All language subtitles for Procolor_C05_L1a_Concept_Colorscopes

In this chapter, we're
going to do a deep dive on color scopes.

Color scopes are essential for colors
actually are what you think they are,

and not just how they look on your screen
or how they might look to your eye.

It's a way to technically measure
where your colors actually are.

And this is really important
because kind of like

we talked about in the environment
lesson, your eyes can adjust

to make an image look correct,
even if the image isn't correct.

If you've ever tried
wearing like tinted sunglasses

that maybe have a yellow
kind of tinge to them, after a while,

you kind of stop
noticing that yellow tint.

And then when you take your glasses off,
everything looks kind of blue.

That's
because our eyes are always adjusting.

So scopes are a really great way
to see if something is actually white

or if it is actually really dark
or actually really light

without having to rely on
just your eyes or just your monitor.

So here in resolve, in the lower

left hand corner behind our keyframes,
we have our scopes.

And if we click this little expand button

that will bring up by default
four of our scopes.

Now, this might look really complicated,

but the basic concepts here
are actually pretty easy.

Let's take a look.

By default, we have four different
color scopes inside of resolve

the parade, the waveform,

the vector scope and the histogram.

And like I said,
these are all just different ways

of viewing what the colors in our image
actually are,

the one that I like to start out
with is the waveform,

and at its default settings
it can be a little bit hard to explain.

So I'm going to switch
a couple of settings here.

Under this little settings thing,
I'm going to turn off colorize

and I'm going
to go up here and click on Y.

What this is going to

do is kind of take away
some of the fancy things

and just give us our very basic
waveform scope.

You see, what
this is, is actually a graph.

We have the x axis going down here
and the Y axis going up and down,

and the waveform is primarily a graph

to figure out how bright
things are down here at zero.

This is like perfect black and up here

at 1023, that's like perfect white.

And everything in between is somewhere
between the very darkest

it could be
and the very latest it could be.

So that is the y axis,
how bright things are.

And on the x axis,

this is where things are on screen
horizontally.

So something that's on the right side of
the screen is going to be

on the right side of the graph,
something that's in

the middle of the screen
is going to be in the middle,

and something that's on the left
side is going to be on the left,

but it doesn't track whether it's
at the top or the bottom of the screen.

It only tracks left
and right and brightness.

So the

waveform scope
is really just a graph of the brightness

on the y axis
and the horizontal position on the x axis.

And what it's sort of doing

is drawing a line to kind of represent
what's in your image.

So if we were to do kind
of a simple version of this ourselves,

we can look at it this way.

If we were to start on the left
and kind of make a graph

of how bright things are right here,
these are really dark.

So let's make a little dot here.

So these are really dark.

Then let's see in this little column,
it's still pretty dark.

In this column,
it's still pretty dark in this column,

it's starting
to get a little bit brighter.

So maybe we'll put this up here.

Then it's getting a little brighter still.

Then it's getting even brighter.

Ooh, now it's a little bit darker.

And now
it's a little brighter than it was.

This is about the same.

This is maybe about the same.

Ooh, look,
this right here is really bright.

So maybe that's up here.

This is maybe not so much.

Not so much.

And then we're kind of back down to where
we were

a little bit darker,
a little bit darker, really, really dark.

Really dark.

Okay, So now we have this kind of line

that graphs

how light or dark
things are in the image as you go across.

And this is basically what a wave
form does.

So if we were to get rid of that image,
we can still have quite a bit of data

about what our image is.

It's something

that's kind of dark on the left
and dark on the right,

and it has something
that's pretty bright in the middle.

So you can kind of tell
how things relate to each other,

but you can also tell how bright or dark
they are.

This part up here, it's really bright,
but maybe it's not the very brightest

it could be. That's why it's right here.

This is maybe not the very darkest
it could be.

So it's not all the way at the bottom.

So this is a great tool
if you're trying to figure out

how bright or dark something is on screen,

you can have sort of an idea
of where an element is on the scope

by whether it's on the left
or the right side of the scope

and how bright it is by how far up or down
it is on the Y axis.

So here we have a shot of our actress

and it's really dark on the left side.

Then about a third of the way
in, it's really bright.

And then it kind of gets dark here.

So we would expect our waveform
to show something like that.

Here we have it really dark on the left

and then things get bright
about a third of the way in

and then they go back dark again
on this side.

And then we see
we have this little spike right here.

That's this tree
that's a little bit brighter right here.

