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In this movie, we are going to talk about SpeedGrade's secondary layers control. And I've gone ahead and done the primary color correct on the fourth shot in this Chris Jane music video that we've been working on. If you prefer to do your own primary corrections on this, just pull up 06_04_JANE_END.ircp. And this shot'll be there, clean for you to, to work with. Or you could pull up 06_05_Jane_begin, and you'll have my work sitting here for you to look at. What that, what have I done on this shot? Very quickly, I did an initial contrast adjustment in the first primary layer, and then I did an outside vignette on the second primary layer.
And so, this is the before and here's the after. And as I play this shot down and it loops through I'm thinking, you know what, I love it but I think I really need to pull, that sign down, the open sign down. And while I'm at it, I'm thinking that I would love to have a little more color contrast in here. I'd love to have some other color in here other than red, because it tends to start pushing it to a more monochromatic color palate. And as I look at this image what gives me that opportunity? Probably the blue jeans.
so I'm going to take a look at heightening the blue jeans. So we're going to fix a problem with the open sign, and we're going to creatively enhance the blue jeans on this shot. First thing I'm going to do is plus S and now we've got a secondary layer here in SpeedGradeCC. And secondary layers, they give you different controls than you get on primaries. In a primary we've got our three way color corrector. In our secondary we have our secondary controls, we've got the offset and gain wheels.
We've got all of our various sliders that we get in the primaries, plus we've got a bunch of these keen tools. So let's take a look at two of the ways that we can select the reds for this open sign and desaturate it. First thing I'm going to do is switch this to 100%. because I really want to get a good look at that open sign, and I'm middle clicking and dragging down on the image to pan and tilt it. Now, perhaps the easiest and quickest thing to do is just click on this little red button. And now you notice this hue, lightness, and saturation sliders here all expand out.
Let me reset that. And I'll show you how to do this manually. I can just pull this top arrow here and pull this out and now I'd be selecting just within this color range. And then on the bottom arrow is the softness control, so I can feather off the fall-off from within this hue range that I'm selecting. And then I take that and then I'd put that into the red range there. So let's now go into the grey out mode, and I'm going to go to the black and white grey out. And this will show me what pixels I've selected that I'll be able to manipulate.
And there are no pixel-selecting, what's going on here? Well, what's going on is that I've got this very narrow range defined here for lightness and for saturation. Essentially, these are all adding together, and even though I have a range selected for hue, basically I have 0 range selected for lightness and 0 for saturation. So I need to start pulling these out. And now as I start pulling these out, you'll see what happens. I'm selecting more and more of these pixels based on the combination of all three of these adding up. The reds in the hue.
This range of lightness, excluding these blacks, excluding these highlights and this range of saturation excluding the most highly saturated and excluding the most unsaturated. Now, if I click this red button again, now it's giving me the full range of lightness and saturation pixels and only isolating based on hue. And if I look at this entire image by pressing control, home, I'm selecting, the entire image is red, right? We know this. I mean, I just take a look at it, the entire image is practically red.
As I go back into this black and white gray out mode, this isn't proving to be very useful for this particular image. I've got another selector here. And look at this little, this is like a checkbox here, right? I click on that and it opens up another palette. And notice I got reds wide narrow saturated, wide narrow saturated. I have this for all of my primary and secondary colors. So, what I can do is say, you know what, I want the most saturated reds. And, now if I hit set, that's what it's giving me, it's giving me the most saturated reds.
It's giving me the full brightness values, but only the most saturated in this hue range. Now I can exclude some of the darker reds, and I'm going to center this up and bring it to the most brightest, because I want the most brightest reds. As well as the most saturated, just like that and then I don't really want to pull in her dress. I want to isolate that more to the open sign, so the open sign is a lot more saturated that her dress so I'm going to just keep moving this saturation slider.
Just until I get the portion, the open side that I want. I'm going to use my number plus and minus. And I'm going to use the plus key to zoom in to 100% and middle click to drag down. And now, so I've got this open sign here. It's look- if I hit play it's a little chattery. Generally not a problem but I do like to blur and feather out some of that chatter. And so that's what I'm going to do using this little blur slider to go ahead and do that. And if I want to I could also kick up the denoise, which will denoise and all we're doing is denoising and blurring the matte channel.
This selection. We're not blurring or denoising the actual picture itself. It's still nice and sharp. It's just our selection that's been blurred out. And now, I'm going to take this and desaturate it, hold down the Shift key as I slide it. So I'm going to take it pretty far until it's clearly a problem, it looks fake. And then bring it back to find the right amount that I can take it down. Control home press the for my analysis tools, and now I'm going to take a look at my vector scope, to see if I did anything.
If I turn off this layer, you can see how these reds were just arcing just all the way out to the edge here. If I turn on this layer you see how I've pulled those back in. I've done a good job there selected those reds and de-saturated them. Now the next thing and last thing I want to do on this image is put a little more blue in here to get a little more color contrast. So I'm going to add another secondary layer. And now I am going to use my color picker. I am going to hide the Analysis tool again blow this so I can get a better look in here.
And I am going to select this range and notice as I select this range and move this around its not giving me a range of selections in hue, lightness and saturation. Again going onto our black and white gray out mode, and I'm pulling too much there. So lets figure out what I can do. Lets narrow down this blue range. Lets center it up just for the blues I want. I really want those highlights. I turn this on and off. I just want the highlights here on the right side of these of these genes.
Yeah, I'm getting that there. Gotta bring down this lightness a touch. I'm going to go in the other direction. I'm going to exclude some of the darker parts of the image. Narrow this down a little bit. Also the same thing with the saturation I don't need the desaturated stuff. Just the more saturated. And then again I'm going to kick up my blur a little bit, just to help with any chatter. Turn off my gray out mode and now I'm going to kick up some gain, make it a little brighter, pick up some saturation.
And, then to help it out even a little bit more, I'm going to take this gain and just pull towards blue a little bit. Turn this layer on and off. Add a little bit more interest, a little bit more color. And there you go. So two different uses of, SpeedGrade's CC, secondary layers. One to fix a problem, one for a creative enhancement.
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