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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 take a look at how we manipualte contrast using the contrast rings here on the color wheels in Speed Grade CCs interface. We're going to start by opening up Exercise File 04_02contrastcontrols.ircp. You should be sitting here on this second shot and as I look at this color wheel. Contrast is this outer ring here. You see, it goes from black, and then moves all the way through the tonal range, up to pure white. Our default setting is with this little triangle sitting up here right in the middle area.
When I stop hovering over it, you can see how it dims down. That means that none of these color wheels right now have any effect on the image. Nothing is happening right now, also you can on the overall tab, it's lettering is in white, again which means nothing is going on in this tab. Now, I'm going to hover over this little triangle. I'm going to click and drag on this triangle and as I move it right it's going to brighten up the image. Now, as I move it left it's going to darken the image and if I hold down the shift key while I'm making these movements.
It's an accelerator, so a much smaller move has a much bigger effect. And I can just, I can make a big movement while holding on the shift key and then let go, and now it's making smaller adjustments. And when it comes to manipulating this triangle, it might look like with it's position right here I want to click and drag it up in order to move it. Doesn't work that way, what I really want to do is use a left right action. So, what I'm going to do is click on the contrast ring itself, and move left to make it darker, and move right to make it brighter.
Notice, that once I make this adjustment, I've got this little triangle here that suddenly popped out, that's the reset button, now that I've made a move, I can now reset that move by clicking on it, brings it back to the default state. And, notice how as I move right, and I move left, that default button. Button changes, to indicate not only have I made a change, it indicates the direction of the change by getting brighter or darker. Now, I've got this control replicated three times here in the panel. I've got gain, I've got gamma, and I've got offset.
So, what I'm going to do is, I want to pull up my analysis tools by pressing A and I've got this RGBs parade scope up right now. I want to actually switch this to Waveform because I'm only really interested in my luminence, not so much my color and I'm also going to switch this Luma from the RGB overlay, so now this is only showing me brightness and we're going to come back to the first shot and I'm going to do that by pressing Cmd+left arrow or Ctrl+left arrow on a pc. That'll take me to the first frame of the previous shot and this is a greyscale ramp and it's going to give us a very good indication of what's happening as we manipulate these three different controls.
And so I'm going to come here to the Gain control and watch the black point here on the scope, right here. Watch this black point in relation to the white point, as I manipulate this. I'm going to click and drag to the left, and notice that my whites are dropping, but my black is pinned there at zero black. And now let's go and make an extreme connection to the highlights, and my whites are getting brighter and brighter, and my black is pinned. I'm going to reset that. I'm going to go to the Gamma control and do the exact same correction.
Again, watch the end point on the white and black. And as I make this correction, notice how white and black stay pinned, and everything else in between is getting manipulated. And also notice the non-linearity of this correction. The general...the weight of it seems to be happening mostly around the 40% range of this signal. So if I reset that, the major bend comes in this area here. Now, as I come to the Offset control, Cmd+right arrow to take a look at our second shot, I'm going to click and drag.
And notice how the entire image is moving up and down in proportion to itself. Alright, I'm not lifting or squishing any part of the image. I'm not expanding or, or con, or contracting any part of the image. It's all moving altogether as if it were on an elevator and the floor of the elevator were at zero IRE. And as the elevator moves up the entire image moves up. Just like with a human being in an elevator, we all move in proportion as the elevator moves up and down. That's what's happening with this offset control.
For your old timers this is a lift or setup control, like on a Digi-beta or a Beta-SP? That's exactly what's happening here. This means this offset control effects every single pixel in this image, no matter what, and that means this is going to to be the first control I'm going to go to. I'm going to come in here, set my blacks first, and then I'll decide where it is I want to put my highlights and maybe where I want my midtone gamma to live. So, that's the fundamentals of working with the contrast rings here in the looks panels.
When we're performing our primary color correction operations.
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