Up and Running with SpeedGrade CC
Illustration by Richard Downs

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Mask linking

Let's pick up from the previous movie where we've created a mask, Now this layer updates to show it's being limited Also notice that since layer two doesn't have the Let's make some corrections in And now we'll toggle this layer on and off, and
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  1. 31m 43s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 52s
    3. Exploring additional equipment
      5m 34s
    4. Using the exercise files
      9m 36s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 13s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      5m 4s
    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. 24m 44s
    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 58s
    4. Using an edit decision list (EDL) to conform a project
      7m 11s
  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. 44m 3s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      5m 23s
    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. 13m 13s
    1. Tracking a face
      6m 44s
    2. Keying and grading skies
      4m 47s
    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
      4m 14s
    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. 20m 1s
    1. Setting up a render
      7m 0s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 38s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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Watch the Online Video Course Up and Running with SpeedGrade CC
4h 54m Beginner Aug 15, 2013 Updated Jan 24, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding the interface and reading scopes
  • Getting clips and projects into SpeedGrade
  • Understanding the 3-way controls
  • Making contrast and color corrections
  • Pulling HSL keys
  • Making secondary corrections and using custom look layers
  • Tracking masks to objects
  • Matching shots
  • Rendering footage
  • Moving timelines between Premiere Pro and SpeedGrade
Patrick Inhofer

Mask linking

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

Find answers to the most frequently asked questions about Up and Running with SpeedGrade CC .

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Q: This course was updated on 12/20/2013. What changed?
A: This update covers the new features added to SpeedGrade 7.1. There are new movies covering the Direct Link workflow, which allows you to open Premiere Pro projects in SpeedGrade. Also covered are improvements to mask and layer linking, grading layers, and grading clips. We also revised several movies to reflect the impact Direct Link has on managing media, tracking, rendering, etc.
Q: This course was updated on 1/24/2014. What changed?
A: We added one new movie to address the changes in the 12/12/2013 update to Creative Cloud.
Q: Why am I getting the 'File Not Supported' error when reconnecting to the source files in Premiere Pro?
A: If you get the 'File Not Supported' error when reconnecting to the source files in Premiere Pro - this is a problem with the reconnect dialog in
Premiere Pro that Adobe has not yet fixed. Everything is fine with the media and the projects. To get around this 'bug':
1. Open the Premiere Pro project in Premiere.
2. During the reconnect dialog click Locate and navigate to Exercise files > Media and then to the sub-folder of media the dialog is asking for...
3. Here is the trick: You MUST actually select/highlight the first file that Premiere is asking for. The easiest thing is to click the 'display
exact name' button and then *actually click on the file* that matches the name.
*If you don't highlight the file*--navigating to the folder and *clicking ok without selecting the file will give you the 'file not supported' error
each and every time*. You must select the file that matches - Premiere is not smart enough to just figure out the folder contains the file.
This is not something that is unique to this training its just a little quirk of Premiere Pro currently.
After you select the first file all the other files should reconnect - assuming you have 'relink others automatically' selected.
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