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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 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.
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