Luma corrector effect premiere pro cc 2023 ไม ม

- [Instructor] Now, in this case, if we take a look at this particular shot, you'll notice that we definitely have some areas that are pretty bright and some very saturated colors. What I'm going to do is add a new adjustment layer, just make sure you have the project panel active when you do this. And it'll automatically get scaled to the project. Drag it in and place it above. Now, what you can do is select that layer and apply an effect. Go to the effects controls, and type in the word limit. And what you'll see, is a video limiter. Now, there are two choices here, a legacy version and a newer version. Let's go with the one that's the newer color correction method, and apply it. Now, from the effect controls, you'll see what's happening. This allows you to control how the effect is applied. I'm going to pull this off to the side here so it's a bit easier. So we can see our scopes. And what we're going to do is make a little bit more room. The goal here is that we keep the shots legal. So the clip levels lets us set a hard cap. 100 is really strict, and then you'll see ones that a little bit more loose, depending upon if it's European broadcast standards, or the stricter US standards. In any case, what happens here as we drag through, is you'll notice that nothing went above 100. If we toggle that off, it does. Additionally, it's going to deal with other problem colors. So if we take a look here under the compression method, I can tell what it does before it starts to compress. So we can apply a slight range here, so it's got a little bit more roll off. And the gamut warning shows us the problem areas if there's a problem color. You're not going to run with that on, but it does help you identify the hotspots or the oversaturated areas. And you see there that that really does pull it down nicely. What this does is allows us to get the shots within the correct standard. And, as a simple adjustment layer, it's a nice pass. This means that you can quickly apply it to the sequence and pull it through. Additionally if you want to tweak, you can turn on that gamut warning, and look for the problems, and then use something simple like the curves here, and just come into the saturation versus saturation. My suggestion is, add a simple point here, and pull down the saturation for the more saturated areas. Like so, a gentle roll off will help. Now if we take a look at this, it's a simple change, but it means that the more saturated areas have been pulled down nicely and we have no clipping at all. This means that the sequence is ready for delivery.

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Watch the video to learn how to make color corrections using the Lumetri Color panel in Adobe Premiere Pro.

This screencast tutorial by YouTuber Lila, demonstrates how to use the Lumetri Color panel in Adobe Premiere Pro to make color corrections quickly and easily. The Lumetri Color panel is the color grading interface built inside of Premiere Pro. Using the Lumetri Color panel, you can approach color adjustments in a multitude of ways without leaving your current project. It is important to apply color correction within the constraints of the DoD ethics policies.

There are multiple scope options available. However, these steps focus on how to make color corrections using the Vectorscope YUV and Waveform (Luma).

To open the scopes:

Open the "Color" workspace in Adobe Premiere Pro. On the left you will see graphs. On the right you will see different tabs, such as, "Basic Correction."
If no graphs appear on the left, go to the "Window" menu and click on Lumetri Scopes.
To open scopes menu, right click in the window.
Select "Vectorscope YUV" and "Waveform (Luma)."

There are multiple reasons to use Lumetri scopes. One primary reason is that your display may not be calibrated accurately. In other words, it may not represent the true colors of your video. A second reason is that you cannot trust your eyes alone when making color corrections due to the lighting in your workspace. The light influences how you see color so it is important to refer back to the scopes during this process.

When color correcting, find a nice balance between common sense and using your scopes. Always refer back to your video and your scopes.

Use this information to help you read the Vectorscope YUV:

The circle graph is a gradient of all the colors on the spectrum.
The location and size of the white mass in the graph represents the amount of color and what colors are in the video.
If you increase the saturation, making the video more colorful, the white mass spreads out. If you lower the saturation to zero, making the video black and white, the white mass disappears to the middle which is the black, white and gray point.

Use this information to help you read the Waveform (Luma):

The Luma version shows the exposure of the video. You can use the histogram or waveform because they show the same information.
The waveform has a scale on the graph ranging from 0 to 100. 0 represents the blacks and 100 represents the whites.
Pressed or crushed waves in the graph signifies that you have lost some detail in your video. You want to avoid this because usually you cannot fully recover the details.

Ideally for white balance, you want the white mass to be in the center of the Vectorscope YUV graph. You can adjust the white balance automatically or manually.

To adjust White Balance:

If you have something white in frame to use as a reference, use the eye dropper to have Adobe Premier Pro automatically adjust the white balance.
If you do not have a white reference point, drag the "Temperature" slider to adjust the white balance.
Refer back to the Vectorscope to determine how to adjust the slider to move the white mass toward the center of the graph.

The Tone is controlled by the Exposure, Contrast, Highlights, Shadows, Blacks and Whites sliders. The Waveform represents the exposure and all of the tones in the frame. The Highlights, Shadows, Blacks and Whites all work together. You will see their effect on each other in the Waveform.

To adjust Tone: