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Using Adobe SpeedGrade CC, powerful professional color correction and color grading is available to anyone with a Creative Cloud membership. In this course, professional colorist Patrick Inhofer offers a project-based learning experience to get you familiar with the SpeedGrade tools. You'll work three different types of projects through the color correction and grading process, which includes getting projects and footage into SpeedGrade, color correcting and grading shots, and then rendering and outputting shots. Each step of the process is rich with lessons and anecdotes that are applicable to real-world color grading scenarios that editors, producers, and other creatives will face.
This course was created by Patrick Inhofer and produced by Robbie Carman. We are honored to host this content in our library.
In early movie in this chapter, we took a look at one of the first things I do when I'm performing my primary color correction which is expanding out the contrast and setting the end points and the mid points of where I want the shot to live in terms of brightness. What we're going to look at in this movie is balancing out a shot. Perhaps there's a bit of a color cast in there that we want to get rid of. I'm going to go through the process of how to do that, because it's something I have to do all the time not that every shot needs it, but it is something I really need to know how to do and its something I do right upfront at the beginning of the process.
If you have access to the exercise files I have loaded up the EDL death scenes SpeedGrade CC 23976 and if you need help loading up and connecting these reels. Check out the earlier movie I did on import EDL. And what I want to do now is watch this shot down and see what frame it is I want to look at when I start grading. And what I'm going to do then is press this button to select this shot and frame it up with an in and out point.
And I can press the Replay button. And there are a couple things going on here. One, there's some light flashes at the end, so I don't want to be sitting on the light flashes when I set the overall look of this shot. And the second thing is I'm hearing some production sound off the camera dailies. I'm just going to mute out that channel so I don't have to listen to that. As I valuate the scopes, clearly I've got a red push going on in here. You can see the red channels is brighter than the green channel, brighter than the blue channel and it's also relatively dark.
My brightest highlight here is around 60 IRE. I think I want to get that up closer to around 75 and that's going to be my first thing that I do. Also, the shadows here, I do want to drop these down to around zero, because there is black in here, I want that to be around zero. So I'm going to come in here and overall, and I want to affect my offset first since my offset affects every part of the image. And then, I'm going to lift up my highlights. Up to around 75%, and then as I look at this image overall I think I want to bring the gammas down, it's overall just a little bit too bright.
Almost a little too happy, this is a very intense scene so I'm going to bring down the gammas a little bit to make it feel a little more night time, and I think that's probably not a bad place I want to be. I want to bring up these highlights just a little bit more. Right there. Now I still haven't dealt with the color balance problem. So, the first thing I've done here in this initial primary layer is I've dealt with contrast. I've dealt with my brightness levels. What I'm going to do is pass this off into a new layer. And in this new layer I'm now, now that I've expanded out the range.
And I've got this image, going to probably be segmented into shadows, mid tones and highlights. Now, is when I'm going to do my overall color balance and I don't want this warm push, I want this to be a nice neutral image and I'm going to come in here and I'll start with the temperature slider. And I'm just going to move this. And as I move this, I'm going to balance it out so that highlights on his shirt, it is a white shirt. So, my red, green and blue highlights need to be relatively balanced with each other. But I've just balanced red and blue together, and I'm going to bring green down a touch.
It's probably a little bit high, so I'll bring green down a touch. I press the zero key on my keyboard to see a little bit of a before and after. And then as I evaluate, I see like that wall back there, you can see how there's a little bit of a warm push there. Where is that? I think it's in the shadows. So I'm going to press Option+G on a Mac or Alt+G on a PC. To put myself into the color over black. And yeah, it looks like that's, that's in the shadows. So I want to press Shift Option G for a Mac or Shift Alt G for a PC.
And I'm again going to try to use this little color temperature slider and see what that does for me. And yeah, it's evening that shot out quite a bit as well. So that's not bad for a start. I am going to probably add a little bit of blue into, I don't know if there's any highlights there so let's take this and put it into white and black. There are some highlights up in his forehead and on the highlights in his shirt in the left hand side of the screen. So let's see what happens when I push a little bit of blue into there. Just to cool this off just a little bit more.
And then go to overall and kick up my final saturation. See if there's any more skin tones to be brought in and there is. Now as I look at this image, I'm relatively happy with it. And now I've expanded out the contrast. I've done some quick color balancing on it. Removed a lot of the warmth from it. And I'm going to do one more final tweak on this primary pass here. I'm a do it in a shadows because I want to bring out his eyes just to touch more.
So maybe if I pull it up there in the shadow gammas, and then I'll move over here into the shadow gain, yeah probably in there, and then I'll bring down the gamma. And now I'm going to play this down and loop it around and see how this looks as a place. And this is a pretty good start. There's more I want to do on here. It's the walls, way too flat. It's still a little overall bright, but if I want to do things like add a vignette or whatnot, then we're moving into the row of secondaries, but as the primary, this is a pretty good example of how I approach primaries.
Essentially I'm layering one on top of the other, feeding one into the other, and solving different problems in different primaries. I'm not forcing one primary to solve all of my problems at once. And if you have access to the exercise files, I'm saving this off as 0502, the name of this film is death scene, so d s end. Feel free to open this open, de-construct what I've done and if you want Shift+Alt+Delete on a PC or Shift+Option+Delete on a mac will reset the entire grade and you can give it a go yourself.
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