Click the Apply Match button in the Lumetri Color panel. A color adjustment is applied to the selected clip. The difference is clear. However, within a few moments, your eyes are likely to adjust to the new appearance of the current frame.
Click the Comparison View button to switch back to the regular playback view in the Program Monitor. The automated color matching offered by the Lumetri Color panel is not likely to produce an identical color match, partly because the perception of color is so subjective and contextual. As well as adjusting color using the Lumetri Color panel, there are a number of regular color adjustment effects worth familiarizing yourself with.
Just as with the other effects, you can use keyframes to modify the settings over time. In fact, the same is true of the Lumetri Color effect, if you adjust the controls in the Effect Controls panel. You can always find an effect using the search box at the top of the Effects panel. Often, the best way to learn how to use an effect is to apply it to a clip that has a good range of colors, highlights, and shadows and then adjust all the settings to see the result.
As you build familiarity with Premiere Pro, you may find yourself uncertain about which effect is best for a particular purpose; this is normal! There are often several ways of achieving the same outcome in Premiere Pro, and sometimes the choice comes down to which interface you prefer.
The following are a few effects you may want to try first. While in the Color workspace, the Effects panel may not be easy to locate. You can always access any panel by choosing it from the Window menu. Convert any image to simple black and white. This is useful when combined with other effects that can add color. Black-and-white images can often withstand much stronger contrast.
Consider combining effects for the best results. Use the eyedroppers or color pickers to reduce any image to just two colors. Whatever you map to black and white replaces any other colors in the image. Use the eyedropper or color pickers to select a color you want to keep.
Adjust the Amount To Decolor setting to turn the saturation down on every other color. Use the Tolerance and Edge Softness controls to produce a subtler effect. You will find results vary depending on the image. In addition to creative effects, the color correction repertoire available in Premiere Pro includes effects used for professional video production.
When video is broadcast, there are specific limits that are permitted for maximum luminance, minimum luminance, and color saturation. Check the limits approved by your broadcaster before adjusting the Clip Level setting. A gradual compression of the higher levels is applied to produce a more natural-looking result before the absolute cut-off level set in the Clip Level menu.
If you turn on the Gamut warning, pixels that would have gone above the Clip Level setting are highlighted in the Gamut Warning color.
This is useful when reviewing your sequence, but be sure to deselect the Gamut Warning option before exporting your sequence, as the color highlight will be included in the exported file! In addition to the controls available in the Lumetri Color panel, there are a number of Lumetri Color presets available in the Effects panel.
These are a fantastic way to get started with advanced color adjustments, and as they are presets, you can modify the settings to achieve exactly the finish you want. If you resize the Effects panel, you can reveal previews of each of the built-in Lumetri Color preset effects.
You apply a Lumetri Color preset effect in the same way that you would apply any other effect available in the Effects panel. You can switch or remove these in the Effect Controls panel or in the Lumetri Color panel. Make sure you are in the Color workspace, and reset it to the saved version if necessary.
This is just a quick way to close any other scopes and open the waveform display on its own. This changes the display to a waveform that uses the standard broadcast television range, which is a useful reference for most video projects. Position the Timeline playhead over the first clip in the sequence.
The environment is smoky; IRE displayed on the left on the waveform means fully exposed, and 0 IRE means not exposed at all. No part of the image comes close to these levels. In the Lumetri Color panel, click the Basic Correction heading to display that section.
Try an Exposure setting of 0. Your eyes are likely to adjust quickly to the new image. Use the check box to toggle the Basic Correction section off and on to compare the image before and after. While holding the key, all instances of the Lumetri Color effect are temporarily turned off.
By default, this shortcut has no key associated with it. The subtle adjustment you made adds depth to the image, giving it stronger highlights and shadows. Position the Timeline playhead over the second clip in the Color Work sequence. When you first look at this clip, it might look fine. The face, especially, is sharp and detailed. You can always open it from the Window menu. Open the Lumetri Scopes panel so you can view this clip in the waveform.
