In the Lumetri Color panel, you can find a variety of color correction tools.Ĭurves controls: Use the Curves controls to make precise adjustments to luminance, hue, and saturation.

On the waveform scope, your brightest whites should be no higher than 100 IRE and your darkest blacks should be no lower than 0 IRE. These are charts that show the tones of your footage laid out by numerical value. Use the Lumetri Color waveform scope and histograms to ensure that the values of your tones aren’t too bright or too dark. Once skin and midtones look natural, check to make sure your highlights and shadow details aren’t lost. If necessary, make adjustments to the Temperature and Tint sliders to move the tone closer to the line. This line is called the “skin tone line.” However your subject's skin tone is showing up that day, it should look best if it’s sitting close to that line. Draw a box around the face of your subject, and then check the vectorscope to see how closely the skin tone falls to the line separating magenta from yellow. To isolate the skin tone, go to Effect Controls and add a mask. One helpful way to gauge skin tone is to look at the Lumetri YUV vectorscope, which is a circular graph that measures brightness (the Y value) against color (U and V values). Skin tone can be the most difficult shade to get right and the easiest to notice when it’s wrong, so pay close attention to the skin tones of your subjects.

Under the Tone heading, you can use sliders to adjust Exposure, Contrast, Highlights, Shadows, Whites, Blacks, and Saturation.

Film color wheel emotions