Click on any phrase to play the video from that point.
[CS6]
Let's talk about secondary color corrections, SpeedGrade CS6.
I've got a shot here on my timeline
that has a number of grading layers applied already.
Let's quickly take a look.
I've got an effects layer here, a technicolor 2 strip,
and this is my locked layer, which is just getting it
into a cinematic feel, and that's all cool,
but the one thing I would like to change here is actually
the appearance of the second gymnast.
In the original material, we actually had
a red and a blue one and now this has--
because of the look we decided to have for this material,
it has changed into still a red but then a not so blue one.
And the easiest way to go about changing that back
to what we need for the second gymnast is to add
a secondary layer, so I'm just going to click on +s here,
and you can see that this is now different from
what we've been using for most of the other material
in terms of just doing the primary color correction.
This is opening the key here for the secondaries,
and you can actually go at it multiple ways.
The first thing I could do is just really say I'm calling
1 of the 6 vector presets that I've got,
and to make sure I know what's happening, I'm going to go here for the gray out.
We've got multiple ways of visualizing that.
I personally really like Color2Gray for the most part.
You can see that even with 1 of the 6 vectors,
I'm easily getting to what originally used to be blue.
That's fine, and I have additional qualifiers, like for luminance,
and you can then just click to see what's happening if you isolate that,
bring that a little further down.
That's probably all I need.
The third one is saturation, and you'll easily notice that
pretty much all of it is actually in the lower third even
of what I need but there's still--and let's zoom in a bit to make this visible.
There is still a little bit of noise there,
and apparently the material had a little bit of compression,
so you see these sparkles around here?
And I want to make sure that I treat them as best as possible,
so the first thing I'm going to do is just really blur the key,
and that's actually taking care of it for the most part already.
I can also denoise it, and it almost doesn't matter
what kind of source material you've got.
The Denoise tool is typically really just getting you
out of the problem that you have just a couple of pixels
somewhere in between that are not attached yet,
so this is just helping you to smooth the key.
Coming back out of the gray out, just looking at what's possible now.
For example, I can easily now turn to the temperature slider,
which would be the easiest one here if I want to
get back to the original blue or something that I even like better.
It doesn't have to be the original, obviously.
That's super easy to achieve.
Alternatively, we'll just quickly click into the Offset tool
and then just do it actually a bit more fine-tuned.
Go for something more intense or just going a different direction.
And eventually, even though that's sort of a post-use
of secondary correction, but if the key is qualified in a nice way,
you can obviously even make the guy wear something green.
Now, for the most part it's about refining, and this is the use I like much better,
and this is something you can actually do in each and every session
as opposed to saying the red car is now going to be a green car.
That's cool, but now, actually,
I can either bring down the saturation of this one or I immediately notice
it actually might be nice to do something similar
just for the red body, and that's going to present a challenge.
If you just look at the picture, you'll notice that
this is probably not too far from what we have here with the floor.
Let's see how that's going to work if I add another secondary layer.
This time, obviously, I'm going to go for the red preset,
and if that's not working too well, then you can immediately
just turn into the color picker or try to use some of the other presets,
so whatever gets you there.
I can also just say let's toss all that and just use the [inaudible].
Let me just quickly drop out of here
and really just qualify it with the color picker,
and you can see that's giving me actually different values,
so it's a different hue, and it's also prequalifying luminance and saturation.
That might help me a lot getting there.
Now, as expected, it's picking up some of the skin tones.
It's picking up a lot from the floor,
so this one is a more complex secondary,
but you can make this work for sure.
Let's see what's happening if I play around with luminance,
and that's actually going to help me to pretty much kill
almost all of the carpet, right?
Well, it's still catching the body, so that's nice,
but there's that area of overlap where I won't be able to make it work
for the entire shot, so let's quickly play this and see what's happening here.
He's actually never touching the outer part, so this makes it super easy for me
to just add another tool that will help me achieve what I need to be doing here
to work on a secondary qualifier for the red guy.
What I'm doing is pretty much creating a vignette that's--
and let me actually go back and do something that's even faster.
I'll use a circular preset to pretty much exclude
the carpet from qualifying my secondary.
Coming back here, I will now switch my secondary correction for red
to just work inside only, so as you can see,
we're not qualifying anything here outside the mask anymore,
and that's really sweet and cool because now I can actually go ahead--
and let me move back to that position here where we saw some of the problems
where it didn't pick up correctly.
Now I can refine without actually worrying so much
about what's happening with everything
except for the gymnast itself.
With saturation, I'm going to be able to actually eliminate the skin tones
from the selection, and here we go.
I'm going to do the same thing, blurring a bit as much as needed,
denoise a bit, and I'm actually now ready to go out of Color2Gray,
and for example, give it a bit more saturation.
It's now sticking out nicely.
It's actually differentiating the second gymnast
just really from the background, and this is what I want.
It's creating a bit more depth, and if you just look back at the original picture--
this is where we're coming from--this is just creating what I want.
It's creating a more intense look, a more dramatic look,
and I'm good to go with this, and the fascinating thing is
this is going to happen real time on your machine if you're working
on a powerful work station with a NVIDIA GPU,
so stacking up all these layers it's now slowing down.
In case you wonder why it's slow, it's actually a slow motion shot.
This is a quick introduction on how to use secondaries in Adobe SpeedGrade CS6.
[Adobe]
