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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Using masks


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer
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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

Video: Using masks

In this movie, we're going to continue where we left off You can change the size by clicking in the center box.

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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

Using masks

In this movie, we're going to continue where we left off at the end of the chapter on primaries in action. I've loaded up 05_03_Jane_End which is a 24-frames per second timeline, and I'm going to start doing a secondary correction on top of the work we've already done, and we're going to start with creating a mask. To get to my Mask tools, I need to reveal the panel here on the right hand side of this interface. I can click this triangle to reveal it, if you don't already have it. I can also click it to hide it if I want to get rid of it.

And of course there is the keyboard shortcut w to reveal the snapshots panel. I am going to click here into our mask panel. And these are our tools for dealing with masks. We have got three presets in here to give us preset shapes. Click on it for circle, a square or a vignette, which is essentially a circle turned into an oval with the softness already applied. And notice the really cool feature here in SpeedGrade. Which is this widget.

This widget allows you to do some very complicated manipulations in a very easy-to-use interface. Of course, if you grab the center of the widget here, you are going to move the mask around. You can change the aspect ratio with these center arrows. You can change the size by clicking in the center box. You can change the feather by clicking the outer edge of this box. You can rotate using the circle. And then very nifty are the skew controls. So one triangle skews you in one direction.

The other triangle skews you in the other direction, allowing you to kind of dial in the shape you want very, very quickly. Course, if I want to reset and I'm not happy with what I ended up doing, I just click on the shape again, it blows away what I had and replaces it with the default. And if I'm not happy with the shape at all, I can just click the Empty button. And now I've got nothing there. I'm going to add another circle preset, and besides adjusting all of these points at one, with none of them selected, if I were to come in here and let's say, create a bounding box, by clicking and dragging in the window.

And I'm encompassing two of these control points. When I let go, these two become active, and now this widget controls those two points. So I can move up and down. I can skew these, rotate. And basically, I have all these widget controls here available, applied just to those two control points. If I decide I like this or maybe I have too many control points and I want to simplify. I can edit these control points. All I need to do is highlight one of them. I click off of it to deselect them all.

I am going to highlight this control point and click the minus button and it will automatically delete that control point. If I have decide I want to add a control point back, I can turn myself into the plus mode which highlights blue. Now I can start adding points on to this shape. But notice this stays in the Add mode until I put it back into the Edit mode and then I can grab these individual points. And start moving them around, and manipulating them.

Another thing we can do is create our own custom shape, so if I wanted to do a very general shape around her, I could go into my Plus mode and just start from scratch, and start adding in points. The shape is automatically closed for me and I can stop whenever I want. Notice that it's not quite these shapes, these points are very harsh. They're, sharp edged. I can go ahead and change the nature of those vertices. By clicking Back and putting myself into the Edit mode, I'm going to select all of these points, then come in here to Node Type and change it into a Bezier shape.

And now I've got Bezier control points here, that allow me to customize more precisely to the shape I'm trying to create. Course I could do the same thing on one of these preset shapes. I just highlight one of these shapes, and I can turn it into an edge, or I can turn it into an edge with Bezier handles, just like that. I'm not happy with it, turn it right back into a bezier shape. Let's clear it, empty it. Now, let's go ahead and create a bit of a vignette around her.

So I'm going to do a secondary correction now by isolating her with a mask and darkening the outside. So let's add this vignette I'll make it larger. The feathering for now is okay. I'm going to change the aspect ratio a little bit, like that. And now that we have this mask here, what the heck do we do with it? And that will be the subject of our very next movie on working with masks here in 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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