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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 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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