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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Understanding the 3-Way controls: Hue and Saturation


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Understanding the 3-Way controls: Hue and Saturation

In this movie we're going to take a look at the hue controls within the color wheels here in Speed Grade CC. We're working from exercise file 04_04_colorcontrols. And you should be up here on the second shot in this timeline with the wonderful and beautiful Chris Jane. And what we're going to do is come up to the Overall tab. And come over here to the Gain control. And in order to manipulate the color in this image, what I'm going to do is just click and drag to whatever color I want to add. So if I want to add more green to this image, I just click and drag towards green.
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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 NEW
      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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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
Subjects:
Video Color Correction
Software:
SpeedGrade
Author:
Patrick Inhofer

Understanding the 3-Way controls: Hue and Saturation

In this movie we're going to take a look at the hue controls within the color wheels here in Speed Grade CC. We're working from exercise file 04_04_colorcontrols. And you should be up here on the second shot in this timeline with the wonderful and beautiful Chris Jane. And what we're going to do is come up to the Overall tab. And come over here to the Gain control. And in order to manipulate the color in this image, what I'm going to do is just click and drag to whatever color I want to add. So if I want to add more green to this image, I just click and drag towards green.

If I suddenly decide no, no, no, no, I think more blue, I just drag over here towards blue. The further out that I drag from the center, the more intense I'm going to get that color. If I want to mute that down, I like that direction but I've got too much of it. I just stay in that direction and just drag back towards the center point and it's much less of a blue push. The other way I can manipulate this control is if I were to Right click anywhere in this color wheel here. And once I right click, I don't get control of my mouse back.

I am now in the virtual track ball mode and my mouse movements now control my hue offset. So if I drag up here towards orange, I'm adding a lot more orange to this image and I haven't, I haven't held down a button while I'm doing this. To get out of this mode I just click and I'm out of it, now I've got control of my mouse again. And notice on both of these, once I've started making a change, this triangle reset button appeared on both of these controls indicating I have made changes to those controls.

Also notice that they reflect not only that I've made a change, but the direction of that change. So I push towards blue in here, it's showing me a blue push. I push towards orange in here, it's showing me an orange push. If I come in here, click and drag more towards blue, notice how it gets more and more intense indicating I'm mating, I'm making a bigger and bigger move. Let's go ahead and reset both of these. And one last point about virtual trackball mode. I'll right click and put myself into the virtual trackball. And now if I spin my middle scroll wheel, now I'm making a contrast adjustment.

If I hold down the Shift key, it's an accelerated contrast adjustment. I'll come back down here, I'll click to get out of it and reset. On top of these hue adjustments, I also have saturation adjustments in the form of two sliders up at the top row here. I've got Input Saturation and Final Saturation and essentially it allows me to adjust the saturation based on whether I want to do them before I get to these controls or after I've done everything else up here, I could come up to Final Saturation and make a move there.

So if I just click on this triangle and drag it to the right, I'm increasing my saturation. If I hold down the shift key while I'm dragging, it accelerates my inputs and then if I drag it to the left, it's desaturating the image all the way down to zero where the image has no saturation whatsoever. This little box pops up telling me that I've made a change, I can click on it, it also a reset button. I click on that and now I've reset my saturation back to default and by the way I can also hold down the Shift key when making these moves as well to also accelerate these movements.

And now that we understand how to manipulate hue on these color wheels, let's take a quick look at the highlights and see what happens within a tonal range. So, I'm going to press the A button to bring up my analysis tool. I'm going to bring the three scope layout. And I'm going to select on the bottom, I'm going to select the waveform. And I'm going to make sure it's switched to the luma, which it is. I don't want it in the RGB overlay, because I'm going to do my parade scope up here in the upper left hand corner, and I like my vector scope just where it is. And I'm going to come back one shot, Cmd + Left Arrow.

And that will bring me to the beginning of our gray scale. And what I'm going to do is, within the highlights total range, I'm going to adjust this game control to see what effect it has within this tonal range. And notice as I do this, I've got a pretty big bend. The bend is being limited at around the 50% mark. And you can see up here how the blue is just skyrocketed off the charts here. I've added a lot of saturation. Let me reset that. Now, if I come into the, my gamma control, push towards blue.

Notice how the gamma on the highlight is keeping my highlights, my pure whites, pinned, and it's just affecting the bottom part of the highlight range. And then, if I come to the offset, do the same thing, and notice it's kind of pivoting around that center point as I add more or less color. Alright, so I encourage you to go in here and now just like I did on the earlier movie with contrast, here with these hue wheels go ahead and manipulate them using the different mid tones and shadows, and overall get to know where these overlaps are so that you eventually learn how to do pinpoint precision corrections based on the feature you want to manipulate within your images.

Because once you internalize what's going on here, you really will become very, very quick here on SpeedGrade CC.

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 12/20/2014. 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.
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