I'm trying to find my vector scope that you have here in Premier Pro 2018 and am not having any luck. When in Effect controls and Lumetri Scopes I get a weird looking scale in RGB.
You can pickup a grey card easily online for very little. I personally use the flip side of a ColorChecker Passport which has a great little grey card on.
There are 2 boxes on the vectorscope, an inner circle (small box) and an outer circle (large box) which of these boxes do you line up your colours with? You used to be able to select 75% and 100% in PP CC 2014 to know which box to aim for but there appears to be no selection on the Lumetri vectorscope?
+Wayne Dickson I think this is gone but it's not needed anyway. These boxes are only reference targets so the boxes still represent the same 75% broadcast safe saturation level (inner boxes) and the 100% saturation level (outer box). A lot of people create content for web use now so can just stick within the outer boxes.
I'm curious as to how much it can correct it? If a video was shot with a completely wrong white balance can it still correct it? Or will it look like the older fast color corrector way? I always thought only raw files can be truly balanced properly. Many thanks!
+DG TV I'm not sure really. I would have thought that it would suffer in the same way as any grading. Push 8-bit 4:2:0 footage too far and it will fall apart. Much much more than raw footage. I've never really had to do say a 4000K jump from e.g. overcast to tungsten. I think it's a cross between the source and the software.
+tdcat.com I've just had a quick test and it made a pretty good correction on them all, only slight differences between them, with tweaking it can be matched. That's with an 8bit 4:2:0 video too, I guess 8 or 10bit 4:2:2 will be even better. More reason to get an Atamos :-p
It doesn't matter if it's white or gray as long as it's color neutral. As long as it's color neutral, it will be in the center of a vectorscope and that's what matters to a camera to check white balance. Gray is often easier because it less likely to clip and be over exposed which could cause problems. Not likely though. White works just fine.
Go to the 'Window' menu and enable 'Lumetri Scopes' and then right click on the scope that appears (if not the vectorscope) and select Vectorscope YUV.
great video, gotta try this now
I'm trying to find my vector scope that you have here in Premier Pro 2018 and am not having any luck. When in Effect controls and Lumetri Scopes I get a weird looking scale in RGB.
haha me too
The old CS6 I was able to drag the dot on the vector scope itself.
Except that it would be good if the tutorial told us where to find the vectorscope
Thanks for sharing this. Where's a good place to get a grey card?
You can pickup a grey card easily online for very little. I personally use the flip side of a ColorChecker Passport which has a great little grey card on.
This was super helpful to me. Thanks, dude!
There are 2 boxes on the vectorscope, an inner circle (small box) and an outer circle (large box) which of these boxes do you line up your colours with? You used to be able to select 75% and 100% in PP CC 2014 to know which box to aim for but there appears to be no selection on the Lumetri vectorscope?
+Wayne Dickson I think this is gone but it's not needed anyway. These boxes are only reference targets so the boxes still represent the same 75% broadcast safe saturation level (inner boxes) and the 100% saturation level (outer box). A lot of people create content for web use now so can just stick within the outer boxes.
+Torsten Dettlaff Thanks for the reply, and great video! Lots of good info.
Super-helpful! Thanks for posting!
I'm curious as to how much it can correct it? If a video was shot with a completely wrong white balance can it still correct it? Or will it look like the older fast color corrector way? I always thought only raw files can be truly balanced properly. Many thanks!
+DG TV I'm not sure really. I would have thought that it would suffer in the same way as any grading. Push 8-bit 4:2:0 footage too far and it will fall apart. Much much more than raw footage. I've never really had to do say a 4000K jump from e.g. overcast to tungsten. I think it's a cross between the source and the software.
+tdcat.com I've just had a quick test and it made a pretty good correction on them all, only slight differences between them, with tweaking it can be matched. That's with an 8bit 4:2:0 video too, I guess 8 or 10bit 4:2:2 will be even better. More reason to get an Atamos :-p
Good man, thanks for posting
Brilliant tutorial...thank you...question, I've always been taught to use a "white card" to white balance scene, why did u use a gray card?
It doesn't matter if it's white or gray as long as it's color neutral. As long as it's color neutral, it will be in the center of a vectorscope and that's what matters to a camera to check white balance. Gray is often easier because it less likely to clip and be over exposed which could cause problems. Not likely though. White works just fine.
Thanks
If you found some good Gopro underwater footage without filter this would be very pronounced way of showing as well :)
Ok, how to turn on at least that Vectroscope? :D
Go to the 'Window' menu and enable 'Lumetri Scopes' and then right click on the scope that appears (if not the vectorscope) and select Vectorscope YUV.
Your intro sounds like someone taking a dump... Don't change it if you like it though! Also great video :)
A relatively satisfying one, I think :-) ... I haven't used this intro for a while actually but might re-introduce it!!
You measured in the wrong place. Place it in the immediate vicinity of the object! There may be unwanted colored reflexes.