At the bottom of the waveform there are quite a few dark pixels, with some touching the 0 IRE line. In this instance, it looks like the missing detail is in the shoulder of the suit, on the left. The problem with such dark pixels is that increasing the brightness will simply change the strong shadows into gray, and no detail will emerge.
Apply the effect to the clip. Drag the panel name for the Lumetri Scopes panel to the right, and down, to move it into a new panel group on the left of the Program Monitor. Use the Brightness control in the Effect Controls panel to increase the brightness.
Rather than clicking the blue number and typing a new number, drag to the right so you can see the change happening incrementally. As you drag, notice that the whole waveform moves up. This is fine for bringing out the highlights in the image, but the shadows remain a flat line.
Switch back to the Color workspace. The Lumetri Color panel Curves control keeps adjustments inside the 0 to scale. Experiment with the third clip in the sequence. Try the fourth clip in the sequence. This drone shot of a desert was underexposed. Drag the lowest RGB Curves control point to the right until the darkest pixels displayed in the Lumetri Scopes panel touch the bottom of the range. Next, drag the top RGB Curves control point to the left, until the lightest pixels touch the top of the range.
Finally, click in the middle of the curve to add a control point to the RGB Curves control and drag up and left until you are satisfied with the result— a dramatic improvement! Move the Timeline playhead to the fifth clip in the sequence.
A lot of the pixels are burned out. The lack of properly dark shadows has a flattening effect on the image. Try using the Lumetri Color panel to improve the contrast range. You might produce acceptable results, although the clip will definitely end up looking processed. Making adjustments to images is highly subjective.
Though there are precise limits for image formats and broadcast technologies, whether an image should be light, dark, blue-tinted, or green is ultimately a subjective choice. The reference tools that Premiere Pro provides, such as the Lumetri Scopes panel, are a helpful guide, but only you can decide when the picture looks right. Television screens usually display color differently from computer monitors, and consumer screens sometimes have special color modes that change the appearance of video.
For professional broadcast television, editors will usually have a carefully calibrated preview monitor connected to their editing system. The Display Color Management option helps to show the colors as they might be displayed on a TV, but nothing compares to a calibrated monitor. The only way to know exactly how the picture will look is to view it using the destination medium. This means if your ultimate destination is a computer screen, perhaps as web video or part of a software interface, you are already looking at the perfect test monitor.
Your eyes adjust to compensate for changes in the color of light around you automatically. Cameras can automatically adjust their white balance to compensate for different lighting in the way that your eyes do.
With the right calibration, white objects look white, whether you are recording indoors under oranger tungsten light or outdoors in bluer daylight. Sometimes automatic settings are hit or miss, so professional shooters often prefer to adjust white balance manually. If the white balance is set wrong, you can end up with some interesting results. The most common reason for a color balance problem in a clip is that the camera was not calibrated properly. In the Lumetri Color panel, expand the Basic Correction section, and click the Auto button to automatically adjust the levels.
Premiere Pro has identified the darkest pixels and the brightest pixels and has balanced automatically. The adjustment is tiny! Clearly, the problem is not with the range of contrast in the shot.
Right-click the middle of the Lumetri Scopes panel and make sure that only the waveform is selected. In fact, this scene has mixed lighting, with bluer daylight coming from the window and warmer tungsten light coming from the interior of the room.
In the Basic Correction section of the Lumetri Color panel, use the Temperature slider to push the colors toward the orange. The darker pixels in this shot are generally lit by the interior, warmer room light, while the lighter pixels are generally lit by the bluer daylight.
This means different color wheels will interact with different areas of the picture in convincing and natural ways. To emphasize the different light sources, try using the Shadows color wheel to pull the color toward the orange, use the Midtones color wheel to pull the color toward the red, and adjust the Highlights color wheel to pull the color toward blue.
Experiment with the midtones to obtain the most natural result possible. Use the image as a guide. Experiment with the other controls in the Lumetri Color panel to see whether you can improve the result further. For more precise control of the image, you can add two Lumetri effects and mask them using the controls in the Effect Controls panel. With one effect constrained to the left side of the image and another constrained to the right, you will be able to make adjustments to suit the interior and exterior lighting in more natural ways.
