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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 continue going through the various analysis tools. This time, we're going to go through the tools that I use the most when it comes to analyzing color, hue, saturation. To get started, we're going to load up 02_06_analysiscolor. When we load this footage from the desktop, we're going to get this frame-rate-mismatch warning. That's fine. I just had several different clips in here with two different frame rates. Just click through it, press D to get to the desktop, click on the Look tab, and we're here to talk about color analysis.
Now, of course, the RGB parade is as I said in an earlier movie, this is where I make my money, right? This is where I make my living is off the RGB parade. It gives me both color and contrast information. It gives me color information by showing the various weightings between red The green and the blue color channels. And here you can tell that there is a bit of a red bias. Just looking overall at the red channel compared to the blue channel, and you can see the red channel just has heavier, thicker traces that cover more of the range from black to white up here in the waveform monitor.
So, I do have a bit of a red push. If I do look at the image itself. Yeah, (LAUGH) of course this is a red push. I've got a huge red sign here, right and it's kind of, it's illuminating here back light, the side of her dress. It's illuminating them. In fact, I probably even, might have a red gel on here, another light just on this post here. If I hit Play and play this down a little bit. You can see that this little post here is either being lit by that light, or there's another red light on that, that's giving even the shadows a bit of a red push. Right? So this is how I can use my parade scopes to give me some information on the color.
What I can't really tell is saturation, just how saturated are these color channels compared to one and another. That can be tougher to tell here on the parade scopes. I'm going to right click and switch over to the vector scope, and the vector scope is your classic color wheel. If I were to come down and I gotta hide my look manager here and I'm going to take a little lift this up a little bit so I can see my tools. And what we're looking at here are the secondary tools for a secondary layer. Don't worry. I haven't talked about them quite yet, but we'll be exploring these in much greater detail later in this training.
If we take a look at this color wheel here, this color wheel and the range from red through magenta, blue, cyan, green, yellow, that's what's happening on this color wheel here. Now, these colors are actually very muted so it's a little tough to tell that like there's blue and cyan over here. But there's a direct one to one relationship between the color wheel here and the color wheel represented by the vector scope. Basically the way this works is if there were no color in this image, we just have a little pinpoint here right in the middle of the vector scope.
And then as we get more and more color and more and more saturated, we started seeing traces come further and further out in the direction of that color. So the amount that comes out is saturation. The angle at which it comes out is the hue. So, at this angle we're looking at reds, at this angle we're looking at blues. And as I look at this vector scope, what am I seeing? I'm seeing a lot of reds, not so much in the blues. Now, one thing this vector scope seems to be telling me is that I've got a lot of pixels that are just bouncing out of range.
Right? They're off the edge of the chart, literally. So what I've done is created a secondary layer here designed to isolate those reds and desaturate them. Which we'll be talking about in great detail on the chapter on secondary controls. So I'm just going to turn this on, and now you can see what's happened on the vector scope. Those edge boundaries aren't pushing off to the edge of the scope anymore. I'm going to press the period key on the extended keyboard, hold that down and that'll show you with the red desaturation layer turned off.
And I'll release it, and that's my red desaturation layer turned on. Let's go to the second shot, and let's see if we could figure out anything out from this analysis tool. I'm going to go ahead and hide this grading panel with the P key. As I look at this, yeah I've got a red push, I'm pushing here out towards these traces. There's nothing like we had in the previous shot where it's just off the scale. And if I look at the center of the scope, you notice how there are no traces really sitting on the center of that where it should be black or white. And in here even the deep blacks seem to be having a bit of a red push so the question is, can I fix that? And if I want to balance out this image I need to move some traces over this center point right here.
To get those blacks, that'll show me that those blacks are in balance. So let's open the Grading panel and now I"m going to turn on this primary layer whre I've already done this fix. Watch the Vector Scope as I turn this on. And boom, look at that. I mean, where that center point was is now clear. I've got black traces all over that. If I look at the image, I've clearly done a big job cleaning out the warmth out of this shot. I'm going to make some extreme adjustments here on the gamma, on the overall. And you can see as I start moving this around, what happens on the vector scope as I'm moving around the color wheel here.
And the direction I'm moving the color wheel is the direction it's moving in the vectors scope. Now I'mna undo that. And what I'mna show you is another display that helps me judge color balance. And we're going to right-click to jump over to peer waveform. But this time, instead of doing (INAUDIBLE) only, we're going to go with the RGB waveform. Which is essentially the parade scopes which are one after the other showing them in a parade. The RGB waveform is in overlay of all three of these scopes.
Now notice, see all of these white in here? When red, green, and blue are in a single point are in line with each other, the trace turns white. It's suggesting that this area of the image is balanced. Whereas up here in the highlights, notice this red push. It's suggesting I've got some warmth up here in the highlights, which I do. I've got some warmth in his face but the shadows in his jacket are nicely balanced. Again, I'm going to do a Before. And you could see what happened on these traces where we got this clear red push on the entire red wave form? I'll release it, and now I've brought the blacks into balance while leaving a little bit of color up here in the highlights.
This is actually a very useful waveform when you're doing a lot of your color balancing work. And now I've left for you to explore a third shot here where I've got a bunch of primaries that I've built up. And what you'll notice is as I turn these on, I've got different things I'm trying to do in each of these primaries. So in here for contrast, I'd use my waveform to take a look at contrast. And you can see just how Heavy my green pushes here in my highlights. Oftentimes when I'm doing this kind of work what I'll do is instead of working with one scope up I'll work with either two or three.
So I'll flip this to the three scope and I'll I like to put my parade down here because it gets the most room. I like to put my, waveform up here and then I'll put my vector scope up here and the waveform I'll switch depending on what it is I'm doing. If I mostly call balancing mode, I might do this RGB overlay. Or if I in more contrast, I'm just working with contrast, I'll switch this to luma to show me the sun. And now for our purposes, well, I want to switch this over to RGB. And now my challenge to you is to pull up this scope display and if you have access to the exercise files come on down here and turn on each of these layers.
I'm telling you in each later what it's supposed to do. See if you can figure out where you should be looking to see the result on the scopes of each of these fixes. So if I come up to this fixed black layer and turn that on. Where do you think you should be looking in order to see on the scopes what adjustment I'm making, and see the amount of the adjustment I'm making? So hopefully, by the end of the movie here on working with analysis tools, you'll understand why I'm pulling up the scopes I'm pulling up, at the time I am.
As I'm making my color correction adjustments, here in SpeedGrade CC.
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