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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.
Let's pick up from the previous movie where we've created a mask, and now we want to see what we can do with this mask. If you have access to the project files, open up 06_03_JANE_END. Now, we've got this mask that we created as you can see here. But if you've worked on versions of SpeedGrade prior to 7.1, here's where things take a radical turn. Notice this little icon down here in the layers stack. It's kind of a Bezier triangle. The mask we created is now assigned to this specific layer, this color balance layer.
In previous versions of SpeedGrade, we were limited to one mask applied to this entire layer stack. Every layer could only just use a single mask. But now, starting with SpeedGrade 7.1, every layer can have its own unique, and independently keyframeable mask. This massively increases the flexibility of masks, here in SpeedGrade. So I'll highlight this initial contrast layer, apply a square mask, and then Cmd+up arrow and down arrow through the layers.
And you can see that these two layers have their own unique mask applied. Now I'll come to this top layer, clear out the mask, and as I do, notice the Bezier triangle graphic. It goes away. I'll Cmd+arrow down to the bottom layer, clear out that mask, and now I'm just going to recreate this oval mask that we started with here on this bottom layer. One thing to keep in mind when creating masks, currently in SpeedGrade we can't copy paste masks between layers. So whatever layer is active, that's the one the mask gets attached to so, pay attention to your layers when you're doing this.
So, we've got this mask created, and we're back to the question at the end of the previous movie. What do we do with this mask? Well, lets start out by adding a new primary layer. Now I want to vignette Chris Jane. So we can darken outside of this mark while also perhaps adding some additional contrast to the inside of it to help popper out of the image bit more. The cool think is while we can't copy the mask from the bottom layer to this new layer We can inherit or pass through the mask from lower layers into upper layers using this, the Link Unlink button. So let's try that.
With our new Primary layer selected, let's press this Link button, and notice, we can visually see the inheritance. Cool, so now let's darken the image for the outside operation, and when I create vignettes, I like to take a little from the overall gain A little from the, overall gamma, and then I'll jump here into the shadow and take a little from the, shadow gamma. But you'll notice the entire image is being affected I, I'm not being limited by this mask. Why? Because I have the Ignore Mask button active.
This one with the circle in the red stripe. I need to press one of these buttons for this layer to be limited by my mask and I press this third one which is the outside button. Now this layer updates to show it's being limited by a mask and yet nothing is happening, why not? Because quite literally, this layer is inheriting the mask properties from the layer directly below it, and layer two doesn't have a mask applied and now with a layer above it, putting down to layer two, layer two is now what I call a master mask layer, and you can see mask linking it's, it's greyed out, I can't do it.
SpeedGrade expects this layer to be the source of a mask now that a layer is linking to it. If I just come here and click and create a square mask. Voila, our outside is now working. But that's not what I want. So I am going to empty this mask. Turn off the mask linking on layer three. Now I come down to layer two and turn on it's masked linking then I go into layer three to turn on this masked linking and I'll click the outside button. Sweetness.
Now as I Cmd-arrow through these layers, you can see how the mask from layer one is inherited by all three layers. And if I come up to layer three to tweak the mask, I'm working on this mask live. It affects all the other linked layers which you can see now as I'm again arrowing up and down through the layers. Also notice that since layer two doesn't have the mask applied, the circle with the stripe is highlighted. It's merely passing the mask data to the layer above it. Now this brings us to an important note about colorist's lingo.
You see, while layer three is in fact one of SpeedGrade's primary layers, because it's being limited by a layer shape, this primary layer is doing the job of a secondary correction. It's isolating and doing something to that isolation. All right, so now let's add one more primary layer. Let's link it down and set the mask for inside. Now we'll increase the mid-tone gain in gamma. Let's make some corrections in the shadow tonal range.
And now we'll toggle this layer on and off, and you can see we've popped out the inside of this mask. Now I'll be the first to admit that this layer-linking structure isn't very organized. I've got layers one and two with masks attached that aren't doing anything. This is not how I'd normally construct it, but it's actually pretty useful when I'm teaching this to you right now. So by the end of this chapter, I'll have this all organized, and you'll see exactly how I would actually go about. Constructing this particular layer stack
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