IntroductionWelcome| 00:03 | Hey there! I'm Robbie Carman and welcome to Up
and Running with Adobe SpeedGrade.
| | 00:08 | In this title, we'll explore the
essential aspects of getting up and running with
| | 00:12 | Adobe's new powerful professional
color correction and grading tool.
| | 00:16 | Color correction is an important
finishing step in any television and film
| | 00:20 | workflow, and for many years, color
correction tools have been found both within
| | 00:24 | NLEs as well as within stand-alone software.
| | 00:28 | Adobe SpeedGrade is a member of the
stand-alone and dedicated category, but now
| | 00:33 | it's also a part of the Adobe
Creative Suite, so it can actually integrate
| | 00:37 | nicely with Adobe Premiere Pro and
other Adobe applications within the Suite.
| | 00:41 | If you are new to color correction and
grading and a dedicated purpose-build
| | 00:45 | application, or if you've just been
stumped about what SpeedGrade does and how to
| | 00:49 | get started with this powerful
tool, then this title is for you.
| | 00:53 | We'll start out by exploring the
Adobe SpeedGrade interface and how the
| | 00:57 | streamlined user interface and
intuitive controls makes even the most complex
| | 01:01 | grading situation an easy task.
| | 01:03 | Next, we'll take a look at how to get
footage and projects into Adobe SpeedGrade
| | 01:08 | in various ways, including conforming
EDLs, the new Send to Adobe SpeedGrade
| | 01:13 | command from Adobe Premiere Pro, and
we'll also take a look at getting setup to
| | 01:17 | work with stereoscopic 3D projects.
| | 01:21 | Making corrections quickly is why
this application is called SpeedGrade.
| | 01:25 | So we'll explore Adobe SpeedGrade's
powerful layer-based approach to grading,
| | 01:29 | so you can quickly make detailed primary
corrections, as well as work with RAW and log video.
| | 01:36 | If we're talking about primary
corrections, we'll also explore secondary
| | 01:39 | corrections in Adobe SpeedGrade using
masks and keys that allow you to easily
| | 01:44 | target a specific portion
of a clip for correction.
| | 01:47 | Finally, we'll wrap up by exploring
great management and creating looks, as well
| | 01:52 | as rendering footage from Adobe SpeedGrade.
| | 01:54 | As a professional colorist, I've
spent years honing my skills, learning new
| | 01:59 | tools and grading a lot of
content each and every year.
| | 02:03 | However, I've noticed that although
color correction can look complex, new users
| | 02:08 | need to experiment, seeing the changes
to contrast and color of their images.
| | 02:13 | Well, with some fundamental concepts
and techniques under your belt, you'll
| | 02:17 | be able to make some real
improvements to your projects relatively quickly,
| | 02:21 | using Adobe SpeedGrade.
| | 02:23 | So without further delay, let's get Up
and Running with Adobe SpeedGrade and
| | 02:27 | thanks for joining me!
| | 02:28 | I am Robbie Carman.
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| What is SpeedGrade?| 00:00 | If you're watching this title, I'm
willing to bet that you have some idea of
| | 00:03 | what Adobe SpeedGrade is.
| | 00:05 | But in this movie I want to briefly
spell out what I think Adobe SpeedGrade is
| | 00:09 | and where it fits in.
| | 00:10 | Adobe SpeedGrade is a new application
to probably almost all of you watching
| | 00:14 | this title, and it's new to Adobe as well.
| | 00:18 | Last year, Adobe announced that it
had purchased IRIDAS SpeedGrade, a
| | 00:21 | professional level color grading tool.
| | 00:24 | Under the Adobe banner, SpeedGrade
is now available as a stand-alone
| | 00:28 | application or as part of Production
Premium CS6, which is how many folks are
| | 00:34 | introduced to this powerful tool.
| | 00:35 | Adobe's SpeedGrade is equally at
home onset as it is in a dedicated color
| | 00:41 | grading suite, making it a good
match for production and postproduction
| | 00:45 | workflows, and one of the cool
things about SpeedGrade being in the Adobe
| | 00:49 | stable, well the new version of
SpeedGrade now supports a newly redesigned user
| | 00:54 | interface, and it also has
integration with Adobe Premiere Pro CS6.
| | 00:59 | And we'll talk more about this
integration later in this title.
| | 01:02 | For me, probably the two most compelling
features of the Adobe SpeedGrade are in
| | 01:06 | many systems, most formats and
resolutions playback in real-time, and because
| | 01:11 | Adobe SpeedGrade is known for its
precise color science, you can be sure that
| | 01:16 | your images will look their best.
| | 01:18 | So where does Adobe SpeedGrade fit in,
especially with so many places in the
| | 01:22 | Adobe Creative Suite to
color correct and grade footage?
| | 01:25 | Well in my opinion, SpeedGrade is
the go-to choice for long form color
| | 01:30 | correction work in the Creative Suite,
and it's also a good choice when you need
| | 01:34 | detailed color grading tools.
| | 01:36 | What I mean is that Adobe SpeedGrade
is a purpose-built application that
| | 01:39 | provides advanced primary controls,
detailed secondary corrections with keys and
| | 01:44 | masks, and a unique feature of
SpeedGrade called custom look layers, which allow
| | 01:49 | you to essentially apply effects or more
utilitarian things like lookup tables.
| | 01:54 | Additionally SpeedGrade is well known
for its flexibility when it comes to
| | 01:58 | the latest formats.
| | 01:59 | From RAW and log, to stereo 3D, SpeedGrade can
handle almost any image format you throw at it.
| | 02:07 | Finally, SpeedGrade is cross-platform,
and will work on both the Mac or a PC.
| | 02:12 | It's your choice and it is just
great to have that flexibility.
| | 02:15 | If you've used the other layer-based
correction tools like Adobe Photoshop, then
| | 02:19 | you'll feel right at home
with Adobe SpeedGrade.
| | 02:22 | That's because SpeedGrade uses
layers to color correct and grade footage.
| | 02:26 | However, just because you're working
with multiple layers, that doesn't mean
| | 02:30 | that they're hard to manage.
| | 02:31 | Adobe SpeedGrade allows you to
quickly go through hundreds and thousands of
| | 02:35 | shots in a project quickly and efficiently
with tools for managing grades and looks.
| | 02:41 | As I mentioned before, SpeedGrade
supports all the latest image formats,
| | 02:45 | including RAW video from RED ARRI
cameras, and LOG video formats that allow
| | 02:49 | you to protect the tonal range and give
you the most flexibility in your corrections.
| | 02:54 | While you're grading, rest assured that
you're doing everything at the utmost precision.
| | 02:59 | Corrections in Adobe SpeedGrade happen
with 32-bit floating-point precision.
| | 03:03 | One of the most exciting aspects of
Adobe SpeedGrade is .look files and LUTs.
| | 03:09 | And these files allow you to hand-off
corrections in grades to other apps in the
| | 03:12 | Creative Suite and other color
correction and grading applications.
| | 03:16 | Finally, I think it's really
important to mention that Adobe is listening!
| | 03:21 | When it comes to SpeedGrade, Adobe has a
dedicated team committed to the product.
| | 03:26 | Having spoken with members of the
team, I know that they're excited about
| | 03:29 | the possibilities of SpeedGrade's color
science and workflows within the Creative Suite.
| | 03:34 | And just remember, as you start to
learn Adobe SpeedGrade, you can always
| | 03:38 | suggest improvements to the
team by visiting the Adobe website.
| | 03:41 | Throughout this title we'll explore the
essential aspects of Adobe SpeedGrade.
| | 03:45 | But Adobe SpeedGrade is a deep
application and I hope that you can keep
| | 03:50 | exploring to find out exactly how this
powerful tool fits into your workflow.
