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Balancing your shots by removing color casts

From: Up and Running with SpeedGrade CC

Video: Balancing your shots by removing color casts

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.

Balancing your shots by removing color casts

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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This video is part of

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Up and Running with SpeedGrade CC

55 video lessons · 11198 viewers

Patrick Inhofer
Author

 
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  1. 30m 23s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 7s
    3. Exploring additional equipment
      5m 28s
    4. Using the exercise files
      9m 7s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 7s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      4m 58s
    3. Direct Link vs. Native
      5m 39s
    4. Direct Link on the Mac
      2m 54s
    5. Manipulating the viewer
      5m 44s
    6. Manipulating the Timeline
      5m 3s
    7. Using analysis tools to evaluate contrast and exposure
      6m 42s
    8. Using analysis to evaluate color
      8m 0s
  3. 23m 14s
    1. Importing clips directly into SpeedGrade
      4m 42s
    2. Using automatic scene detection
      5m 53s
    3. Sending a sequence from Premiere Pro to SpeedGrade
      6m 6s
    4. Using an edit decision list (EDL) to conform a project
      6m 33s
  4. 35m 30s
    1. Colorist lingo: What is a primary correction?
      4m 11s
    2. Understanding the 3-Way controls: Contrast
      4m 59s
    3. Understanding the 3-Way controls: Shadows, Midtones, and Highlights
      5m 26s
    4. Understanding the 3-Way controls: Hue and Saturation
      5m 16s
    5. Using the slider controls
      6m 39s
    6. Adding, deleting, and working with primary layers
      8m 59s
  5. 17m 9s
    1. Making initial contrast and color adjustments
      6m 59s
    2. Balancing your shots by removing color casts
      6m 6s
    3. Grading in passes
      4m 4s
  6. 48m 23s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      9m 43s
    4. Mask linking
      5m 41s
    5. Maks and layer linking
      2m 30s
    6. Grading layers and grading clips
      5m 29s
    7. Tracking masks and using the keyframing controls
      8m 15s
    8. Understanding the secondary layer
      8m 16s
    9. Pulling HSL keys and limiting with masks
      4m 38s
  7. 11m 25s
    1. Tracking a face
      5m 25s
    2. Keying and grading skies
      4m 18s
    3. Using a mask with a sky correction
      1m 42s
  8. 27m 10s
    1. Copying corrections from one shot to another
      4m 59s
    2. Using the Snapshot Browser
      7m 19s
    3. Using the Continuity Checker
      5m 47s
    4. Using the Shot Matcher
      4m 14s
    5. Saving and recalling grades
      4m 51s
  9. 14m 8s
    1. Understanding the Look layer
      7m 55s
    2. Saving and applying looks using the Look Manager and Look presets
      6m 13s
  10. 17m 8s
    1. Colorist lingo: RAW, LOG, and look-up tables (LUTs)
      5m 5s
    2. Controls for RAW footage
      5m 46s
    3. Understanding LOG (flat) footage and LUTs
      6m 17s
  11. 19m 40s
    1. Setting up a render
      6m 42s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 35s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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