In a previous lesson, in our look at Media 100, talked about working with the Waveform monitor inside of the Video Signal window (click here for the tutorial). In this lesson, I think it’s important to talk about another tool that goes hand in hand with the Waveform monitor, and that is the Vectorscope.
The Waveform and Vectorscope are two essential tools to an editor, to help them determine whether their shows luminance and chrominance levels are correct, and within legal limits, so their show or spot doesn’t get rejected when sent to stations.
What’s important to keep in mind about the Vectorscope is that it’s designed to give you color information, and there is even a color bars reference on the Vectorscope, to show you (roughly) where the colors should line up when bars are displayed on the screen. The colors match the colors in reference color bars which are Grey (not one of the reference markers on the vectorscope), Yellow, Cyan, Green, Magenta, Red and Blue.
If you look closely at the image below, you’ll see where those color references should fall into place. Keep in mind that those makers are only truly relevant when adjusting your signal from the bars from a shoot camera’s card or tape.
Kevin P. McAuliffe is one of the Senior Editors at Extreme Reach in Toronto, Canada. His current clients include Paramount Pictures, Warner Bros. Pictures, Walt Disney Pictures, and E1 Entertainment to name a few. You can follow him on Twitter @kpmcauliffe.