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| Exploring essential equipment| 00:00 | As you can probably imagine, a real-time
color correction and grading application
| | 00:03 | that can work with RAW and Log video,
as well as every format in between,
| | 00:08 | has some requirements
when it comes to equipment.
| | 00:11 | In this movie, we'll take a look at
some of those requirements and talk about
| | 00:14 | some of the other pieces of kit
that you might want to consider.
| | 00:17 | As I mentioned in a previous movie, Adobe SpeedGrade
is a cross platform application.
| | 00:22 | In either case, you'll need a 64-bit OS,
meaning either Windows 7 or Mac OS 10.6.8 or 10.7.
| | 00:30 | And I've actually been testing SpeedGrade on
Mac OS 10.8, Mountain Lion, and so far so good.
| | 00:36 | But as of this recording,
it's not officially supported.
| | 00:39 | Like with other applications, fast
processors and RAM speed things along.
| | 00:44 | 4GB of RAM is a minimum
requirement for SpeedGrade.
| | 00:47 | 8 or more gigabytes of
RAM is really recommended.
| | 00:51 | For monitors, you'll need a screen
resolution of at least 1650x1050, and a
| | 00:56 | second monitor is really recommended,
but it's not an absolute necessity.
| | 01:00 | We'll talk more about GPUs in just a
moment, but whatever GPU you use, it needs
| | 01:05 | to have at least 1GB of the
VRAM and be OpenGL 2.0 capable.
| | 01:10 | Finally, you also need to have the
latest version of QuickTime installed to get
| | 01:14 | QuickTime features like Apple ProRes Decoder.
| | 01:16 | Like many modern applications,
especially color grading applications, the GPU or
| | 01:21 | Graphics Processing Unit is a
key component to your system.
| | 01:26 | For Adobe SpeedGrade, you'll
need an OpenGL 2.0 capable card.
| | 01:30 | NVIDIA Quadro Cards really are
preferred because of their CUDA processing.
| | 01:35 | On Windows, this means a Quadro 4000,
5000 or 6000, and on the Mac your best
| | 01:42 | bet is a Quadro 4000.
| | 01:44 | Does this mean that other cards won't work?
| | 01:46 | Absolutely not, but for battle tested super
level performance, these cards are your best bet.
| | 01:52 | Now here is the thing.
| | 01:54 | For SDI output the only way currently
as of this recording to get SDI output is
| | 01:59 | by using a PC that has the
Quadro SDI daughter card installed.
| | 02:04 | This Windows only card is pricey, but
it does provide a direct to GPU connection
| | 02:09 | and performs great on Windows machines.
| | 02:12 | If you're like me and you're a Mac geek,
there currently is no SDI output option.
| | 02:18 | But I would hope that the
SpeedGrade team is working on a solution.
| | 02:21 | To give them credit, they did port
the app to the Mac extremely quickly.
| | 02:25 | So I can only hope that they are
working on SDI output on the Mac as a priority
| | 02:29 | in their development cycle.
| | 02:30 | When it comes to a preview monitor,
there is nothing saying that you can't use
| | 02:34 | your primary computer
monitor to view your footage.
| | 02:38 | That's actually how I've
recorded this entire title.
| | 02:40 | However, you can also use a
secondary computer monitor to have a
| | 02:44 | nice full-screen view.
| | 02:46 | You just set this up in Preferences,
however, for the most accurate preview,
| | 02:50 | you'll want to use a calibrated and
dedicated SDI output monitor that allows for
| | 02:55 | switchable gamma, color spaces and allows you
to tweak various settings. Just keep in mind,
| | 03:01 | you'll need a monitor with HD
-SDI or 3G SDI connections.
| | 03:05 | Have no fear though.
| | 03:06 | These connections also support SD
video if you're still working with
| | 03:10 | standard definition footage.
| | 03:12 | Now this is going to sound a little
funny, but you'll want a nice keyboard and
| | 03:16 | mouse to run SpeedGrade. Why?
| | 03:18 | Well, let's take the keyboard first.
| | 03:20 | Many keyboard shortcuts rely on
having an extended keyboard with a
| | 03:24 | dedicated number pad.
| | 03:25 | In terms of a mouse, having a three
button mouse gives you the most control over
| | 03:30 | various aspects of SpeedGrade.
| | 03:31 | Now here is one really cool thing in
regards to using a mouse in SpeedGrade.
| | 03:35 | If you right-click on any of the Color
Balance controls and we'll take a look at
| | 03:39 | this of course throughout this title,
and you have the option selected in
| | 03:43 | Preferences, you turn the Color
Balance control into a virtual color wheel.
| | 03:48 | So if you use the scroll wheel on
your mouse, you can quickly make contrast
| | 03:52 | corrections, simply moving the mouse
around allows you to adjust hue and saturation.
| | 03:58 | This is a very, very cool feature in
SpeedGrade that I'm excited to show you.
| | 04:02 | And many companies like Kensington
made trackball type mouses that are
| | 04:06 | particularly useful as a
virtual color wheel controller.
| | 04:09 | Finally, if you want the most
control over Adobe SpeedGrade, consider a
| | 04:13 | dedicated color control surface.
| | 04:15 | A color control surface allows you to
take tactile control over nearly every
| | 04:19 | parameter of the application and lets
you make simultaneous adjustments, which
| | 04:24 | quickly speeds up your workflow.
| | 04:25 | SpeedGrade currently supports the
Tangent Wave and the older Tangent CP 200.
| | 04:30 | I'm personally hoping that the
SpeedGrade team will support the new tangent
| | 04:34 | element in the future as well.
| | 04:35 | So there you have it, some
essential equipment things to keep in mind.
| | 04:39 | Remember, it's always a good idea
to check the SpeedGrade web page at
| | 04:43 | adobe.com/products/speedgrade, for the latest
details on equipment and requirements.
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| Using the exercise files| 00:00 | If you are a premium member of the lynda.com
online training library, then you
| | 00:03 | have access to the exercise
files used throughout this title.
| | 00:06 | After downloading and unzipping the
exercise files, you'll be presented with a
| | 00:09 | folder called Exercise Files, this guy
right here, and you can place this folder
| | 00:12 | in a location of your choosing, but for
this title, I've gone ahead and placed
| | 00:15 | it here on my Desktop.
| | 00:17 | Inside of this folder, you'll
notice a whole bunch of files that use
| | 00:19 | the extension .ircp.
| | 00:21 | These are the SpeedGrade project files
that we'll use throughout this title.
| | 00:24 | Each one corresponds to the chapter
and movie number in that chapter that it
| | 00:27 | belongs to, and I'll be sure to
mention the SpeedGrade file that we're
| | 00:30 | working with, or an onscreen graphic
will let you know which one I'm using for
| | 00:33 | a particular movie.
| | 00:34 | Just know we won't actually be opening
up these files at the OS level, instead
| | 00:38 | we'll open them up through Adobe
SpeedGrade, which is how you access the
| | 00:41 | timeline and grade information in each file.
