Video: Layering correctionsIn this movie, I want to show you how you can use opacity changes between different layers and the Layers stack to effectively layer different types of corrections together. Now if you're following along with the exercise files, be sure to open up this Timeline called 03_05_layeringcorrections. And this Timeline contains a pretty cool looking shot of a lizard that I've actually already gone ahead and applied a primary correction to. So let me go ahead and press the 0 key on my keyboard number pad, and here's the original shot and then the corrected shot; the original shot and then the corrected shot. And all I really did was slightly expand the contrast of the shot with the primary correction, but now I think I want to go on a slightly different direction.
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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.
- Viewing clips and navigating the timeline
- Using automatic scene detection
- Sending a project from Premiere Pro to SpeedGrade
- Using SpeedGrade in a stereoscopic workflow
- Making primary contrast and color corrections
- Creating and applying looks
- Making secondary corrections
- Copying corrections from shot to shot
- Importing rendered media back into Premiere Pro
In this movie, I want to show you how you can use opacity changes between different layers and the Layers stack to effectively layer different types of corrections together. Now if you're following along with the exercise files, be sure to open up this Timeline called 03_05_layeringcorrections. And this Timeline contains a pretty cool looking shot of a lizard that I've actually already gone ahead and applied a primary correction to. So let me go ahead and press the 0 key on my keyboard number pad, and here's the original shot and then the corrected shot; the original shot and then the corrected shot. And all I really did was slightly expand the contrast of the shot with the primary correction, but now I think I want to go on a slightly different direction.
I want to have this lizard look like he's hanging out in the middle of the night, and when I think of night, I think of dark of course, but I also think of slightly blue. So what I want to do is go ahead down here to my Layers stack and add a new Primary layer by clicking the +P button right here. And then in the Look tab and then into the Overall tab right here, I'm going to come into my Gamma or Midtones control right here and drag towards blue, like that. I'm also going to darken up the midtones just a touch, something like that. Now I don't know about you, that doesn't look all that great to me.
Sure, I made the shot darker, and I've also made it blue, but I'm sort of losing detail over here in the shadows, and I can't really see the lizard, and I also think it's kind of too blue. Now of course I could back off the blue, and I could back off sort of how I darken the midtones, but I want to show you another way of doing this. Over here in the Layers stack with the second Primary layer selected, I have an Opacity slider here at the top of the stack. And what I can do is adjust the opacity between these two layers to effectively change how they're layering or sort of combining together.
So with the second Primary layer selected, what I'm going to do is click on the Opacity slider here and drag, and remember, you can also use the Shift key to have a slider update faster here inside of SpeedGrade. So what I'm going to do is drag down until I have an Opacity value of maybe around .50, maybe a little lower, .48 or so. Something like that's working pretty well. Now if I drag through the shot again, yeah, that's looking pretty good. And let me go ahead and toggle off the second Primary layer, that's the layer I currently have selected, and the way I'm going to do that is by using the decimal key on my keyboard number pad.
So here's the original shot with the basic parameter correction that I did to expand the contrast and then with the second Primary layer that I added, but this time remember I adjusted the opacity so these two layers were blending together. Now I know what you might be thinking, are there other blending modes available like you might have in Photoshop, like Add and Dodge and that kind of stuff? No, there's really not. You have this Opacity control to sort of blend two layers together. But a lot of times the Opacity control works very well to sort of back off an effect, or maybe if you backed off too much, you can add a little bit more of that effect back in to create the overall look for a shot.
Now of course I did this opacity change between two Primary layers, in the next chapter we'll talk about secondary corrections of course, but you can apply the same technique to secondary corrections, as well as custom look layers. So for example, if I came down and clicked on the plus button right here to add a new custom look layer, maybe I want to do a BleachBypass here. Now I have a really sort of crushed look and I can't see hardly anything. Well, I'll simply with the BleachBypass layer selected, come into the Opacity slider and drag way down so I get a little bit of that desaturated type look, but it's not as heavy as it was at 100% opacity.
Okay, so that's a little bit more about layering corrections by using the Opacity control between different layers. And in your own work, I think, you'll find this is a very effective way to blend or sort of layer corrections together on a shot.
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