This little spike right here is this tree.

So it's pretty easy to find something

on the waveform based on
kind of your guess on how bright it is

and then where it is
from left to right on the screen.

This little patch right here
is this kind of lighter bush right here.

So if this makes sense, you've actually

already learned
not only the waveform but the parade.

The parade

is just three

wave forms right next to each other.

But it's only looking at the red pixels,

the green pixels, and the blue pixels.

So this is the brightness
of the red channel.

This is the brightness
of the green channel,

and this is the brightness
of the blue channel.

So what do I mean by red, green and blue
channels?

Well, everything on a screen,

every pixel is made out of a set of red,
green and blue lights.

So each pixel
actually has three little colors.

And depending on how bright each channel
is, that determines

what color this actually looks like
when you zoom out.

If we zoom out here,
we see this kind of turns white,

equal parts
red, green and blue makes white light.

And same thing.

If you had equal parts
red, green and blue,

but it was only like half brightness
that would make something like gray.

If you wanted to make blue, you would have
no red, no green and full blue.

That's going to give you
this pure kind of blue color.

And so any color that you see on

screen is really just a mixture
of red, green and blue.

So here we have each of these channels
split out

so that you can kind of tell
not only how bright something is,

not only where it is on the screen,
but roughly

what kind of color is being shown
by comparing these three channels.

If we look just at these channels,

we can see this bright part
right here is her face.

I know that because this is just
a squished waveform like this.

So this is the right side of the screen.

This is the left side of the screen.

And about a third of the way in
is her face.

And it's really bright.
Okay, Well, it's really high.

And the red channel
and the second highest channel is blue.

And if you put red and blue together
and there's not a whole lot of green,

it turns out to be magenta.

So I could look
just by looking at this scope that there's

a lot of magenta in the image
because we have a big red channel,

a medium sized blue channel
and a little baby green channel.

Let's try this another way.

I'm going to bring up another random shot.

And just looking at the scope,
we can tell a few different things.

One is there's nothing
that's really, really bright

because there's nothing up here
kind of in the 7000 range.

Everything's kind of middle range.

So there's nothing that's a really bright.

There are some things
that are a little bit darker

because we do have some kind of darker
data here

and everything from left to right
is very similar brightness.

There's a lot of kind of the same
color tones here.

But what's interesting is the red
channel is kind

of the same
all the way through this right side.

The red is pretty high, followed
by the blue and the green just under that,

which means that it's probably again,
it's sort of a magenta,

but there's a little bit more green,
so it's not going to be quite as strong.

We also have this big spike up here
and the green and blue channels,

which means that there's something that's,
oh, I don't know

about a third of the way through the shot
that doesn't have much red in it.

And if you have a lot of blue
and a lot of green

and not a whole lot of red,
you get sort of a cyan.

So we're going to be looking at an image
that isn't very bright,

but there is some kind of subject here

that is sort of a mid brightness cyan.

And to the right of them
is going to be kind of a deeper

magenta, sort of more purple tone.

And we could tell all of that
just by looking at the scopes.

So if I move this over,
I can see we have our little puppet here.

And of course he is sort of a mid
brightness cyan, this kind of bluish.

And then here
we have the purple background.

So you can really tell a lot
just by looking at the scopes.

And the more you practice,
the more you look at a shot,

the more you can kind of
really learn about it.

We can also do this the other way.

I'll move our scope off here

and go to Shot 74 here.

We have a very dark shot.

This is actually the beginning of a shot.

But let's just start at the beginning.

We have a really dark shot, so our scope
is going to be mostly at the bottom.

And then right here
where this kind of white part is, it's

going to be up a little bit
and then it's going to go back down.

So we're going to have

mostly at the bottom,
there's going to be a little spike here,

a little spike
here, bigger spike here and dark here.

This spike is going to be mostly
in the green and blue channels.

This one and this one, we're going
have a little red spike here.

This one is going to be mostly equal
except for a little bit higher.

And the red channel. So let's take a look.

So here
we have it's dark all the way through,

and then we have our little spike here,
which is mostly in the green and blue.

That's right.

This one's going to be mostly
in the green and blue. Yep.

And then we have this spike which is here,

and it's just a little bit
high in the red channel.

Looks like there's a little more blue
than initially saw there.

That's why you have the scopes,
because I would have kind of

guess this is more red, but it actually is
a little bit more purple than I thought.

So you can really tell a lot
about your image by looking at the scopes.

So that's the wave form and the parade.