| | 00:45 | Also notice I have a couple of
Premiere Pro projects, these guys right here.
| | 00:48 | While you can use SpeedGrade as a stand-
alone application, many users will have
| | 00:52 | access to SpeedGrade through the
Creative Suite Production Premium CS6 bundle,
| | 00:56 | which includes Adobe Premiere Pro.
| | 00:58 | If you don't have access to Premiere,
then you will just need to watch the
| | 01:01 | movies where I use it.
| | 01:03 | Also in this folder, notice
the subfolder, called Media.
| | 01:05 | This folder contains all of the media
that we'll use throughout this title.
| | 01:09 | And we'll access the contents of this
folder through SpeedGrade and Premiere Pro.
| | 01:13 | I do want to mention though, to make your
download of the exercise files manageable.
| | 01:16 | Most of the footage used in this title
has been transcoded to the Apple ProRes
| | 01:20 | Proxy Codec and this is
actually a really important point.
| | 01:23 | To be able to play back footage
encoded as ProRes, you'll need the latest
| | 01:27 | version of QuickTime
installed on your Mac or PC.
| | 01:29 | Also, if you are on a PC, ProRes is a
read-only codec, so you won't actually be
| | 01:34 | able to write ProRes files.
| | 01:35 | And if you are on the Mac, you'll need
one of Apple's Pro Apps including Final
| | 01:39 | Cut Pro, Compressor or Motion
to be able to write ProRes files.
| | 01:42 | But in this title, that's not going to
be a problem since we're not going to
| | 01:45 | actually right ProRes files.
| | 01:46 | Instead, we are simply going to read the
ProRes proxy files used in the exercise
| | 01:50 | files in this title.
| | 01:51 | Okay, let's go ahead and close this folder,
and then let me come down here to my dock.
| | 01:56 | I'm going to open up Adobe SpeedGrade.
| | 01:58 | To use the exercise files successfully,
you'll first need to configure a few
| | 02:01 | preferences in SpeedGrade and then
reconnect SpeedGrade projects to the
| | 02:04 | media that they use.
| | 02:06 | So let's start out first by coming up
here to the Settings tab at the top of the
| | 02:09 | SpeedGrade interface.
| | 02:10 | Over here in the Options list, let's go
ahead and click on the Playback category.
| | 02:15 | Here where it says Base frame rate,
make sure that your Base frame rate is set
| | 02:18 | to 23.976 and this matches the
footage that's used throughout this title.
| | 02:23 | You can actually just click
into this box and type in 23.976.
| | 02:28 | Next, let's go to the Editing category.
| | 02:30 | Once again, for the Base frame rate
parameter right here, type in 23.976.
| | 02:36 | Then down here on the Timeline tab at
the bottom of the SpeedGrade interface and
| | 02:39 | then over to the View tab, and then
in the Playback section, make sure your
| | 02:43 | Playback Speed is set to 23.976.
| | 02:47 | This parameter controls the current
timeline, so it's always a good idea to
| | 02:51 | check it each time you open up a
SpeedGrade project used in this title.
| | 02:54 | And as I mentioned before, each
project in this title and the accompanying
| | 02:57 | footage is 23.976 frames per second.
| | 03:01 | Since my settings are already correct,
I'm not going to actually go ahead and
| | 03:04 | restart, but I think it's a good idea after
making these changes to restart the application.
| | 03:08 | Next, let's take a look at relinking
SpeedGrade projects to the media that they
| | 03:12 | use in the exercise files in this title.
| | 03:14 | What I want to do is go ahead and press
D on the keyboard to access the Desktop
| | 03:18 | view inside of SpeedGrade.
| | 03:19 | You can also use the tabs here at
the top of the SpeedGrade interface.
| | 03:23 | The Desktop view shows you the contents
of selected folders and drives over here
| | 03:26 | on the left-hand side in the file tree.
| | 03:28 | So since I placed my exercise files on
my Desktop, I'm simply going to select
| | 03:32 | the Exercise Files folder
over here in the file tree.
| | 03:35 | And then over here in the main area
of the Desktop view, you'll see the
| | 03:38 | contents of this folder.
| | 03:40 | However, for ease of use and for the
exercise files to relink properly by only
| | 03:44 | using one Desktop tab, click in
this menu right up here where it says
| | 03:48 | Sequences from selected folder and then choose
this option, Sequences from folder + subtree.
| | 03:53 | This option allows you to see the
entire contents of the Exercise Files folder,
| | 03:58 | including all of the
media in the Media subfolder.
| | 04:01 | Okay, so now I want to show you
how to relink an actual .ircp or
| | 04:04 | SpeedGrade project file.
| | 04:06 | So what I'm going to go ahead and
do is simply hover my mouse over this
| | 04:10 | SpeedGrade product 03_01_
timelinelayers.ircp, I'm just choosing this one at
| | 04:13 | random and then I'm going to go ahead
and press this plus button right here in
| | 04:18 | the bottom-right-hand
corner of the little thumbnail.
| | 04:20 | Down here in the timeline, the media
is offline and I can tell that by the
| | 04:23 | peachy color that these clips have and
I can also, if I look closely, see it
| | 04:27 | says Reel not loaded.
| | 04:28 | So what we need to do is actually relink
the media in this timeline to the media
| | 04:32 | on disc included with the exercise files.
| | 04:35 | And to do that, I'm going to click on
the Timeline tab down here at the bottom
| | 04:38 | of the SpeedGrade interface and then I'm
going to click over to this tab called Reels.
| | 04:41 | And then what I'm going to do to relink
these files is simply click this button
| | 04:45 | right here to load media from the desktop view.
| | 04:47 | And just like that, the media is relinked.
| | 04:50 | Just keep in mind, some of the
projects in this title actually started out
| | 04:53 | with empty timelines.
| | 04:55 | So after relinking, if you don't
want to have to repeat this linking
| | 04:58 | process every single time that you
open up the project, simply save the
| | 05:02 | project by pressing Command+S or Ctrl+S,
and when you do, you are presented
| | 05:06 | with a Save dialog box.
| | 05:07 | And you can save a project file to any
location of your choosing, but I'm going
| | 05:10 | to save it back to the main
level of the Exercise Files folder.
| | 05:13 | So let me go ahead and click Save
and when I do, I'm asked to confirm a
| | 05:16 | replacement, so I'll go ahead and click Yes.
| | 05:19 | Then, here in the main desktop view,
click this button right here to refresh the
| | 05:23 | contents of the exercise files.
| | 05:25 | After the folder has refreshed, you'll
notice that there are two projects with
| | 05:29 | the same name, except
this one has the suffix _v1.
| | 05:33 | This is the original project file
without the relinked media and this one right
| | 05:37 | here is the project file that you
just saved with the relinked media.
| | 05:41 | This behavior is normal and
SpeedGrade has a built-in versioning system.
| | 05:45 | If you don't want a version, simply right
-click on it and then choose Delete and
| | 05:50 | then simply confirm the delete.
| | 05:52 | Okay, let me go ahead and quit SpeedGrade.
| | 05:55 | As I mentioned earlier, a couple of
times in this title, we'll use Adobe
| | 05:58 | Premiere Pro and in a similar fashion of
SpeedGrade, you'll need to relink files.
| | 06:02 | I've actually already gone ahead and
opened up a Premiere Pro project used in
| | 06:05 | this title, and when I opened up that
project, Premiere Pro asked me where the
| | 06:09 | media use in that project was located.
| | 06:11 | Well, all you need to do is simply
navigate to where you saved the exercise
| | 06:14 | files, and in my case that's the
desktop, and then open up the Exercise Files
| | 06:18 | folder, scroll down to the Media folder,
and then here in the Media folder, you
| | 06:22 | need to find the file that Adobe
Premiere Pro is looking for, and you can see
| | 06:26 | that here, at the top of the dialog.
| | 06:28 | So I'll scroll down until I find the
file premieretospeedgrade_clip2, I'll
| | 06:31 | select it and then click Open.
| | 06:33 | And Premiere automatically relinks to
the other media used in the project.
| | 06:37 | If you're a monthly member or annual
member of lynda.com, then you don't
| | 06:41 | have access to the exercise files,
but you can follow along from scratch
| | 06:44 | with your own assets.
| | 06:46 | Okay, so now that we have the exercise files
sorted out, let's go ahead and get started.
