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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 another movie in this chapter we explore the mechanics of layer linking and masks. In this movie let's explore the mechanics of working with multiple masks here in a single layer stack. If your following along with the project files open up 0603L multiple masks. Let's say now that we want to take this window behind the drummer here. And push that darker. We'll add another layer. Create a square shape. I'll match up the sizing here.
Now I'll darken it using a few overall corrections. I'll set this as an inside mask, and in this one layer stack, we've got four primary layers all either ignoring or being limited by an oval mask with another primary which is being limited by a square mask. In versions of speed grade prior to 7.1 this would have been impossible. This is also a good opportunity for a final note on the mechanics of layer linking.
Notice how layer two isn't using its linked mask which is being ignored and just passed through to the layer above. We can in fact turn off layer two's linking and see what happens. Speed grade bumps it out of layer order. This allows the linked layer that was above layer two to maintain its link with the layer one shape. But our balanced layer now happens after the vignette and my grading stack has been re-ordered.
To my mind, in this case, that's not what I want to happen. I want the vignette to happen post-color balancing. So I'll just undo that last command and leave layer two as is, but this is an interesting behavior to be aware of. And may be useful to you at some point. Alright next let's go old school for a moment because let's say we want to isolate this window correction into its own layer stack, not only so that we can easily turn it on and off for our client while leaving the rest of this grade alone.
But because we may want to quickly copy just this window isolation to other shots without copying across this underlying grade. These other four layers. How do we set that up? We'll cover that in the movie about speed grades grading clips.
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