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AMNA
- Colour grading: Practice Task
Colour Grading:
Proficiency in colour grading to ensure visual consistency and to evoke the desired mood and tone of the film.
Ability to correct any colour imbalances and enhance the overall aesthetic of the scene.
Objective: Equip you with the skills to utilise Lumetri Scopes for effective colour correction and matching, enhancing the visual consistency of your film projects.
Colour grading:
Consistency across shots is key—match colour temperatures and exposure.
Use colour grading to support emotion/tone (e.g., cool for isolation, warm for nostalgia).
Using Colour Wave forms and Scopes
Lumetri Scopes are visual tools in Premiere Pro that provide detailed information about the colour and luminance of your footage.
They assist editors in making precise colour corrections and ensuring consistency across clips.
Key Scopes
Key Scopes
Waveform (Luma) – Brightness Map
What it shows:
The brightness (luminance) levels of your image from left to right.
How to read it:
0 = Pure black
100 = Pure white
Middle values = midtones (grey)
Good exposure = the waveform stretches from around 10 to 90, without clipping at the top or bottom.
Use this to:
Fix dark footage (raise shadows)
Stop highlights from blowing out (lower whites)
Waveform (Luma): Displays brightness levels (luminance) from 0 (black) to 100 (white) IRE. Useful for adjusting exposure and contrast.
RGB Parade – Colour Channel Balancer
RGB Parade – Colour Channel Balancer
What it shows:
The red, green, and blue channels side-by-side from left to right.
How to read it:
If the channels line up evenly = colour is balanced
If one is higher = image is tinted that colour
Balanced shot = all 3 channels are roughly aligned
Use this to:
Remove colour casts (e.g., too much red = reduce red highlights)
Match shots by checking channel shapes and levels
RGB Parade: Shows the red, green, and blue colour channels separately, aiding in identifying colour imbalances.
Vectorscope: Illustrates colour hue and saturation, helping to ensure skin tones and other colors are accurate.
Vectorscope – Colour Hue and Saturation
Vectorscope – Colour Hue and Saturation
What it shows:
Hue and saturation in a circle.
How to read it:
Centre = no colour (black/white/grey)
Outer edge = more saturated
Skin tones should sit on the “skin tone line” (between red and yellow)
Natural colour = points are spread but not maxed out, and skin tones follow the line
Use this to:
Check if colours are too strong (desaturate)
Fix unnatural skin tones
https://www.studiobinder.com/blog/what-is-a-vectorscope-definition/
How to use a vectorscope for skin tones
How to use a vectorscope for skin tones
One of the best features of the vectorscope is the skin tone line. You’ll see this going across the diameter of the scope, starting from about the 11 o’clock mark. It’s between the red and yellow boxes
The skin tone line is a diagonal reference line in the Vectorscope YUV, usually running between red and yellow.
Regardless of ethnicity, most natural human skin tones fall near this line.
If your footage shows skin tones too far off this line, the person may look unnatural—too green, magenta, blue, etc.
A balanced exmaple of skin tones
YOUR TURN - Using the Waveform, Vectorscope & Parade
YOUR TURN - Using the Waveform, Vectorscope & Parade
Aim for a waveform that spans from around 10 IRE to 90 IRE.
Avoid "clipping" at the top (overexposed highlights) or bottom (crushed blacks).
Adjust slowly and toggle the "eye" icon to compare before/after.
Enable the Scopes
Enable the Scopes
Go to Window > Lumetri Scopes to open the Scopes panel.
Right-click inside the Lumetri Scopes panel and select:
Waveform (Luma)
Vectorscope YUV
How to Adjust:
How to Adjust:
Select your clip in the timeline.
Go to Lumetri Color panel > Basic Correction.
Adjust the following sliders while watching the Waveform:
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