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|
|
1. Touring the InterfaceAn overview of the interface| 00:00 | In this movie, I want to start out by
launching Adobe SpeedGrade so I can give you a quick
| | 00:03 | tour of the user interface.
| | 00:05 | In later movies in this chapter we'll break
down specific UI elements in more detail,
| | 00:09 | but as I said for right now, I just want to
go ahead and launch the application and give
| | 00:12 | you a quick tour.
| | 00:14 | Since I am on a Mac I am going to come down
to my dock here and click on SpeedGrade icon
| | 00:17 | to launch the application.
| | 00:19 | And just a second Adobe SpeedGrade opens up
and what should've notice is that it opens
| | 00:22 | really, really fast and I love
this about Adobe SpeedGrade.
| | 00:26 | Next notice that the user interface is not
really maximize to it's full potential.
| | 00:30 | I mean sure, I can come down here and hide my
dock or come up here and click on the plus
| | 00:33 | button to maximize the interface.
| | 00:35 | But I want you to learn a great keyboard
shortcut and that's F on the keyboard; F toggles Adobe
| | 00:41 | SpeedGrade into Full Screen mode.
Let me show you how it works.
| | 00:43 | I'll go ahead and press F and
here I am in Full Screen mode.
| | 00:47 | Now again, because I am on Mac
notice that dock has disappeared.
| | 00:50 | Also, take a look at the top of the user
interface. I no longer have a Menu bar.
| | 00:54 | If I press F, I can toggle
out of Full Screen mode,
| | 00:57 | and if you're in Full Screen mode at any time
if you place your cursor at the very top of
| | 01:01 | interface, you can once
again reveal the Menu bar.
| | 01:04 | Now I really love working in Full Screen mode and I'll
be working in Full Screen mode throughout this title.
| | 01:09 | And the reason I love it is because it
allows me to be to focus on Adobe SpeedGrade,
| | 01:13 | and when I am focused I can
grade and work faster.
| | 01:17 | Next, the most dominant thing here at the top
of user interface is the Desktop view, and
| | 01:21 | a good way to think about the Desktop view is
it's simply a way to navigate to various files
| | 01:25 | and folders and even drives
that are attached to your system.
| | 01:27 | In the later movie in this chapter we'll talk
about the Desktop view in more detail, but
| | 01:32 | for right now what I want you to do on any
one of these Desktop tabs here is click on
| | 01:36 | the Desktop right here and
then to Exercise Files.
| | 01:39 | Over here in the main part of the Desktop view,
I am viewing the contents of this folder.
| | 01:44 | Now if I scroll down a little bit, you'll
notice that I have some clips here, as well
| | 01:48 | as if I scroll up, actual Adobe
SpeedGrade or .ircp project files.
| | 01:54 | If you're following along with the exercise
files and you don't see all the same files
| | 01:58 | that I have here in the main Desktop view when
you have the Exercise Files folders selected
| | 02:02 | here in the file tree, make sure you come to
this menu right here and choose the option
| | 02:07 | Sequences from folder + subtree.
| | 02:10 | This just ensures that any sub folders that
are in the directory that you have selected
| | 02:14 | are also viewable here in the
main area of the Desktop view.
| | 02:18 | For right now lets go ahead and click this
plus button to launch this first project file
| | 02:22 | called 01_01_interface.ircp,
| | 02:24 | and when I do that down here, this my
Timeline I now have some clips that are populated
| | 02:31 | in that Timeline.
| | 02:32 | Now how do I actually view the
Timeline? Well, that's simple.
| | 02:35 | You can simply click on the Monitor button
right here to switch over to your Monitor
| | 02:39 | views, so you can actually view your clips.
| | 02:41 | Another choice that you have by the way, if
you're in Desktop view, is to simply use the
| | 02:45 | keyboard shortcut D.
| | 02:47 | D toggles between the
Desktop view and the Monitor.
| | 02:50 | So there is the Monitor and if I press D
again, I am back to my Desktop view.
| | 02:55 | Again we'll talk more about the Monitor and the
Desktop view in later movies in this chapter.
| | 03:00 | Now the first thing that you'll notice about
the image here in the Monitor is that it's
| | 03:03 | really, really big. It looks like it's been
zoomed in a million percent. This is normal behavior
| | 03:08 | of Adobe SpeedGrade. Don't worry about it. What
you can do is you can come down here and click
| | 03:12 | on this button right here to Zoom to fit,
that means that the image will be fit to the
| | 03:16 | viewable area of the Monitor.
| | 03:17 | You can also use the keyboard
shortcut Ctrl+Home or Command+Home key.
| | 03:21 | Down here in the middle of the interface, as
I mentioned, is my timeline and right here
| | 03:25 | I have traditional Play, Rewind and Transport
controls. I have some buttons right here for
| | 03:29 | toggling scopes on and off and then
down here is the actual Timeline itself.
| | 03:35 | Now the most distinguishing thing about the
timeline that I want to talk about right now
| | 03:38 | is how you actually move the playhead,
because this is a gotcha for a lot of new users to
| | 03:43 | Adobe SpeedGrade.
| | 03:44 | In many editorial tools you're use to simply
clicking here at time code rule, to navigate
| | 03:48 | your playhead, and you can actually do
that inside of Adobe SpeedGrade as well.
| | 03:52 | But what you can't do is click and drag the
playhead. That's because the playhead is not
| | 03:57 | up here. It's down below the
clips; this guy right here.
| | 04:01 | This is my playhead and right now notice it
has the number 1 on it, that's because it's
| | 04:05 | the first playhead.
| | 04:06 | We can actually have multiple
playheads inside of the Adobe SpeedGrade.
| | 04:10 | And in a later movie in this title I'll talk
about using multiple playheads for purposes
| | 04:14 | of scene-to-scene color correction.
| | 04:16 | So if you click on the playhead you
can click and drag through your clips.
| | 04:20 | At the bottom of interface you'll
notice that I have several tabs.
| | 04:24 | The first is the Timeline tab, and on the
Timeline tab I can do things like configure my setup,
| | 04:28 | I can view different reels, I can be really
geeky and work with color space controls.
| | 04:34 | On the Clip tab, this is where I can control
the aspect ratio of a clip, as well as several
| | 04:39 | other parameters.
| | 04:41 | On the Look tab this is where most of the
magic inside of the Adobe SpeedGrade happens.
