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Up and Running with SpeedGrade CC

From: Up and Running with SpeedGrade CC

Video: Grading layers and grading clips

In this movie we're going to start by opening up 0603P grading clips, which I come to this layer and turn it into an outside mask.

Grading layers and grading clips

In this movie we're going to start by opening up 0603P grading clips, which picks us up where we left off on this correction to Chris Jane. And if you remember, I want to remove the correction we've done here on this window and separate out from the rest of the grade. On the assumption I may just want to copy this window grade to other shots without copying across these bottom four layers which are specific to this medium close-up. I'm also going to need to clean up all this layer linking since to my mind, it's pretty disorganized, and if someone needs to pick up my work, I want to give them a nice, neat, tidy project.

So first, let's clean up this layer linking. The problem as I see it, layer one is what I call the master mask layer. But that mask data is being ignored as shown by this icon being highlighted. In fact, this shape was create specifically for the vignette which is on layer three. And layer one is our initial contrast adjustment. Layer two is an overall color balance. Neither of these should have anything to do with the vignette mask since all of that is building upon these two grades down here on these two initial layers.

So working from the top-down, I am going to turn off layer linking for each of these layers. And now I've only got two masked active: the circle on layer one and the square up here on layer five. So let's come back to layer one. And if I could copy and paste this mask to layer three, I would. But I can't. So let's empty it. Luckily it's a simple vignette which is very easy to recreate. So I'll come up here to layer three using the command up arrow to navigate my layer stack.

And now I'll add my soft edged oval. I'll resize it to taste. I come to this layer and turn it into an outside mask. Now I'll come up to layer four and link that to layer three and then select it as an inside. And I've completely neatened up this layer stack. I'm feeling really good about moving forward right now. So next, I want to take this layer and do what I'm doing here, but as a separate correction.

And I'll do that using this button here: the grading clip button. I'm going to click and drag, placing it over the shot itself. And notice there at two drag states; one when its a thin red line and one when its a thick red line. Let's release the mouse when it's thin. And notice there is now what looks like a new clip on a new video track, but no, in Speed Grade this is a new grading track and we've just added a grading clip. A grading track is precisely like an adjustment layer in Premiere and After Effects or Photoshop.

It's not video but a layer that affects everything below it. Notice when I click on the actual video clip, now you can see our initial layer stack. When I click on the grading clip, we've got a brand new layer stack ready to do our bidding. I could delete this grading clip by dragging the front of this clip up until its an X and releasing the mouse, but no, I'm not going to do that since I want to use this grading clip. Instead, let's now drag this down to our clip and release when it's a thick red line.

I'll release the mouse, and whoa, we've now added a grading clip to every individual shot in the timeline, in yet another grading layer. And in fact, I can re-order these grading tracks by clicking and dragging on this icon over here. Now feel free to experiment grading your jobs this way, but for our purposes in this training, I'm going to undo and get rid of that last grading layer. Now let's go ahead and on the bottom clip let's delete this topmost primary layer with the square.

Now let's select this grading clip. Go to the mask menu and click on the square preset. I'll now position and size this. Add some softening. And I'll redo this correction adjusting the overall gain and gamma. I'll set this as an inside mask. And now we have this correction as a separate thought of a correction with its own layer stack. If I wanted, and let's experiment, I could another primarily layer, link it to the layer below.

Now I'll do an outside of the mask, and maybe brighten up everything else. Nah, I don't care for that, so I'll delete that layer. Set up this way, if I ever just want to copy this correction to another clip, I can do that without copying everything down here in the layers stack underneath it. In terms of order of operations, here in Speed Grade, we build from the bottom up. Our layers build up with each layer below, feeding into the layer above. And with grading clips, each grading clip layer takes the output of the clip layer below it and feeds it into any grading layers above. There it is.

Layer linking, masks, grading clips and grading layers. There are the building blocks of Speed Grade CC.

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This video is part of

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Up and Running with SpeedGrade CC

55 video lessons · 11666 viewers

Patrick Inhofer

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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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