Join Richard Harrington for an in-depth discussion in this video Using the Waveform monitor, part of Fixing Video Exposure Problems in Premiere Pro CC.
Now that we've got the user interface laid out for more color correction and exposure tasks, let's take a look at one of the scopes that's really useful for the task at hand. I've already loaded up the Waveform monitor. If it's not visible, you can click the settings wrench, and choose that from the pop-up list. There it is, Waveform. This is going to show me what's happening with the individual shots. Now, I'm going to make it bigger by minimizing the transport controls, which shows me a larger scope.
And right now, these two are ganged together. So as we drag through, the scope updates. Since this is HD footage, I'll uncheck the setup at seven and a half IRE. This box is most useful for standard definition footage, where you had to compensate to push blacks to a truer black. With HD video, there's generally not setup in use. We'll turn that off, end you see that if effects the low end, and then it's a matter of deciding if you want to see the Chroma overlay or not.
Right now, I just want to look at the exposure information, in a gray scale type value. So I'll uncheck Chroma, and it makes it easier to see what's happening. As I press play, you'll notice a few things. First up, the program monitor updates in real time. The scopes do not. One of the current limitations in Premiere Pro, is that the software scopes will not update in real time while you look at the program monitor. However, you can work around this with a little bit of trickery. By holding down the K key, and using J or L to rock playback, it plays in slow motion.
When you release, things update. On the other hand, if you just use the arrow keys, you'll see that the shot, while not playing at full speed, does update in real time. Making it easier to gauge what's happening. This is a good shot to examine. For example, on the left here, the image is going very bright, and that corresponds nicely to this over exposed section of sky. On the other hand, once we get past that, you could see that the building itself is a bit darker.
And that's indicated here. As the vehicle moves through the shot, you could see it moving through the trace as well. In fact, you could see the car is right there. And watch as it moves, how that trace moves inside of the Waveform monitor. Being able to see this helps you start to identify what's going on in the shot, and really is going to be useful as we start to use the Waveform monitor to guide our corrections. You see, working on a computer isn't always totally accurate as far as color goes.
It's quite possible that you could knock things out of place. Now, in this particular situation, I'm working on a display that's actually a certified dream color display. So, I can see it in Rec 709, which is the HD color space. I find that really useful, and it's one of the reasons why I like to bring a machine like this on set where color is critical. But, a lot of times, you don't have that option or, you don't have access to a broadcast monitor being attached to your system so, being able to look at scopes, gives you something that's a bit more absolute.
Now you see here as we step through the shots, how movement in the shot translates to changes inside of the reference monitor and the Waveform. If we turn the Chroma information back on, not only are you seeing exposure, but that gets combined with color. To make things easier to read in the scope, you can always adjust the intensity. And so you might find by bringing that up or down, it's easier for you to read. For example here, as I increase the intensity, it's easier to see where things are hitting on the targets.
And that makes it a lot simpler to understand my shot. I see in this particular case, that none of my whites are crossing the threshold of 100 IRE. That's a concept we'll address more later, when we talk about legalizing video. For now, all I want you to be able to see, is how material in the program monitor translates to the reference monitor with the Waveform scope. This will make it easier for you to read the information, and understand how to work with the material as we apply corrected adjustments.
This course was created by RHED Pixel. We're honored to host this content in our library.
- Using the Waveform Monitor
- Toggling effects on and off
- Working with Auto Contrast, Auto Levels, and Auto Color effects
- Using color correction effects to fix exposure and tone
- Controlling noise and grain
- Keyframing effects
- Sending projects to After Effects with Dynamic Link
- Extracting backgrounds with the Roto Brush tool
- Adding a vignette to footage
- Working with raw video
- Legalizing video for broadcast