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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.
When you first open up Speed Grade CC, this interface looks very, very simple. Couple colour wheels, a couple sliders and you're like that's it? And as we've discovered so far here in this chapter. There's more to it than that and we're going to dig a little deeper now, into some of the slider controls that a lot of people just kind of gloss over or ignore at first. In particular I'm talking about these four slider controls up top here. We've already talked about input saturation and final saturation. And then, there's also some hidden sliders, that aren't immediately apparent that are in themselves extremely powerful.
And if you have access to the Exercise Files, I'm working off of 04,05 slidercontrols. All right, so now let's dig in. I've got my scope set up here. I got my RGB parade, and I've got my Lumo waveform. Now, as I look at this image clearly, it is warm. And, as I look at this image overall, at these wave forms, clearly the red channel is stronger than the blue and green channels. Which would indicate to me that I'm going to have a bit of a warm push on this image. What we want to do is get these peaks equalized.
And, when, when we're looking at the RGB signal, when all three of these peaks are equalized, we'll have a neutral image. Now, rather than coming down here and doing this with the gain and gamma controls. Let's come up to this temperature slider and I'm going to make a big move. And watch what happens as I slide this left and right. As I move left, look at what's happening with the red and blue channels. They're moving in direct opposition to each other. While the green channel stays absolutely solid. It's a, this is a very difficult type of move to make if you're just going to try to do this on the hue wheel.
And you could do this on the hue wheel because, orange is opposite blue, they are complements to each other on the hue wheel. And this slider gives you access to this very precise move along the path, between these two complementary colours. So, what I want to do is, I want to move this now, so that my red and blue highlights are level with each other. And now my green highlight is probably a little higher than both, and so I'm going to come over here, and I'm going to grab this magenta slider, and again one direction takes me towards magenta or away from green.
The other adds green away from magenta. Again these are complimentary colors here on the Hue wheel. Opposite sides of the spectrum. And so if I want less green I'm going to pull away from green. I'm going to do a big move and notice as the green moves up and down, red and blue move up and down in opposition precisely against it. Again thsi is a very difficult move to make. Using simply the hue wheels. And so I'm going to drag this and even these all out.
And now I feel like I've got a relatively balanced image here, and there's my before, and there's my after. I've gotten rid of some of that warmth. Now at the same time, I also want to brighten up this image. And so I've got this contrast control, and rather than maybe going into grabbing my gamma slider. I can grab this contrast control and if I move it to the right, I'm increasing the contrast. I'm moving it to the left, I'm decreasing the contrast. Flattening out the image. Now, I want to increase contrast. But notice what's happening as I'm moving this to the right. I'm just crushing the heck out of this image.
What is happening? Well, let me reset this and this contrast is controlled in part by this pivot. This pivot is set at 0.5, which means if I were to come up here and pull up my flow on the side, you see where 0.5 is there. That's where my pivot is set to, so now as I expand out the contrast, anything above 0.5. Is going to get brighter, and anything below 0.5 is going to get darker and just about everything in this image is below 0.5. So as I adjust this contrast control, everything is getting darker. So, I'm going to come up over here to my pivot point, and now I'm going to adjust it left and right and as I adjust it left, the pivot is shifting down so now if I bring I down to dot .20.
Now my pivot point's down here and around 0.2. Let me reset my contrast and now move my slider and increase contrast. And you can see, the pivot is centrering down around 0.2 and, in fact, if I want to, because this image is so dark. It probably wouldn't be a bad idea to really drop this down In order for me to get the contrast centred where I want it to get centred. Now these aren't the only sliders here in Speed Grade CC. It turns out we've got a whole other interface of slider controls.
I come over here and click this centre button for the slider panel and there we go. We not have the sliders so I can come in here to the offset, drag one of these and I'm moving and lifting the offset here or dropping the offset. I'll just click on one of these to reset. They're all ganged together here with this Lock button. If what I wanted to do is. Let's say I wanted to reset all of this work I've just done, and I want to balance the colours using just these sliders. I'm going to click this lock icon, and now I can lift the blue, and hold down the Shift key, and I'll drop the red.
Hold down the Shift key and notice I've done very precise adjustments. I've done, I can do a huge adjustment here, and the green and blue channels just stay locked. And now I can just bring that down, match it up and there we go using again, two very quick moves I was able to do a basic balance on this image. Now, there's probably a little warm push here in the mids as well, so I could find an area here in the mid tones and maybe try to balance out this left side of the image. By unchecking these, and I am going to try to bring some warmth down a little bit in the mid tones.
And then a little bit cooler here in this gamma correction as well. By making this two adjustments I think I have pulled out a lot of the warmth there. Let me do a little before and after. That's the before, that's the after. Yeah, I've pulled out even the warmth that was there in the mid tone shadow range. And of course all of these controls get replicated on each of these tonal ranges. So again as I've encouraged you to do in previous movie, feel free to go here experiment with these sliders. I've also got up here for you. If you go to the very first shot here, I've got the great, the gradient ramp here for you to sit here and if you want.
You can come in here and explore what happens if I adjust just the gamma green. And you can see exactly, precisely, what's being affected with each of these controls, and each of these tonal ranges. Now I hope you see that even though this initial interface looks very, very simple, there's a lot of complexity in here. There's a lot of power in here, giving you very, very precise control over your images.
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