| | 04:46 | Here on the left, I have my Layers palette and
this is where I can work to add corrections
| | 04:50 | and create looks on my footage.
| | 04:52 | The Mask tab allows me to create geometric
shapes for purposes of isolating corrections.
| | 04:58 | The Annotations tab is actually kind of neat,
what this allows me to do is leave notes or
| | 05:02 | markers to myself as I am working on a
project, and I find the Annoations inside of Adobe
| | 05:07 | SpeedGrade to be particularly useful
when you're working on long form projects.
| | 05:11 | If I was working on a Stereo 3D
Project, this tab would become available.
| | 05:15 | So with the Audio tab, if I had audio my project,
and if I had done any pan and scan on a particular
| | 05:20 | clip, the Pan and Scan
tab would become available.
| | 05:23 | Now there are a few more tabs that I want
you to show you and I where I founds those
| | 05:26 | tab is on the upper right-hand
corner of the interface. Right up here.
| | 05:29 | Let's start out with this one called Settings.
| | 05:31 | On the Settings tab, you have a plethora of
preferences and control's that you can use
| | 05:35 | to setup Adobe SpeedGrade.
| | 05:38 | Here on the Output tab this is how you control
how your render footage out of Adobe SpeedGrade,
| | 05:42 | and later in this title we'll talk about
using Output tab here to render out footage from
| | 05:48 | SpeedGrade, and after you have rendered, you can
view the results of those renders here on
| | 05:52 | the Render Result tab.
| | 05:54 | Now that's a super quick tour
of Adobe SpeedGrades interface.
| | 05:57 | Now if it seems like I
skipped over a whole lot.
| | 05:59 | Well, yeah I did. Throughout the rest of this
chapter and indeed throughout the rest of this
| | 06:03 | title, we'll explore in more detail various
controls and buttons that we have inside of
| | 06:09 | Adobe SpeedGrade, so you can become even
more comfortable with the user interface.
| | Collapse this transcript |
| Exploring the desktop| 00:00 | In this movie, I want to talk a little bit
more about the desktop. No, I don't mean the
| | 00:03 | desktop at the OS level of your system; I mean the
Desktop view here inside of Adobe SpeedGrade.
| | 00:08 | The desktop is how you'll access different
files and folders and even different drives
| | 00:11 | that are attached to your system, and the
desktop is this area here at the top of the Adobe
| | 00:15 | SpeedGrade interface.
| | 00:16 | Now let's go ahead and start up this movie by
talking about this over here in the left-hand
| | 00:20 | side of the desktop, and this is the file tree.
| | 00:22 | The file tree allows you to actually navigate to
different files and folders, and as I mentioned,
| | 00:26 | even different drives in your system.
| | 00:28 | And starting here at the top of the file
tree, you'll see a listing for desktop.
| | 00:31 | And this is where you'd see different drives
that are attached to your system, but it's
| | 00:34 | also where you'll see items that are truly
on your actual desktop, like the Exercise
| | 00:38 | Files folder right here.
| | 00:40 | With this option right down here, you can
view any recently used folders that you've
| | 00:43 | navigated to, and because I'm on a Mac, if I
go ahead and click this little disclosure
| | 00:46 | triangle right here, I can reveal the
contents of my user home directory.
| | 00:51 | You can navigate the file tree by using the
up and down arrows to navigate to different
| | 00:54 | locations, and then you can open up a
location by using the right arrow, and then you can
| | 00:58 | close that location by using the left arrow and
this makes it really easy to quickly navigate
| | 01:03 | different files and folders and even
different drives that you have on your system.
| | 01:07 | Over here is the main area of the desktop
and this is where you'll see the contents
| | 01:10 | of a selected folder or different drive
that you have over here in the file tree.
| | 01:15 | Starting here at the very top, I can see a
file path, but the one option I want to point
| | 01:19 | out right now is this menu right here.
| | 01:21 | Now the option that I currently have
selected is Sequences from selected folder.
| | 01:25 | What that will do is it will show me any .ircp
or SpeedGrade project or timeline that I have
| | 01:30 | inside of the folder that I have
selected over in the file tree.
| | 01:34 | By the way, it will also show you any
Premiere Pro project files that you have inside of
| | 01:38 | a selected directory.
| | 01:39 | But the option that I choose most of the time is this
one right here, Sequences from folder + subtree.
| | 01:43 | When I choose this option what I can do is
view not only the contents on the main level
| | 01:48 | of the directory that I have selected over in
the file tree, but I can also see the contents
| | 01:52 | of any subfolder that I have within the
selected folder over in the file tree.
| | 01:56 | So in this case if I scroll down a little
bit here in my Desktop view, not only am I
| | 02:00 | seeing SpeedGrade projects or timelines, but I
am also seeing any of the media that I have
| | 02:04 | inside of the Exercise Files folder.
| | 02:06 | But this media is inside of a
subfolder called, well, Media.
| | 02:10 | And this view is sort of a way of
comprehensively viewing the contents of a selected location
| | 02:15 | in the file tree.
| | 02:15 | And as I said this is the method that I prefer,
but you can play around with the different
| | 02:19 | options available up in the menu.
| | 02:21 | With these controls over here, you can
adjust how you're viewing thumbnails.
| | 02:25 | So with the Thumbnail Size slider if you drag
up, you can increase the size of a thumbnail
| | 02:29 | that you're viewing.
| | 02:30 | Now there is one really cool thing about this.
| | 02:32 | if you go ahead and press the P key on your
keyboard, you can hide all the tabs at the
| | 02:36 | bottom of the Adobe SpeedGrade interface.
| | 02:38 | Then if you increase your Thumbnail Size all
the way up, you'll get a nice super-sized
| | 02:43 | view of a clip that you're
trying to preview or look at.
| | 02:45 | Now the really neat thing about this is that
anytime that you place your mouse over a thumbnail
| | 02:49 | of a clip, you'll get this
little slider right here.
| | 02:52 | You can slide to preview or scrub through the
clip. Let me go ahead and reduce the Thumbnail
| | 02:57 | Size just a touch.
| | 02:59 | Next, with this button right here for Show
Thumbnails, you can choose whether you want
| | 03:02 | to turn off the graphical or visual
view of the thumbnail or have it enabled.
| | 03:06 | Like a lot of other applications, you can
choose to view your clips either as Thumbnails or
| | 03:10 | you can choose to view them in a List view.
| | 03:13 | Of course in List view, you also get a
thumbnail but it's just a lot smaller, but you do get
| | 03:17 | a lot of additional information about a shot.
| | 03:20 | With these Sort By controls you can choose to
sort by File Name, Timecode Range, Resolution
| | 03:25 | or even Modified Date.
| | 03:26 | And then if use this button right
here, you can change the sort order.
| | 03:30 | Neighbor part of the desktop I have
another menu that I want to show you.
| | 03:33 | By default, we're viewing all files
in a selected folder or directory.
| | 03:37 | However, you can filter which file types that you're
viewing in a selected folder or directory or even drive.
| | 03:42 | So for example, if you only wanted to view EDLs or DPX
image sequences, or say RAW files you can do that.
| | 03:48 | Let me go ahead and choose RAW files and you
can see now I'm viewing this R3D file. This
| | 03:52 | is a RED RAW file, and in this case there is
only one RAW file in my exercise files directory.
| | 03:57 | But this is a nice way to filter a directory or
folder for only the file types that you want to view.