The Lumetri Color panel allows you to make adjustments that are limited to a particular range of hues, a level of color saturation, or a level of brightness. Open the sequence Yellow Flower, and position the Timeline playhead over the first clip.
This sequence has two shots, each with clearly defined areas of color. Click the first Set Color eyedropper to select it, and then click the yellow petals of the flower to pick that color. The Hue, Saturation, and Luminance selection controls update based on the area of the petal you clicked. Your initial selection probably selected only a few pixels, as there is quite a lot of variation in the yellow petals. The upper triangles represent the hard-stop range of the selection.
The lower triangles extend the selection with a softening that reduces hard edges. As you drag the controls, the image hides unselected pixels with gray. When you release the control, the image returns.
Experiment with the Denoise and Blur options in the Refine category. These help to smooth the selection range, rather than adjusting the image contents. Now that you have mastered these controls, experiment with the second clip in the sequence.
Select the pixels in the blue sky, and then increase the color saturation and add a blue tint to the selection. The Hue Saturation Curves controls in the Curves section of the Lumetri Color panel offer precise control when adjusting hue and luminance.
Though there are several different controls, they all work essentially the same way. Each control focuses on a different type of selection and adjustment. Curves start as a straight line but become curved when you add control points to them by clicking.
The position of the control points can be set by dragging, and this determines the type of adjustment applied. The first part of the name of a curve indicates its horizontal axis, while the second part of the name indicates the vertical axis.
Hue Vs Sat: Select pixels with a particular hue, and change their level of saturation. Hue Vs Hue: Select pixels with a particular hue, and change that hue.
Hue Vs Luma: Select pixels with a particular hue, and change their brightness luma. Luma Vs Sat: Select pixels with a particular brightness luma , and change their color saturation. Sat Vs Sat: Select pixels with a particular level of color saturation, and change their level of color saturation.
This is particularly useful for reducing the impact of highly color saturated parts of an image while leaving the rest of the image untouched.
As with so many effects, the best way to learn what each of these controls can do is to try them on some clips and apply extreme adjustments. Open the sequence The Ancestor Simulation.
Play the sequence to familiarize yourself with the shots. These images have muted colors with some specific regions with distinguishable colors, such as the flowers on the table. Expand the Curves section of the Lumetri Color panel, and position the Timeline playhead over the first clip.
Use the eyedropper for the Hue Vs Sat curve to select the petals of the reddish flower closest to the camera on the table. The selection is right at the edges of the hue graph.
Drag the scroll bar at the bottom of the curve control to access the control points more easily. Use the eyedropper for the Sat Vs Sat curve to select the pale beige color of the sofa.
This selects pixels that have little color saturation. Drag the left control point up, quite high in the graph, to bring some life to the sofa and similar pale areas of the image. Because you exclusively selected pixels that originally had little color saturation, other areas of the image with more saturation are unaffected.
The result is a natural-looking adjustment. Experiment with the other clips in this sequence. For example, for the sixth clip, showing the castle with trees, try using the Hue Vs Sat curve to increase the saturation of the green in the trees and then use the Hue Vs Luma curve to darken the leaves. This adds more visual interest and contrast without making an adjustment to the whole clip. The example video clips are low resolution and are compressed to keep file sizes small.
The result is softer edges in images than you can expect when working with your original media files. Several effects available in the Effects panel give you great creative control over the colors in your clips. Premiere Pro has a number of blur effects. The most popular is Gaussian Blur, which has a natural-looking, smoothing effect on an image. The Solarize effect gives vivid color adjustments that can be used to create stylized back plates for graphics or intro sequences.
The Lumetri Color panel includes the list of built-in looks you experimented with earlier, and as you have found, there are a number of Lumetri color presets in the Effects panel to get you started. It helps to use the same reference when you are working on footage in post-production. You can use effect presets to create a distinctive look for your clips.
