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Understanding the Look layer

From: Up and Running with SpeedGrade CC

Video: Understanding the Look layer

So far in this title on SpeedGrade CC, we've taken a look at the primary and secondary types of layers we can add in a layer stack. In this movie we're going to take a look at the final type of layer you can add, which is a Look layer. You press this little plus key, and it pull up all of these what are essentially presets. And as you load up each preset, the Look panel in here will change. And each of them has their own sets of sliders and color wheels, contrast wheels depending on the preset you're pulling up to achieve different results.

Understanding the Look layer

So far in this title on SpeedGrade CC, we've taken a look at the primary and secondary types of layers we can add in a layer stack. In this movie we're going to take a look at the final type of layer you can add, which is a Look layer. You press this little plus key, and it pull up all of these what are essentially presets. And as you load up each preset, the Look panel in here will change. And each of them has their own sets of sliders and color wheels, contrast wheels depending on the preset you're pulling up to achieve different results.

Some of these are designed for creative, especially these labeled with effects. Others are more utilitarian like LUT, or Printer Lights. I'm going to give you a couple of quick ideas on how you can use these Look layers to customize the looks of your shots. We're going to start with the exercise file 09_01_look_layers. This is Dead Man's Lake, we've been working on this throughout this title. And at this point, I've done all my primary color corrections.

I've done some various isolations to enhance the look and focus the eye with secondaries. And I've also gone ahead and created a grading track and on this third grading track is where I"m doing all my shot matching. And where I've done, where I've made adjustments I've labeled them here so that you can open this up. And take a look at what I've done in order to get these shots to match. And now, what we're going to do is go to this last shot of the film. I'm going to press Ctrl Space bar to put an in and out that clip, hit Play and it'll loop around that in and out point.

And, this is a, kind of zombie-like creature. He needs to have a very unique POV. It has to look different than all of the other footage we've seen so far. And what's happening is first he, he's walking, he stopped, he hears something, turns, looks, and then he moves onward. So right about here, this is a good place to stop and look and what we're going to do is. I'm going to use a Look Layer to customize and create a very distinctive look for this shot. I'm going to do that by adding a new grading clip.

I'm going to call this grading clip creature POV. And I'm going to come in here and use the plus button and I'm going to select Effects > Bloom. And you can kind of guess what it's going to do. It's going to take the highlights and bloom them out. I don't need this primary layer, so I'm just going to get rid of it. And so now I have got this effects bloom and it, by default doesn't look like its doing anything. But I have got to do is kick up the intensity and I am going to hold down the Shift key while I drag the slider to get bigger and bigger movement.

And as I do this you can see that I am clipping out a lot of detail in here. And i can retrieve this detail but I don't really want to, I am creating a look and I am okay with clipping out all of this detail. And we're going to deal with that separately in a couple minutes. And I"m going to drop the threshold a little bit just so it pulls in a little bit more of the foliage and then if I turn, if I use the period key to turn this layer on and off. Here we go. I got a nice look at what's going on there.

So, that's the before and that's the after. It played a loop and around and I've definitely got a look going on here. I'm thinking it's a little too intense there. So, what I'm going to do, right about, right during, when he's turning to look, yeah right there. That's where I want this intensity to be at full intensity so I'm going to go ahead and add a keyframe. Then I'm going to come back and just before just in the middle of the turn here I'm going to add another keyframe.

Go to the next key frame, I'm going to click this a second time and it'll animate the controls over that duration. Go back to this previous key frame and I am going to drop down this intensity and raise up the threshold. So less of the picture is being effected (INAUDIBLE) back to its default. Come back to this previous keyframe. I don't really need it so I'm going to go ahead and delete it. There we go. And now I'll hit Play. Alright so this effect now is being animated over time, but it still looks a little too normal to me.

I kind of, I want this to be a more of a creature look, a more of a creature POV, so I think I'm going to add one more Look layer to the shot. And I'm going to go with Bleach Bypass. Now you notice Bleach Bypass. I've got, you know, basic controls here. Color wheel and a saturation and you can see the gain has been kicked all the way up. So I'm just going to play with that and see what that does. And then the saturation, I'm going to kick this up a little bit. I don't want it quite as saturated. And what about the color? I think I would like to put a little bit more of the orange look in here.

And I think it's a little heavy so I'm going to reduce to opacity of this layer. Hold down the Shift keys as I do that. This is zero opacity, so this has no effect. I'm going to bring this back, bring this back. That looks pretty good except I don't like how these blacks are completely disappearing on me so I'm going to add a primary layer. I'm going to drop it down to the bottom of the stack, go to my Shadows control and lift my offset. Just to gain a little bit of detail back in the blacks.

Turn the primary layer on and off. I prefer that a little bit more. And there we go. Now, you'll notice we've (LAUGH) Holy cow, 1023, when we render this out every single pixel above 1023 here is going to get clipped out. The question is, is this what this image is going to look like after it's been clipped out? And not only that, but if I'm going to broadcast, or really if I'm going to run this through some sort of compression software.

I'm going to want to manage these levels a little bit more towards broadcast spec, to ensure that there are no encoding errors. And to ensure that if I send this out to broadcast, they don't kick it back to me. So what I'm going to do is come in and here and there is a Look layer called effects legalize. And there are two versions of it, one for NTSC and one for PAL. And I want to apply this, but for reasons that will become apparent in just a couple seconds, I'm going to apply this on a new grading track. So, I'm going to grab this icon here and I'm going to add a brand new grading track.

I'm going to highlight this so I'm going to call this NTSC legalize and now I'm going to apply that NTSC legalize Look layer. I'm going to come to this primary; I don't need it, I'm going to delete it. And look, you just clip this all out. If I turn this layer off, you can see all of this detail that's been retained by the floating point operations here in SpeedGrade. I turn this on. All that detail is now officially clipped.

I can, in a later operation, pull that detail back. But even more importantly, now that I've legalized this section of the image. As I take a look at some of these other shots. For instance this shot right here I've got some detailed here that's getting a little clipped out. I've got some detail coming down below zero that's getting clipped out. What happens if I take this NTSC legalized grading clip. Grab the little arrow, drag it to the left, all the way back to the first frame. And there we go. I've now legalized this entire sequence using one clip on a top level grading track.

So hopefully by now you recognize that you can use Look layers both for creative purposes as well as technical purposes.

Show transcript

This video is part of

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

55 video lessons · 9297 viewers

Patrick Inhofer
Author

 
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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