| | 04:02 | Let me go ahead and change
that back to All Files.
| | 04:04 | Then let me scroll back down once
again so we're viewing some shots.
| | 04:09 | Sometimes over the course of a project you'll
add additional media to a directory or folder.
| | 04:13 | And to have Adobe SpeedGrade update to show
you those new items all you need to do is
| | 04:17 | go ahead and click on this button right here to
refresh your currently selected directory or folder.
| | 04:23 | And actually anytime that you navigate to a
new location, Adobe SpeedGrade automatically
| | 04:27 | refreshes that view.
| | 04:29 | So over here in my file tree if I go up to
view, say the main level of my hard drive,
| | 04:33 | you'll notice that SpeedGrade updates.
| | 04:35 | Click back on exercise files,
it once again is updating.
| | 04:40 | So far we've just taking a look at how to view
items here in the desktop of Adobe SpeedGrade,
| | 04:44 | however we have not talked about
how to actually open something up.
| | 04:47 | So what I want to do is simply place my cursor
over this file right here called 01_02_desktop_.ircp.
| | 04:54 | This is an Adobe
SpeedGrade timeline or project.
| | 04:56 | And the way that I open up an Adobe
SpeedGrade timeline or project is by simply selecting
| | 05:01 | it and then pressing the plus button.
| | 05:03 | If you're not a plus button type of person
you can also simply double-click on it and
| | 05:06 | then down here at the bottom of
the interface I have my Timeline.
| | 05:09 | Now remember, I've currently hidden all the
tabs at the bottom of the SpeedGrade interface.
| | 05:12 | Remember, if I want to get those back, I'll simply press
P on the keyboard to reveal those tabs once again.
| | 05:19 | Okay so you've opened up a project or a
timeline but how do you actually get media into that
| | 05:23 | timeline or project?
| | 05:24 | Well that's pretty simple, but in doing so I
want to show you one more neat feature of
| | 05:28 | the desktop inside of Adobe SpeedGrade.
| | 05:30 | You'll notice here at the top of the interface I
have multiple desktop tabs, and you can actually
| | 05:35 | add as many tabs as you want by clicking this
plus button right here, but by default I have
| | 05:39 | two additional tabs, these guys right here.
| | 05:41 | Let me click on this first one and
then click on my Exercise Files folder.
| | 05:44 | And then I am going to go into the Media
folder, and inside of the Media folder I have three
| | 05:50 | different subfolders, and I am going to
click on this first one, desktop location 1.
| | 05:56 | And inside of that folder you'll
notice that I have two different clips.
| | 06:00 | Let me click over to this second desktop tab
over here and I am going to repeat that same
| | 06:05 | process, opening Exercise Files > Media and
then desktop location 2, and in this folder
| | 06:13 | I have two additional clips.
| | 06:14 | The cool thing about using multiple tabs here
at the top of the Adobe SpeedGrade interface
| | 06:18 | or the desktop is that you can sort of
create bookmarks for different locations on your
| | 06:22 | system, and by doing so you can quickly
navigate to those different locations.
| | 06:26 | So for example, I can click on my exercise
files, back over here to desktop location
| | 06:30 | 1, desktop location 2.
| | 06:32 | I just wanted to point this out because as
you get more complex in your projects for
| | 06:35 | example conforming a huge long feature film with an
EDL, you might have media in multiple locations.
| | 06:41 | And by using multiple desktop tabs you can
sort of save those various locations so you're
| | 06:46 | not having to do a lot of fumbling
around over here in the file tree.
| | 06:49 | Okay let me switch back over to desktop
location 1 right here and then let's actually talk
| | 06:54 | about how to get an actual clip onto an
open SpeedGrade timeline or into a project.
| | 06:58 | And the way I do that is exactly in the
same method that I opened up a project with.
| | 07:02 | If you simply placed your cursor over a clip,
you'll get that same plus button and by clicking
| | 07:06 | that plus button you'll add it
down here to an open timeline.
| | 07:09 | Let me go ahead and add this clip as
well by clicking the plus button.
| | 07:12 | And you'll notice that second clip is placed right
after the first clip down here in the timeline.
| | 07:17 | Let me click over to desktop location 2 and
this time I'll simply double-click on the
| | 07:21 | clip and it's also added to the timeline
and I repeat that with the last clip.
| | 07:25 | Finally, I want to share with you one last
useful keyboard shortcut and that's the D
| | 07:29 | key on the keyboard.
| | 07:31 | The D key allows you to toggle between the
monitor, which we'll talk about later in this
| | 07:35 | chapter and your last active Desktop view.
| | 07:38 | So that's the Desktop view inside of Adobe
SpeedGrade and it's the way inside of the
| | 07:42 | UI that you'll navigate to
files, folders and even drives.
| | Collapse this transcript |
| Viewing clips and navigating the Timeline| 00:00 | In this movie, I want to talk about a few
different ways that we can view clips and
| | 00:04 | navigate the Timeline here
inside of Adobe SpeedGrade.
| | 00:06 | If you're following along with the exercise
files, be sure to open up this Timeline called
| | 00:09 | 01_03_viewingandTimeline.ircp.
| | 00:13 | Now once you open up a Timeline, how do you
actually view a clip? Well, there is a couple
| | 00:17 | of different ways that you can do it.
| | 00:19 | If you come over to the tabs here at the top
of the interface, you can simply click on
| | 00:22 | the monitor button, and here is your shot
right here underneath your playhead down here in
| | 00:26 | the Timeline, but another way that you can do
this is by using the keyboard shortcut D.
| | 00:31 | And what D does is it toggles between the
monitor and your last active Desktop view,
| | 00:36 | so the monitor and then
last active Desktop view.
| | 00:39 | And that's a good keyboard shortcut to know and
it's one that we'll use throughout this title.
| | 00:44 | Now one of things that first gets new
SpeedGrade users when they flip over to the monitor is
| | 00:48 | that the image looks gigantic, and it's
because you're viewing it at a 100%.
| | 00:53 | In this case this video is 1920x1080.
| | 00:57 | So one way that you can view a clip, if you
want to view it in its very large and original
| | 01:01 | size, is by going ahead and
pressing the P key on the keyboard.
| | 01:05 | This is also the same thing, by the way, as clicking this
button right here to toggle the Grading panel.
| | 01:11 | The Grading panel is this area down here
at the bottom of the SpeedGrade interface.
| | 01:14 | But I prefer the keyboard shortcut.
| | 01:16 | So I'll go ahead and press P and now you will
notice that I am viewing the image nice and
| | 01:21 | large, but the controls in the various tabs
at the bottom of the SpeedGrade interface,
| | 01:24 | are now being hidden.
| | 01:26 | At any time, you can press P again or use the button
right here to toggle the Grading panel back open.
| | 01:32 | But of course most of the time, you are going
to want to be able to manipulate the controls
| | 01:35 | in the various tabs down here at the
bottom of the SpeedGrade interface.
| | 01:39 | So it would be nice to have the image up here in
the monitor fit the viewable area of the monitor.
| | 01:44 | There are a couple of
different ways of doing that.
| | 01:46 | First, you can come over here and click on
this button right here, that's called Zoom
| | 01:50 | to fit, and what that will do is it will zoom
the image up in the monitor to the viewable
| | 01:54 | area of the monitor.
| | 01:56 | However, I prefer a couple of
different keyboard shortcuts.