You can also apply an effect to an adjustment layer to give your sequence, or part of a sequence, an overall look. The settings automatically match the current sequence, so click OK. Drag the new adjustment layer to the beginning of the Video 2 track in the sequence. The default duration for adjustment layers is the same as the duration of still images.
Trim the adjustment layer until it stretches from the beginning to the end of the sequence. If you use adjustment layers in this way on a sequence that has graphics, such as titles, you may want to ensure that the adjustment layer is on a track between the titles and the video.
Otherwise, you will adjust the appearance of your titles too. Drag one of these SpeedLooks onto the adjustment layer. The look will apply to every clip in the sequence, and you can modify it using the controls in the Effect Controls panel or in the Lumetri Color panel. You can apply any standard visual effect this way and use multiple adjustment layers to apply different looks to different scenes. The Lumetri Color panel controls will adjust whichever Lumetri Color effect is selected at the top of the panel.
There are a great many visual effects that can add nuance or a striking look to your footage. Experimentation and practice are key to developing your understanding in this important and creative aspect of post-production. For an exploration of the Lumetri Color panel controls, check out blog. How do you change the display in the Lumetri Scopes panel?
How do you access the Lumetri Scopes panel when not viewing the Color workspace? Why should you use the vectorscope rather than depending on your eyes? How can you apply a look to a sequence? Why might you need to limit your luminance or color levels? Right-click in the panel, or open the Settings menu, and choose the display type you would like. Choose the Lumetri Scopes panel, like any panel, from the Window menu. Color perception is highly subjective and relative. Depending on the colors you have just seen, you will see new colors differently.
The vectorscope display gives you an objective reference. You can use effect presets in the Effects panel to apply the same color correction adjustments to multiple clips, or you can add an adjustment layer and apply the effects to that.
Any clips on lower video tracks covered by the adjustment layer will be affected. The broadcasters you work with will be able to tell you their required levels. Customize this text Use the Lumetri Color panel. Use vectorscopes and waveforms. Compare and match clip colors. Use color correction effects. Fix exposure and color balance problems. Work with special color effects. Create a look.
About 8-bit video As mentioned earlier, 8-bit video works on a scale from 0 to for each of the three color channels. Tip If more than one track-targeted track has a clip under the playhead, the clip on the highest targeted track is selected.
Note You can expand or collapse a section in the Lumetri Color panel by clicking its heading. Note Each section has a check box to enable and disable it, making it easy to toggle the result and check the effect against the original image. Tip You can reset most controls in the Lumetri Color panel by double-clicking the control. Tip You can also access the Lumetri Scopes Settings menu by right-clicking anywhere in the panel. Why YC? Tip It can sometimes seem as if the waveform display is showing an image.
About primary and secondary colors Computer screens and televisions use additive color, which means the colors are created by generating light in different colors and combining them to produce a precise mix. Tip You can jump to by clicking the timecode in the Source Monitor, Program Monitor, or Timeline panel, typing 1.
Note The Comparison View button may not be visible on smaller displays. Tip You can always find an effect using the search box at the top of the Effects panel. Histograms can help you accurately evaluate shadows, midtones, and highlights, and adjust the overall image tonal scale. It displays a statistical analysis of the pixel density at each color intensity level.
Histogram use RGB values. The minimum Luma values per channel are displayed as numerical feedback at the bottom. Maximum values are displayed at the top. Two horizontal lines indicate the output range.
The default range is set to CIN code values 95 - Parade scope displays separate waveforms for the different components of an image. The waveforms are displayed side by side, making it easy to compare the relative levels of color in an image, and make adjustments as required.
The Parade scope also makes it easy to spot color casts in your image. It displays waveforms representing levels of the luminance and color difference channels in the digital video signal.
Displays the RGB signals overlaid to give a snapshot view of the signal level of all the color channels. Displays the IRE values between —20 to , allowing you to effectively analyze the brightness of shots and measure the contrast ratio. Displays the luminance represented as green in the waveform and chrominance represented as blue values in your clip. Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Learn how to use the Lumetri scopes feature in Premiere Pro to monitor color in an image.
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