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Tracking a face


Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Tracking a face

Tracking a face provides you with in-depth training on Video. Taught by Patrick Inhofer as part of the Up and Running with SpeedGrade CC
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  1. 31m 43s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 52s
    3. Exploring additional equipment
      5m 34s
    4. Using the exercise files
      9m 36s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 13s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      5m 4s
    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. 24m 44s
    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 58s
    4. Using an edit decision list (EDL) to conform a project
      7m 11s
  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. 44m 3s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      5m 23s
    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. 13m 13s
    1. Tracking a face
      6m 44s
    2. Keying and grading skies
      4m 47s
    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. 20m 1s
    1. Setting up a render
      7m 0s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 38s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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Tracking a face
Video Duration: 6m 44s4h 54m Beginner Aug 15, 2013 Updated Jan 24, 2014

Viewers: in countries Watching now:

Tracking a face provides you with in-depth training on Video. Taught by Patrick Inhofer as part of the Up and Running with SpeedGrade CC

View Course Description

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
Patrick Inhofer

Tracking a face

In this movie, we're going to take a look at one of my favorite secondary operations, tracking a face. If you've got a good tracker, tracking faces can really lift your craft to new levels as it helps you isolate what is quite literally the most important aspect of any shot. Or at least any shot that isn't a product for a commercial. And when I think about the various trackers I've used over my career I'd say the speed grade tracker is on average just about average and you'll see why in a moment.

First let's load up exercise file 05_03_DS_END. This is where we left off last time this sequence here in death scenes. And I am going to continue to work on this first shot here where I really want to pull out his eyes. I'll double click on this clip and that places the in and out points on it and I'll hit play for some looping action. And I'll also press A to hide the analysis tools for now. And let's watch his eyes and notice as this clip plays down you can see first his eyes slope downward to screen right.

Then his head tilts the other way and they slope downward in the other direction towards screen left. Now as it turns out, when his head rotates, this is going to be a bit of a challenge for speed grade and I'll prove it to you right now. So first we need to add a primary to which we're going to attach this shape and do whatever grade we're going to do on the inside of it. Now I'll come up to the mask menu and I'll select the feathered oval preset. Let's jump to the first frame of this shot and do what I would normally do which is rotate this mass to match the direction of his eyes.

And then I'm going to hit track. It took speed grade about a minute to track this shot which is a bit longer then I'd prefer for a seven second shot. Now watch what happens to this mask as I play it down. It matches the left right up down movements of his head but as his head rotates. No rotation gets applied to this mask. In other words, SpeedGrade's tracker, it only tracks X, Y coordinates, not rotation and since the trackers using up these key frames, I can't just key frame an overall rotation.

I mean if I wanted to do that I have to go key frame by key frame and which won't be organic. It's tedious and if I have a hundreds of shots to color grade, there's no way I can allocate my time to that kind of frame by frame roto work. I can probably get away with finding an average position for this mask and not worry about the rotation of his head. So let's delete all of these key frames. Then I'll jump to the outpoint, and I'm going to reposition this shape.

I'll make it a little larger then I would otherwise. I want it to catch his eyes, hopefully with his head tilted both ways. So it will be a little larger then I normally would. I'll do a quick grade to see if this will work and first I will set this as an outside because one way I will make his eyes more intense is to push back the rest of the image. We'll take a little out of the overall gamma, and the overall gain. I'll turn that layer on and off. Already I focused a little bit more on his eyes, but I do want him to be a little more insightful, so I'll add another primary layer, I'll link it to the layer below.

Set this to an inside correction. And again in speed grade the 12 way color corrector, this is only available by adding a primary layer but because we've got this mask enabled as a colorist, we're isolating a portion of the image and performing now a secondary operation using a primary layer. So now I am going to come into the shadow and I think I lift up the shadow gamma and the blacks are starting to wash out.

So I'll drop the shadow offest and let me open my analysis tools. I'll just, I want to see if I am clipping out any detail here in the shadows. I think we're also going to kick up the gain in the shadows just to get me a little more contrast in the darker areas of this image. All right, let's hide the grading panel to get a better look at this as well, let's also hide the analysis tools. I am turning on and off this inside mask. Yeah, I like that. It's not a lot but I don't think it needs a lot. Now if we select the layer below these two links layer and press this button, we can see the before and after.

Yeah, I like. Now let's see if this mask shape will work with the first frame so I'll jump to the end point and I can select either the third or fourth layer to adjust this mask. Yeah our general shape seems to work alright so now let's track. Great, let's see if this works. Yeah. Yeah, I'm happy. On this shot, even though the mask isn't rotating, it's a nice compromise and keeping the mask a little large and relatively soft, I think that helps hide the fact that it's, it's a bigger mask than I'd prefer.

Now, the last thing isn't in the shadows here under his eye, I think it might be going a bit magenta, so let's go into the shadows and take this magenta slider and pull away from magenta. That's feeling much better to me. Let's go full screen and see how this works. Yeah, I'm, I'm catching a little bit of the edge of the mask up here, nothing that I can't fix with just a quick tweak of the shape, otherwise it's looking pretty good. This is what the shot looked like before we started grading, now after both primary and secondary color correction, here's what we've got.

We absolutely increase the contrast, we've increased the perceived sharpness of the image, can you see that, and really as well we've really zoomed in and now we're focused in on his eyes. This is now the center of attention on this shot. I did have to fight the tracker a bit with its lack of rotation. The tracker is a little slow but I'll tell you what I think with a little bit of pre thought. Coming in here to isolate and track faces, here in SpeedGrade, definitely doable.

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 12/20/2013. 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.
Q: Why am I getting the 'File Not Supported' error when reconnecting to the source files in Premiere Pro?
A: If you get the 'File Not Supported' error when reconnecting to the source files in Premiere Pro - this is a problem with the reconnect dialog in
Premiere Pro that Adobe has not yet fixed. Everything is fine with the media and the projects. To get around this 'bug':
1. Open the Premiere Pro project in Premiere.
2. During the reconnect dialog click Locate and navigate to Exercise files > Media and then to the sub-folder of media the dialog is asking for...
3. Here is the trick: You MUST actually select/highlight the first file that Premiere is asking for. The easiest thing is to click the 'display
exact name' button and then *actually click on the file* that matches the name.
*If you don't highlight the file*--navigating to the folder and *clicking ok without selecting the file will give you the 'file not supported' error
each and every time*. You must select the file that matches - Premiere is not smart enough to just figure out the folder contains the file.
This is not something that is unique to this training its just a little quirk of Premiere Pro currently.
After you select the first file all the other files should reconnect - assuming you have 'relink others automatically' selected.
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