| | 01:59 | If you're on a Mac, simply use the
keyboard shortcut Command and then the Home key.
| | 02:03 | If you are on a PC, you would use Ctrl and the Home
key on your keyboard to accomplish the same task.
| | 02:08 | And when I use that keyboard combination,
what happens is that the image fits into the
| | 02:12 | viewable area of the monitor.
| | 02:14 | At any time, if you prefer you can click on
this menu right here and manually adjust the
| | 02:19 | size of the image to a
different percentage of your choice.
| | 02:22 | But once again, I'll go ahead and use Command+
Home since I am on a Mac to fit the image into
| | 02:26 | the viewable area of the monitor.
| | 02:28 | So down underneath of the monitor, is where
my Timeline is inside of Adobe SpeedGrade
| | 02:32 | and this is the Timeline area right here.
| | 02:34 | Now the first thing that's going to kind of get
you, if you are a new user to Adobe SpeedGrade,
| | 02:37 | is how to actually navigate the Timeline.
| | 02:40 | I think that you can probably figure out that each
one of these blocks right here, is a different clip.
| | 02:44 | But what's a little different than most nonlinear
editors, is how you actually move the playhead.
| | 02:49 | In most non-linear editors, you are used
to clicking up here in the timecode ruler,
| | 02:53 | something like that, and you can do that in
Adobe SpeedGrade, but you can't click and drag.
| | 02:58 | That doesn't actually navigate the playhead.
| | 03:00 | All it does is it snaps the
playhead to that particular frame.
| | 03:04 | Instead, the playhead is underneath of the
clips, and this is the playhead right here.
| | 03:08 | If you click on it and drag, you can smoothly
navigate all of your clips inside of the Adobe
| | 03:14 | SpeedGrade Timeline.
| | 03:15 | Of course, many of the keyboard shortcuts
that you'd probably think of for playback
| | 03:18 | also work inside of Adobe SpeedGrade.
| | 03:20 | If you go ahead and press the spacebar on
the keyboard, that will begin playback and
| | 03:24 | if you go ahead and press it again,
that of course stops playback.
| | 03:27 | You can use the left and right arrows to
navigate frame-by-frame, if you press the Home key,
| | 03:33 | you will go back to the beginning of your
sequence, if you press the End key, you will
| | 03:37 | go to the end of the sequence.
| | 03:39 | You can also use keyboard shortcuts like J, K
and L, so for example, if I back up my playhead
| | 03:44 | here, if I press L, I'll begin playback
forward. If I press K, I'll pause playback.
| | 03:50 | If I press J, I'll go backwards and if I tap
either one of the direction keys, I'll go
| | 03:55 | faster in that particular direction.
| | 03:58 | This is great because these are probably
keyboard shortcuts that you have really become used
| | 04:01 | to inside of other applications,
especially edit applications.
| | 04:05 | To easily navigate between different clips on
a Timeline, use the keyboard shortcut Command
| | 04:10 | or Ctrl and then the left or right arrows, and this
allows you to quickly navigate between different clips.
| | 04:15 | Now when I did that, you might have noticed
that in and out points were placed around
| | 04:18 | the clip that my playhead was on.
| | 04:20 | You can toggle the way that in and out points
work inside of Adobe SpeedGrade by pressing
| | 04:23 | this button right here.
| | 04:24 | Here, the in and out points are at the
beginning and then the end of my sequence.
| | 04:28 | If I press it again, in and out points are once
again around the clip that my playhead is on.
| | 04:34 | Now the cool thing about in and out points
is that by default Adobe SpeedGrade likes
| | 04:37 | to loop around selected in points, so if I
begin playback on the shot, you will notice
| | 04:42 | when the playhead gets to the end of the clip or where
the out point is, it loops back around to the in point.
| | 04:48 | You can of course manually set in and out
points by first positioning your playhead
| | 04:52 | where you want one of the points to be and
then by using Shift+I to set an in point and
| | 04:57 | then if you come down to where you want the
out point, use Shift+O to set the out point.
| | 05:02 | Now there is one cool playback
feature that I want to show you.
| | 05:05 | The way I get to it, is by going down to my
Timeline tab here and then to the View tab.
| | 05:09 | And here in the middle of the View tab, I
have some different Loop mode options.
| | 05:13 | Again, the default is to
loop playback as we just saw.
| | 05:17 | Clicking this button right here, you
can switch to ping-pong playback mode.
| | 05:19 | Well, what's ping-pong playback mode? Well,
when you reach your out point, automatically
| | 05:24 | Adobe SpeedGrade will start playing in reverse,
ping-ponging between the different in and
| | 05:28 | out points that you have
placed on your sequence.
| | 05:30 | Let me show you how that works.
| | 05:32 | I'll press play and notice when the playhead
gets to the out point, it ping-pongs off of
| | 05:37 | it and then plays in reverse, going back to
the in point, and then predictably, when it
| | 05:42 | gets to the in point, it ping
-pongs back the other way.
| | 05:46 | Finally, using this last option, if you want
to disable looping all together, this will
| | 05:50 | allow you just to play in one direction and then
stop playback when you reach that out point.
| | 05:57 | As weird as it might seem, I actually kind of
like the ping-pong method because it allows
| | 06:00 | me to constantly watch a shot back and forth
which is nice if I'm really making detailed
| | 06:05 | corrections on a shot.
| | 06:07 | Finally, the last thing that I want to show
you in this movie is a couple of controls
| | 06:10 | that are not all that intuitive.
| | 06:11 | First, over here on the left-hand side of the
Timeline there are some buttons that probably
| | 06:15 | make sense to you.
| | 06:16 | The Speaker button will disable any clip
audio that you have on a particular track.
| | 06:20 | This little eye button will disable or
hide from view, a particular track.
| | 06:24 | You can lock a track, so you don't
accidentally move any clips on that track.
| | 06:28 | And then if you wanted to actually remove a
track all together, you'd simply click on
| | 06:31 | this button right here and
drag out of the Timeline.
| | 06:34 | And notice that little red X? This
will allow me to delete this track.
| | 06:37 | Let me go ahead and undo that by pressing
Command+Z or Ctrl+Z if you are on a PC.
| | 06:43 | One of the things that you might like to have turned
on is a visual representation of what each clip is.
| | 06:48 | What I mean by that is right now, we are
simply viewing the name of the clip, but if you go
| | 06:52 | ahead and click this little filmstrip icon
right here, you can actually get a thumbnail
| | 06:57 | underneath each clip, so you can visually see
what's going on with the shot which is kind of nice.
| | 07:02 | And then finally, if you want to remove a
Timeline all together, simply come over to
| | 07:06 | this X in the upper right-hand corner of
the Timeline to delete the Timeline, and then
| | 07:09 | confirm its deletion.
| | 07:11 | So that's a little bit about viewing clips and
navigating the Timeline inside of Adobe SpeedGrade.
| | 07:15 | I think you can see it's
pretty straightforward.
| | 07:18 | It's a little different than other applications,
but once you get comfortable viewing clips
| | 07:21 | and navigating the Timeline inside of Adobe
SpeedGrade, it will become second nature to
| | 07:26 | you, just like it has
probably in other applications.
| | Collapse this transcript |
| Using scopes| 00:00 | In this movie, I want to show you how to access and
use video scopes here inside of Adobe SpeedGrade.
