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Controls for RAW footage

From: Up and Running with SpeedGrade CC

Video: Controls for RAW footage

In this movie we're going to explore the controls you have when working with raw file formats here in SpeedGrade CC you've got controls for R3Ds and Arriraw. If you've got access to the exercise files open up 10_02 raw controls. This is a shot provided by our good friends over at bloodycuts.co.uk. It's a shot from their short film don't move. And it was shot I believe on a red epic, and I thank them very much for providing us this shot.

Controls for RAW footage

In this movie we're going to explore the controls you have when working with raw file formats here in SpeedGrade CC you've got controls for R3Ds and Arriraw. If you've got access to the exercise files open up 10_02 raw controls. This is a shot provided by our good friends over at bloodycuts.co.uk. It's a shot from their short film don't move. And it was shot I believe on a red epic, and I thank them very much for providing us this shot.

Now because this is a red file, there are a couple of settings we're going to want to change in our preferences. So I'm going to press the S key to pull up our preferences and go to the dynamic quality menu and I'm going to optimize the quality of the image that's displayed to me. And for the purposes of this recording so that I keep my system running nice and spiffy, I'm going to tell it to when it's paused also display quarter res and when it's playing display quarter res.

That way my system doesn't get bogged down. You can experiment with these different settings to see what gives you the best performance for your computer. The other thing I'm going to do is go into file formats, and if you have a red rocket on your system, you can enable SpeedGrade CC to use that red rocket and it will let you know to affirmatively tell you that yes, SpeedGrade sees your red rocket card. And I could go down and press the close button or just press escape, and that closes out preferences. And we've got two identical sets of preferences here for dealing with the raw files.

The first is in the timeline panel, and then going to the format defaults sub menu. And select from one of our two choices here, either R3D or Alexa. We're going to select R3D. And currently, the timeline, in other words, this entire project is set up so that it's going to pull off the default settings stored with each clip. That's not what I want to do. I usually want to change those default settings, and get them all started where I want them to start.

So I'm going to select this pull down menu and choose use the settings below. Now some settings are being cut off here, so I'm going to come up and reveal them. And now I have access to all these various controls, and I can modify them. And essentially once I modify these, every R3D clip in my timeline, is going to inherit these settings, if I tell it to use the settings below. What I'd like to do is start out with the Gamma Curb. And I don't like starting with the Red Gamma 3.

Red Gamma 3 is designed to give you a very good look, very quickly. I prefer when I'm color grading the footage to move it to RedLogFilm, which is what RED recommends when you're ready to do your final color grade and you'll notice instantly it gives us a much flatter image, we don't have nearly as much contrast or detail but it's a great starting point for color grading because it gives us a tremendous amount of latitude. The other thing I'm going to do is come to the color space, now RED color three. is their most recent color space.

I actually tend to back off of red color three and red color two. I find that those tend to give me a little more punch in the primaries than I prefer. And I usually choose either red color or red space. And I'll experiment on each project figure out which one I think works best. Just for the heck of it, I'm going to select red space here. And you can see again, it's updated our image. Now from this point on every single shot in this timeline, if I had multiple shots, would inherit these settings. One quick note, one place where people like to make changes that affect the entire timeline might be in their color temperature settings.

You notice how warm this was shot. Now the, the DP on this film, did put bit of a smoky filter on here but perhaps I'm thinking you know may be its a little too much and I want to back it off I can go in here and press 4000 and I click and it updates and its taken some of that warmth if you want to see the bit more extreme, lets go 2500. And you can see how much warmth it's taking out. I prefer not to do this, because then that means I have to come in on a clip basis sometimes and over ride this if I made too big of adjustment.

I prefer to kind of leave this at its more natural setting, unless the DP tells me exactly where they set this temperature, Kelvin temperature setting, on set. Now let's say I've been color grading along, and I hit this clip, and on this particular clip I don't want to use these timeline settings that I've set up. I want to override this. How do I do that? Well I come in to this clip panel here and I come to the format option sub-menu. And here we go. I've got the exact same menu replicated, including this little pull down.

Allow me to make changes if it was a lexa.arriraw file. So I select R3D and then I tell it to over ride the timeline defaults. And now this menu becomes accessible to me. These are you could see that this is the result of the settings stored on the camera. What I want to do is come down, use the settings below, and let's say yeah, I still want to start off of RedLogFilm, but instead of using this red space I actually want to go to red color free because I think may be it will give me a little extra punch that may be I was missing earlier.

And now this individual clip is overriding my timeline wide settings and once I have done this I can jump into my look tab. And now we can start grading normally using all the tools available to me here in SpeedGrade CC and that's a quick overview of how SpeedGrade CC deals with raw camera formats. With Arriraw that camera gives you far fewer choices but the overall workflow is exactly the same.

Show transcript

This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 11126 viewers

Patrick Inhofer
Author

 
Expand all | Collapse all
  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
      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

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