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Pulling HSL keys and limiting with masks


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Pulling HSL keys and limiting with masks

In this movie, we're going to continue working on this shot from the Chris Jane music video. In an earlier movie I had already isolated the open sign to desaturate it as well as enhance the blue jeans. The thing is, I'm not really happy with this desaturate that I've done on the Open sign. If I go to the grey out mode, you can see that the actual lettering itself was never pulled in. And I was kind of limited by this selection. Part of it is because I was using a hue selection in here and I can turn that off.
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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
Subject:
Video
Software:
SpeedGrade
Author:
Patrick Inhofer

Pulling HSL keys and limiting with masks

In this movie, we're going to continue working on this shot from the Chris Jane music video. In an earlier movie I had already isolated the open sign to desaturate it as well as enhance the blue jeans. The thing is, I'm not really happy with this desaturate that I've done on the Open sign. If I go to the grey out mode, you can see that the actual lettering itself was never pulled in. And I was kind of limited by this selection. Part of it is because I was using a hue selection in here and I can turn that off.

Still not pulling it in so I'd have to open up the saturation. See what's happening is that lettering, the actual lettering itself has no color so I've really gotta open up the saturation and grab it and when I do that. Look at all this other stuff that's coming in. Now, normally, I would apply a mask and isolate this but I'm already using the mask in this layer stack. You take a look at this primary here. I've clicked on the mask, I've applied this mask to that primary layer. I have no more masks available to me.

So, I was never able to quite pull the key I really wanted to on this layer. What I'm going to do now is delete that layer. And now I'm going to add a grading layer. So I'm going to grab this. And now I'm going to just drop it on this layer here. Drop it above the shot I want to apply it to. Now it's lined up directly on this shot. And now if I click on it. I've got a brand new layer stack here. I've got no masks applied to anything. I can start from scratch.

So I'm going to plus S to give myself a secondary layer. I'm going to come down to this primary and just delete it. I don't need it. And now I'm going to go ahead and key out that sign. I'm going to take myself out of gray out mode I'm going to turn on the eye dropper and I'm just going to come across this whole range here and now I'll turn on my grey out mode and I'm getting a much better selection. I think I want to open things up. In fact I don't need to isolate by hue because I think saturation and brightness will get me the exact part of the image I want.

I'm going to open this up. And not only do I want to get the sign itself, but some of the surrounding bricks around it. But only some of them. And the saturation, what if I turn off the saturation? It's not making a difference in this selection either. So I'll just turn it off. I'm basically doing a lightness only key right now. And I don't have to worry about all the rest of this because now I'm going to turn on a mask and I pull it up here. I am going to make this a little smaller by pressing the minus key so that I can get access to my tools here and really just bring in that one little range that I want a feather lets add a little bit.

And now I'm going to apply, and I want to grade inside that mask, so I'm going to apply that mask. And there we go. Now we're seeing exactly what it is that I will be affecting. I'll take myself out of gray out mode. And now I'm going to take this to 800%. Drop that down so I can get a good look at it and now let's try that desaturation. Hold down the Shift key as I make this move and I'm also going to bring down the gain a little bit, just to knock this brightness down a touch.

After doing that I might need to bring up a little more desaturation. If I'm not happy with that, well I can always expand this out. Just a little bit like that. And now let's take a look at our Analysis tool, and now let me turn this layer on and off, and you can see we've done a big job desaturating. The question is, is this going to look unnatural when I take a look at it full screen? Hide the Analysis tools, hide the grading palette.

Let's play this down. Yeah, maybe a little bit unnatural, maybe I went a little too far. want to hide the widget. It's probably the brightness that's hurting it there. Bring the brightness up a touch. Take a look at our Analysis tool as I do that. As I bring the brightness up it don't seem to be affecting the saturation all that much. Let's turn this layer on and off. Now , let's take a look at this, and there we go. So that's it, that's using a mask in conjunction with a secondary layer, I am frequently using masks to isolate my keys.

And so it would not be unusual for me to have three or four of these stacked on top of each other so I can apply different masks, to different keys in order to control different parts of image.

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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