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Grading in passes

From: Up and Running with SpeedGrade CC

Video: Grading in passes

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.

Grading in passes

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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This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 9819 viewers

Patrick Inhofer
Author

 
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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
    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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