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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 I want to quickly talk about a concept that's pretty important to me as a colorist. It's the notion of grading in passes. To demonstrate this to you, we're going to continue with a previous exercise file and it is a 23 nine seven six frame rate. Notice how we built up our various primaries. Well I'm going to jump into a second shot. Lets move into this shot. And lets do a quick evaluation of this shot. As we did before, I'm going to mark an in and out on this shot, hit play, watch it loop around, and decide waht frame I want to grade on. And yeah, right about here is good.
I'm going to do a quick evaluation again a bit of a red push as we had on the opposite angle. again, not very bright down around 60 IRE, relatively consistent. I want to bring this up to around 75. And of course, as usual, I'm going to bring my blacks down to black, and I'm going to then first work the offset drop it down a touch. I'm not seeing a color imbalance in the blacks there, at least not in the scopes and then I'm going to bring up my highlights until the significant highlights are around 75, I'll probably get up to 80 because the green channel is what I'm going to balance to.
Previously we've used the temperature slider. Let me show you an alternate way of dealing with this color balance problem, which is using both the gamma and the gain to pull this out, I don't want to work my tangent element which I have here. And you'll be able to see what's happening as I do this, and I'm moving both of these at the same time. Both the gamma and the gain, getting these into balance across both tonal ranges. You see I've pushed a lot of blue into here quite a bit. In fact, I'll probably take it off the highlight a little bit. And I'm pulling that off the highlight.
And that's my initial contrast pass. I'll add another layer because overall, this is a little too bright. I'm relatively happy with the overall color. I can probably bring up my input saturation just a touch, Just to get more color in his face at least for now and then what I want to do is just overall darken the entire image. I could try in the overall tab here go with the gamma and let's see what that does for us. Yeah, it's getting pretty close. I'm not going to go too far because I don't want to lose the side of this head, and here's the point.
I don't try to achieve everything all at once. I want to darken this overall image and really when I look at John sitting across the table from us, this is probably where I want John to be, but look at what's happening here to the detective. I don't want him to get that dark, so I'm going to bring this down just as far as I'm willing to go before the detective starts to disappear. And, then, in a secondary layer, I'll use some sort of mask to isolate John from the detective, and make that move in here. This is what I'm calling Grading in passes.
Not only is it a smart way of working where you don't try to do everything in each layer, it, it's also a great time management technique. You do what you can in the time you have, and after you make each adjustment, you re-evaluate the image and decide what do I want to do next. All right. Now my homework assignment for you is to pull up each of these EDLs that I've provided to you. I'd like you to work with each of these EDLs individually, pull them up and grade the first three shots. Do only the primary grade of the first three shots and I have got the 05 03 dean man"s lake and DML end, 05 03 DS end and 05 03 Jane end. This is my end result grading each of these three.
Feel free to break those open, take a look at them, deconstruct what I've done. I've named each of these layers so you know precisely what I'm doing in there. And hopefully it will give you some ideas on different approaches that you can take, when going through and doing your primaries, on your shots.
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