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Keying and grading skies

From: Up and Running with SpeedGrade CC

Video: Keying and grading skies

In this movie, I'll share with you a very common use I Again drag this top arrow to the left to expand it out and And then see how that works. I am, I am getting less of them.

Keying and grading skies

In this movie, I'll share with you a very common use I have for secondaries, which is enhancing the look of clouds and skies. We are going to start here on 05_03_DML_END. We are going to pick up where we left off last time on the short sequence from deadman's lake. And we are going to start with this shot where we have got a lot of clouds up here and what we want to do is enhance it. We want to give them a little bit more pop. Make them a little bit more of a character in this image. And as we look at this image, if I turn both of these off, we can see what we've done already.

We've done two primary layers. Mostly a variety of tweaks to add a lot more punch to this image. What we're going to do now is add a secondary layer and we're going to try to key out those skies. I could do this here in this layer stack, but I think I might want to re-use this correction on other angles. And one of the easiest ways of speeding B grade to use specific fixes and share them on other shots, is to use grading layers. So, rather then doing this correction here in this layer stack we'll add a new grading layer and if we get lucky we'll be able to reuse this correction in other angles.

Now quick side note, grading layers are not available to us in the direct link work flow. They are only available when we are working on native IRCP projects. If we're working in direct link, we'd have to direct link back to Premiere, add an adjustment layer there, then direct link back to speed grade to replicate what it is we are about to do. So now lets go ahead and add a grading layer. We do that just by clicking and dragging in here and make sure it's a thin line and it's only going to apply to this clip and now we have a new layer stack.

What I'm going to do is add a secondary and I don't think I need that primary right now. So I am just going to delete it. Get it out of the way. I am just going to take this and lift it up a little bit, until it reveals everything. And for the moment, I'm going to get rid of my analysis tools and just so I can focus on the image itself. And now let's go ahead and key out the sky. There are a couple of ways doing this, of course the most common way is just to use a little eye dropper and drag across this region. Now I'm going to go into my gray out menu, again I like the high contrast version, the black and white version and that'll show me wherever I have white pixels what parts of this image I'm manipulating.

So I'm going to go ahead and do that and you can see I'm pulling in a lot of other stuff here that I don't like. So I'm going to go ahead and reset this and instead I'm going to turn off hue and saturation. I'm just going to try it on brightness because the sky is fairly bright and I'm going to see what that gets me and I'll move this all the way up to the top, add a little bit of softness and now I am going to drag out this triangle more to the left, more to the left and there we go. So based on brightness alone, I am doing a really good job of pulling out the key.

I am also getting them a little bit. So what I am going to do enable the hue. Again drag this top arrow to the left to expand it out and I want to expand it out just so that it's only pulling in the blues. I'll put in a little bit of softness. And then see how that works. I am, I am getting less of them. If I turn this hue on and off now. I am getting less of them. And that works for me. I kick up this blur. Hold down the shift key for faster response. And now I'll turn off my gray out. And now I've isolated the sky and I'm going to do a little bit of grading in here and I'm going to use the contrast controls.

Because, you know, we don't have the 12 way controls in here and the gain and the offset isn't really going to work for me. So I'm going to use the contrast controls and I'll expand out, pick up the contrast, now it's going to tend to push. All of this stuff brighter and I'm probably going to want to adjust the pivot. Now I'm going to hold down the the shift key as I adjust the pivot to find where I really want it to center up my contrast adjustment and right in there looks pretty good. I'm going to kick up some more final saturation.

Let's do before and after on this layer, and yeah, look at that. See, we went from this kind of muddy. The sky didn't look bad before, but now in comparison to what we've just done, really kicks it up. And this is a great way. I love doing contrast expansions on skies, cause it, cause skies tend to be in a very narrow range. You know, you've got the bright whites. But then, you know, the blues generally aren't much darker than that. And by kicking up the contrast and adjusting the pivot to pull out the detail just where you need it, I find that that's a great way of pulling out detail and skies and as an example of another great use of secondary layers.

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This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 11625 viewers

Patrick Inhofer

Expand all | Collapse all
  1. 30m 23s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 7s
    3. Exploring additional equipment
      5m 28s
    4. Using the exercise files
      9m 7s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 7s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      4m 58s
    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. 23m 14s
    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 6s
    4. Using an edit decision list (EDL) to conform a project
      6m 33s
  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. 48m 23s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      9m 43s
    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. 11m 25s
    1. Tracking a face
      5m 25s
    2. Keying and grading skies
      4m 18s
    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. 19m 40s
    1. Setting up a render
      6m 42s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 35s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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