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With Adobe SpeedGrade, editors working with the Creative Suite now have a professional-level color correction and grading application in their hands for the first time. In this course, professional colorist Robbie Carman guides colorists and video editors through this new dedicated color correction application. The course walks through the interface, and then shows how to import footage and start making primary and secondary color corrections. Discover how to use masking and create and apply looks for maximum impact. The final chapters show how to make sure your corrections match shot to shot, and how to render your final output.
In this movie, I want to show you a few key features of the additional tabs found down here at the bottom of the Adobe SpeedGrade interface. Now we're not going to talk about every single control or even every tab, but rather some of the key things and controls on a few of these tabs. The first thing I want to point out is that you can actually toggle the visibility of these tabs by using the keyboard shortcut P. By clicking this button right here, you can accomplish the same task. Okay, so let's go ahead and start out here on the Timeline tab and then come over to the Setup tab and then right here in the center, you have Timeline Elements. What you can do in the Timeline Elements category is drag different elements like Grading layers, Dissolves, Solid Clips, Pan & Scan layers and even Grouping elements directly to the Timeline.
So for example, if you click on this icon right here for Grading layer, simply drag up to the Timeline and let go, and now you've created a new Grading layer. And we'll talk more about Grading layers and how they're used later in this title. So for now let me go ahead and undo that. But as I said you can drag any of these items from this Timeline Elements category, so let me go ahead and drag the Pan & Scan element up here and now I have a new Pan & Scan layer. And the reason I drag the Pan & Scan is because I want to talk about the Pan & Scan tab a little bit later in this movie. With one of these clips selected, I am going to skip over the Clip tab and go directly to the Look tab.
And the Look tab is where all the proverbial magic happens inside of Adobe SpeedGrade. Over here on the left-hand side I have my Layers stack, and this is where I can add different corrections to a particular clip. So for example, I can add a Primary correction, maybe a Secondary correction, or maybe even a custom look layer. And over here in the center of the Look tab, depending on what layer you have active, you'll have different controls for that layer. In this case I have a Primary selected, so you'll notice that here in the center I have a whole bunch of different color balance controls or these color wheels right here.
Now one thing I do want to point out is that you can actually toggle between different modes of how you're viewing the controls here in the center of the Look tab, and you can do that by clicking on these buttons right here. So the default is the Color Wheels mode which we're currently looking at. But then you can get into a Sliders mode, or if you really masochistic, a Numbers mode where you can numerically enter in values as you're color correcting grade. And you can toggle quickly between these different modes by using the keyboard shortcut Shift+Enter key, just like that. So one thing I want to mention about the color wheels is that here in the center of the Look tab you'll notice that you actually have four different categories: Overall, Shadows, Midtones and Highlights.
And you might be thinking to yourself, well Rob, they look exactly the same, and you're not wrong. Here is how these work. The Overall category splits the tonal range into offset, or shadows or blacks, gamma or midtones, and then gain or highlights. And these are the same controls that you're used to probably seeing in any color correction tool. Now the one thing that people ask me a lot though is, Rob where are the Curves inside of Adobe SpeedGrade? Well there are no Curves inside of Adobe SpeedGrade; instead what you have is the tonal range is broken down into Shadows, Midtones and Highlights.
And within each tonal range you have three additional controls. And a good way to think about this because I am in the Shadows category is as low shadows, mid shadows and then high shadows. The Midtones would be low midtones, mid-midtones and then high midtones, and I think you get the idea for Highlights; low highlights, mid highlights and then high highlights. And if you think about the way that you use Curves, usually you target a portion of the tonal range and then add control points at that part of the tonal range. You can essentially accomplish the same thing with the three broken down categories for different parts of the tonal range.
And this gives you an amazing amount of flexibility when it comes time to adjust the contrast and color of different parts of the tonal range for your images. So let me go ahead and click back over here to the Overall category and there is one more thing I want to show you about how these color wheels work. If you hover your mouse over one of these color wheels, you'll notice that you have a couple of different controls. This little triangle here on this black to white ring adjust the contrast at a particular part of the tonal range, and you can simply click on it and drag. Down here in the color wheel if you click and drag you can adjust your overall color balance and the saturation for a selected hue.
Now the really cool thing about this is if you right-click you enter Virtual Color Wheel mode. And the way that this works is that if you use the middle scroll wheel on your mouse or two fingers on a trackpad, you can quickly adjust contrast simply by dragging. And then if you simply move your mouse around or use one finger on a trackpad, you can adjust the overall color balance at that particular part of the tonal range and the saturation of a selected hue. If you right-click again you can get out of the Virtual Color Wheel mode. And the Virtual Color Wheel mode makes it very quick to great clips without having to make dozens and dozens of clicks.
Just keep in mind when you go into Virtual Color Wheel mode with a trackpad, the trackpad behavior is dependent on the OS and the machine that you're using. If you ever need to reset contrast and color, simply use these controls at the bottom of each color wheel. All right, let me go ahead and navigate down to the next clip in this Timeline, and then I want to skip over the Mask tab. We'll get back to that in a later movie in this title. Now I want to show you the Annotations tab. The Annotations tab at first glance is kind of silly, but it's actually really, really useful and it's a way of making notes to yourself about an entire clip or even a frame, and you can toggle between Clip level and Frame level with these two buttons right here.
So the way this works is that you can actually add text or you can draw shapes on screen to highlight a particular portion of the image that you want to focus on. So let me show you what I mean. So with the Text tool selected, I am simply going to click up here into the actual image in the monitor and let me type in green/yellow cast fix. And you can see I now have that annotation on screen. The other thing I can do if I click over here to the Pen tool is I can click and actually draw a shape around a portion of the image.
Better yet I can even change the color of that, maybe I want to make this one red, and then I am going to go ahead and add another text annotation, we'll say blown out fix. So the cool thing about this is that you can actually render out these Annotations if you want. Now I don't think you really want to, but that option is available to you. But they're simply just notes to yourself as you're going along and working on shots. And with this menu right here for Show Annotations, you can toggle how the annotations are shown, only when this page is active, that's the Annotations tab, Always or Never.
So for example if I switched over to the Look tab here, you'll notice that the Annotations go away. Click back to the Annotations tab, there they're once again. Okay, let's skip over to the Stereo 3D tab because we'll talk about that in a later movie in this title, and what I am going to do is select this layer of audio right here and then click over to the Audio tab. Here on the Audio tab you can adjust things like Volume or Offset that means the relative sync with your video as well as clip position. And by clicking these arrows, you can simply move the audio clip around on your Timeline. Now I do want to make it clear that I am working with a separate piece of audio. This is not audio that actually belongs to a clip.
When you have clip audio, this Audio tab will not be available for you. And then finally I want to show you how the Pan & Scan tab works. Let me click on the Pan & Scan layer that I added earlier to activate that tab. So here on the Pan & Scan tab I can adjust my Pan & Scan. So for example, maybe you want to choose a preset here, and in this case I want to have a very wide aspect ratio, a 2.4:1 crop, so I'll choose that option. And now you'll notice that I have that crop going on. And I can view the crop in a couple of different ways. Normally, as what I am seeing right now, as Transparent so I can see the rest of my clip behind these sort of semi-transparent bars, and then simply as an Outline.
Anyway that you choose you can use the on screen widget here to reposition, scale and even rotate your clip within the frame that you've chosen, and this is very useful for when you need to make different types of outputs or frame the shots up in different ways. Okay, so that's a few additional features found on the tabs at the bottom of the Adobe SpeedGrade interface. Feel free to keep exploring the other controls that you find on these additional tabs as you go along in your own projects.
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