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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 this movie we're going to be talking about, secondary corrections and how to perform them in SpeedGrade? And I thought we'd start off with a little introduction as to the nomenclature, what is a secondary correction? And colorists call anything where you're isolating a section of the image and doing something to it, they tend to call that a secondary correction. It's usually what you do after you do your initial primary, balancing out the image and setting your contrast. It can be anything from applying a mask to pulling keys.
And the result, the goal of a secondary correction is two fold. One, you're either fixing a very specific problem on a part of the image, not on the entire image. Or you're looking to achieve a very specific creative goal. We're going to be talking about in this chapter masks, which can be applied to both Primary Layers and Secondary Layers. We're also going to be talking about keying, hue, saturation, luminance, all three together or some combination, to select a range of pixels and manipulate them based on those attributes.
And that type of keying here in SpeedGrade is achieved in a very special secondary layer. One thing to keep in mind is SpeedGrade has this notion of primary layers. And you can apply a mask to a primary layer, and when you do so as a colorist, I think of that as being a secondary correction. So yes, I could perform a secondary correction while I'm working inside a primary layer. If I apply a mask to it, because once I apply a mask, then I am isolating a very specific region of the image.
So in this sense, SpeedGrade kind of bends the lingo a little bit. But remember the difference between a primary correction and a secondary correction is how isolated, what tools are you using in order to isolate the image. And if you're using a mask or using an HSL, you can consider yourself doing a secondary correction. So there it is, when I talk about secondary corrections, now you know what I mean.
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