to our Reference Scope and see that this is now a little over 80, instead of a little over 100. So, if we're finding those a little bit too bright, we could still adjust the luminance here with the Input Levels and we'll talk a little bit more about this in upcoming movies later in this chapter. But if things are too bright, we can take down Output Levels to make sure that we're not blowing out our highlights.

This a little bit extreme. I have taken it down too much, but here you get the idea of that's how to do that. To see another example, we could go to the hand for cutaway DJ clip, in the next clip here. And we could see that the brightest part of the image is this part of the paper here about in the center, little bit of spike here with the yellow in the center and you could see that indicated here as well in the Waveform Monitor. The Waveform Monitor is for checking luminance. It's for checking brightness values only. It doesn't give us any information about color. For color we typically go to something called a Vectorscope.

So, I'm going to go to the Output dropdown in my Reference Monitor. I'm going to change this from YC Waveform to Vectorscope. The Vectorscope is even a little bit more odd looking and unintuitive than the Waveform Monitor was, and basically this is a circular readout of the color spectrum. So, here we've a little R representing Red, little G representing Green, little B representing Blue. So, we have Red, Green and Blue and in between that we have Cyan, over here at the bottom, Magenta and Yellow. So, we've a lot of yellow gravitating this way and so it's kind of moving off more towards that direction.

So, the more saturated a particular color is, the further along in that part of the chart it will be. So, if we had a lot of bright green, then the graph would go down this way because this is green. And the more saturated the green was, the closer we get to this edge. As you could also in our footage, we have some blue in the pen and some blue in her jacket and that's also showing up here, some little speckles of blue in our Vectorscope. And you could also see, if I'm going to disconnect the Effect Controls panel, put that in its own little floating window here, if we open up the Fast Color Corrector effect, which I've already applied to this footage, and go to Saturation and increase that, we'll see the yellow on the right-hand side here, getting more saturated and we can also see that expand on the left-hand side.

Typically, the rule of thumb is that you don't want these colors to go beyond these little markers. As you can see they're different for each color, but those are indicating what is safe for broadcast. So again, if I make this like this bright, then we don't see too much of a difference between the last level of yellow and this level of yellow, but our Vectorscope is telling us, Hey! That's not going to look good when broadcast. We want to rein that in until about that where the green speckles don't go past these little indicators.

Vectorscopes are also really good for calibration. If we go to this next clip, which is actually Bars and Tone, which you can generate by going to the Project panel and going to the New dropdown and just choosing Bars and Tone, we have these calibration bars. We also have an audio tone, but it's kind of loud and annoying, we don't really need it in this movie, so I threw it away. As you could see here, some basic colors, and then when we look at our Vectorscope with these bars showing, we could see little dots that perfectly represent where these colors are. So, we've the Red block, as we're seeing this red dot here and the Magenta block and the Cyan and the Blue and the Green. So we're seeing all of these colors here, represented as dots on the Vectorscope.

So, in our case here, we can use this to kind of get a rough idea of where a perfect Red should be. So, this right here would be seen as kind of like an ideal calibration quality red and we could see that right here in these little squares, so that might give you a target to aim for. Oftentimes when outputting for broadcast or for a client, they might have you have a few seconds of bars and tones like this at the beginning of the video, so they can calibrate their monitors and display devices based on the Vectorscope and the Waveform Monitor to make sure that they're displaying your video correctly.

I should also point out that a lot of these features are in Adobe OnLocation, used for video production, so that way you can calibrate your camera based on some of these tools, while you're in the field. That's how I use basic scopes, your Vectorscope and your Waveform Monitor. It's not something, to be honest with you, that I use every second while I am working in video, but when I'm doing color correction, I'm making sure that my colors and my brightness values fall within the appropriate specs, if I'm going out to broadcast, just to make sure that I don't have any unexpected ugliness in the end result.

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This video is part of

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20110 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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