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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 an earlier movie, we took a look at using secondaries in their own grading clip to expand out the sky and give it a lot more pop and oomph. We're picking up right. We're we left off in 07_02_DML_END. And just looking at what we did on the sky expansion, you can see just how nice and poppy that is. Sometimes a client will object a little bit because it's almost. It almost looks a little too gray, it looks a little too unnatural for the entire sky to look that way.
And one great way of addressing that concern is combining the secondary with the mask, and I do this all the time on skies. I 'm going to go in here and turn on a vignette mask. I'm going to soften it up quite a bit. And then I'm going to take this vignette and put it off over on a portion of the sky up here on the left hand side in this case, just, just because I have to make a decision and put it somewhere. And then I'm going to take this and maybe feather this out a little bit more, just to give it a little more of an organic feel.
So it doesn't feel quite so circular. And then I'm going to come down and on this secondary layer, I'm going to apply this mask to the inside. And now, let's hide out color grading panel, so we get a nice good look at this. And as I turn this layer on and off, you can see that we've now restricted this grade to a smaller portion of the sky. So this is an example of how you can use a mask along with your secondary isolation, to help integrate your grade a little more organically into the rest of the image so it doesn't look quite so keyed.
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