I find this adjustment not so great, especially for images with rich shadows that get washed out in the process. On the other hand, the blacks in SpeedGrade are untouched, and it seems that the temperature/tint sliders operate only as gain adjustments, multiplying red and blue (temperature) or all three (tint) channels at the same time by roughly the same amount, and leaving the luma mostly intact except for the places, where the blue channel is clipped. I even explored playing with gamma on the a and b channels in Photoshop L*ab color space, which directly code the interesting information (a is the tint scale, b is the temperature scale), but these were also not as satisfying as SpeedGrade’s. #How to use adobe speedgrade to color correction code In the end, I decided to stick with the color correction software. I experimented for a moment with the formulas and values, but in the end, I turned to Nuke to find how it resolves the issue, because it does provide an immediate numerical output. Finding out the exact adjustments was quite easy. Using grade and expression nodes I was able to mimic what Nuke was doing during temperature or tint adjustments, and came up with very simple formulas. Some time ago I mentioned that due to certain turn of events I ended up learning more about SpeedGrade than I ever expected. Since the cat is out of the bag now, let me elaborate. I was contacted – of all days on April 1st – with an offer to become the technical editor for the “ Adobe SpeedGrade CC – Classroom in a Book” book authored by none other but Alexis van Hurkman himself.Īfter making sure that it was not April Fool’s Day joke, I was happy to accept the job. Granted, Alexis is an experienced technical writer, so I ended up having very little input, but the side effect was that I learned SpeedGrade from top to bottom – something that would most likely never happen otherwise. #How to use adobe speedgrade to color correction code.
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