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Colorist lingo: What is a primary correction?

From: Up and Running with SpeedGrade CC

Video: Colorist lingo: What is a primary correction?

In this movie, we're going to get a little bit into Colorist Lingo. This is so that you have an understanding, so when I start talking about things like primary corrections or secondary corrections, you have an understanding of what I'm saying, what it is I'm talking about. And it allows you to communicate with other professionals who are familiar with the color-grading process. What is primary color correction? Well, it's the first thing that a colorist does. It's the primary action that we do. And really a primary correction generally set's the foundation for the rest of the more detailed work that we want to do in the rest of the image.

Colorist lingo: What is a primary correction?

In this movie, we're going to get a little bit into Colorist Lingo. This is so that you have an understanding, so when I start talking about things like primary corrections or secondary corrections, you have an understanding of what I'm saying, what it is I'm talking about. And it allows you to communicate with other professionals who are familiar with the color-grading process. What is primary color correction? Well, it's the first thing that a colorist does. It's the primary action that we do. And really a primary correction generally set's the foundation for the rest of the more detailed work that we want to do in the rest of the image.

When we're working with primary's, we tend to be adjusting the entire image. We're setting the overall black. So setting the overall white. the mid-tones. We're adjusting the overall color balance. Things like that. what it doesn't do is, we're not really using masks, we're not using keys to like, key out a red shirt and then make it blue. Right? We're doing big overall operations. Primary corrections are broken down into two different categories. We're talking about making and manipulating brightness and luminance changes overall in the image.

As well as you know, color, hue, saturation, changes. And generally speaking, when we're doing primary corrections, we're doing a little bit of both. Alright? We're doing some brightness, we're doing some hue, maybe adjusting the saturation, pulling it back, adding more in. It all depends on the shot in front of us. The key is, is that we don't necessarily limit ourselves to one or the other, although there is an order of operation which we'll be talking about in later movies. Now, the thing to understand about SpeedGrade is, it's a little different than other apps.

You'll notice, we're not seeing any curves manipulations here. We're not seeing a lot of other kinds of manipulations you might see in other apps, and that would cause some people to think it's kind of a simple tool. And while it's certainly a simple interface. Really, it has a tremendous amount of power. You're typically, as you take a look at this, we've got our offset, gamma, gain. In other apps that might be shadow, mid-tone, highlight. And you're looking at that saying, really that is it? That is all I've got? I've got three controls? What you need to understand is this three-way control is replicated four times.

One for the overall image, and then once in each of the shadows, mid tones and highlights, essentially giving you 12 tonal controls. Instead of a three way color corrector, we are working with a 12 way color corrector. And if you're coming from curves and you really miss curves on let's say, Avid or Resolve or apple color. All you gotta do is realize that, you have got three points for shadows, three points for mid tones, three points for high lights, plot these on a curve and now you have your curve manipulations.

So these are very, very precise primary corrections. And one of the things you need to realize about speed grade, is that, it kind of bends the notion of what's a primary and what's a secondary. We'll talk about secondaries in a, in a later movie. It bends these notions, because there's so much precision here just in these primary tools. So, there are other apps that if they were to implement this three way color corrector, might talk about them more as secondary corrections than just primary corrections. Here in SpeedGrade, and really, even when I work with this I still consider these to be primary controls.

Even though I can kind of go in and segment and limit my controls to one of these tonal ranges, I still consider them to be overall corrections to the image. So in this chapter, we're going to continue. We're going to take a look at these contrast controls, these color controls. There's some very cool additional slider controls. And then we will look at how the user interface works. We're going to take a look against a gray-scale image and see how these things, these controls, affect our images, and do it very, very quickly. Because in the end, SpeedGrade is about speed.

And then we're going to take a look and see, we're not really limited to 12 of these controls. We can stack these primaries. And throughout this title we're going to, I'll be showing why you might want to do that. And we're going to be taking a look in this chapter about how we do that.

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This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 9653 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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