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Understanding the 3-Way controls: Contrast

From: Up and Running with SpeedGrade CC

Video: Understanding the 3-Way controls: Contrast

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.

Understanding the 3-Way controls: Contrast

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.

Show transcript

This video is part of

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

55 video lessons · 9792 viewers

Patrick Inhofer
Author

 
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  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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