| | 00:05 | If you're new to using video scopes, video
scopes allow you to analytically look at the
| | 00:09 | video signal in different ways.
| | 00:11 | Now why would you want to do that? Well put
simply, your eyes lie and your eyes lie to
| | 00:15 | you all the time about what's
really going on in a shot.
| | 00:18 | Sure, you might think a shot is warm or you
may think it's cool, but if you stare at it
| | 00:21 | at a long time, you can become
convinced that it looks perfectly neutral.
| | 00:26 | Video scopes on the other hand don't lie
about what's going on with your images; instead
| | 00:30 | they give you an accurate snapshot of
what's going on with the video signal.
| | 00:33 | So how do you actually access the various
scope options that are available inside of
| | 00:37 | Adobes SpeedGrade? Well that's easy, simply
come to the bottom on the monitor, this area
| | 00:40 | right here, and then click on one of these
three buttons to access the various scope
| | 00:44 | options available inside of SpeedGrade.
| | 00:46 | The first button, this guy right here,
allows you to access the Vectorscope.
| | 00:49 | The middle button allows you to access the
Waveform and then the last button allows you
| | 00:53 | to access the Histogram.
| | 00:55 | But there are three very easy to learn
keyboard shortcuts for each scope option.
| | 00:59 | If you go ahead and press V on the keyboard,
you can toggle open or close the Vectorscope.
| | 01:03 | If you press W you can toggle open or close
the Waveform, and then if you press H you can
| | 01:08 | toggle open or close the Histogram.
| | 01:10 | So again, that's V for Vectorscope,
W for Waveform and H for Histogram.
| | 01:15 | With all the scopes on screen at the same
time, you might want to adjust the size of
| | 01:19 | each scope and you can do that by grabbing
this little handle right here to adjust the
| | 01:23 | size of an individual scope.
| | 01:25 | You can change which side of the screen that
scope appears on up here on the monitor by
| | 01:29 | clicking on this little icon right here
that's present on each one of the scopes.
| | 01:33 | And when you click on one of these, it'll go
to the opposite side of the screen from where
| | 01:36 | it's docked currently.
| | 01:37 | If you don't want a scope to be docked to
the monitor simply click on this little lock
| | 01:41 | icon right here, and then the actual
scope will be in a floating window.
| | 01:45 | From there you can go ahead and resize the scope
and position it anywhere that you want on screen.
| | 01:50 | Let me go ahead and close the Vectorscope
and then go ahead and close the Histogram,
| | 01:55 | and then what I want to do is make
the Waveform into a floating window.
| | 01:58 | The Waveform is a principal tool that
you'll use to do two different things.
| | 02:02 | First the Waveform will allow you to analyze the
overall brightness levels that you have in a shot.
| | 02:07 | Next, the waveform will also allow you to analyze the
relative color balance that you have in a shot.
| | 02:11 | Now how does it do this? Well the Waveform
uses a scale that goes from 0-100%, where 0
| | 02:17 | is black and 100 is white.
| | 02:20 | This scale represents the entire
tonal range, going from black to white.
| | 02:24 | All this stuff right here in the middle of
the screen is actual video signal itself.
| | 02:28 | Now one thing I should point out is that
SpeedGrade doesn't actually have a dedicated Luma only
| | 02:33 | or Y only Waveform.
| | 02:35 | Instead what it has is this guy right here
which is commonly referred to as an RGB parade.
| | 02:39 | But don't worry, an RGB parade can
also measure luma values in your shots.
| | 02:43 | So let me go ahead and move the waveform
over here to this side just a little bit.
| | 02:47 | And the first thing I want to show you is
how we can measure brightness in a shot.
| | 02:51 | This first shot looks dark, doesn't it? Well
if I scrub through it I don't think it gets
| | 02:55 | any brighter, it's still dark.
| | 02:57 | And the Waveform in fact verifies this,
because most of the signal goes from about 3%, 4%
| | 03:02 | or so up to about 30%, indicating
that this shot is pretty dark.
| | 03:07 | Remember that the scale that the
Waveform uses mimics the tonal range.
| | 03:10 | So dark or black is down here on this part
of the scale, midtones right about here and
| | 03:16 | then highlights up here.
| | 03:17 | And with the trace bunched up towards the
bottom of the scale, I can once again verify
| | 03:20 | that this shot is indeed dark.
| | 03:22 | If I go down to the second shot on this
Timeline I have the opposite problem.
| | 03:27 | This shot looks really, really bright and
once again the waveform shows me that.
| | 03:31 | Most of the trace is bunched up towards the
top of the scope, indicating that I have a
| | 03:35 | pretty bright, or pretty over
exposed shot in this case.
| | 03:39 | Finally let me go down to this
third shot on the Timeline.
| | 03:42 | Another way that the Waveform works is that it
actually mimics a picture from left to right.
| | 03:47 | So in other words this part of the trace right here,
this red trace is this part of the screen right here.
| | 03:52 | So by looking at the Waveform I can see
where various objects are on screen.
| | 03:56 | So this area right in here, well that's this
statue and it's present on each one of the
| | 04:01 | traces, again because the Waveform breaks the
signal down into the red, green and blue components.
| | 04:06 | This area up here of the sky, well that's
these bunches of trace right here towards
| | 04:11 | the top of the waveform.
| | 04:12 | Next let me navigate down to this fourth clip.
| | 04:15 | I mentioned before that the Waveform also
allows you to measure the relative color balance
| | 04:19 | that you have in a shot.
| | 04:20 | Now looking at this shot it looks, well pretty blue,
and the Waveform actually shows me that as well.
| | 04:27 | Notice that the blue trace is elevated over
the red and green traces, indicating that
| | 04:31 | I have a blue color cast.
| | 04:33 | But because the Waveform mimics the tonal
range, again from black to white or from 0
| | 04:38 | to 100 here, I can also tell where in the
tonal range that blue color cast is happening.
| | 04:42 | Notice that the blue trace is elevated over
the green and red traces but particularly
| | 04:46 | here at the top of the scale, indicating that I have
a blue color cast that's mainly in the highlights.
| | 04:52 | And this is a really important thing when
it comes time to actually color correct.
| | 04:55 | Instead of dragging and moving controls willy-nilly,
you want to attack the problem where it exists.
| | 05:00 | And in this case because I know that the color
cast mainly exists in the highlights, that's
| | 05:04 | where I'll start neutralizing the color cast.
| | 05:07 | Okay let me go ahead and hide the
Waveform by pressing W on the keyboard.
| | 05:11 | Then let me go ahead and press V to bring up
the Vectorscope and I'll undock the Vectorscope
| | 05:16 | so it's a floating window as well.
| | 05:18 | The way that the Vectorscope works is that
hues are measured as the angle around the
| | 05:23 | Vectorscope and then saturation is measured as the
distance out from the center of the Vectorscope.
| | 05:28 | And in this case, the trace, this stuff right
here, is pointed out towards sort of the blue
| | 05:33 | cyan area, and it's pretty saturated as the trace
extends all the way out to the edges of the scope.
| | 05:38 | Now the Vectorscope allows you to measure
overall hues and saturation in the image,
| | 05:43 | but when doing detailed work I often depend on
the Waveform because I can see the relative
| | 05:47 | color balance between the three
different image channels; red, green blue.
| | 05:51 | I can also see in the tonal range
where a particular color cast exists.
| | 05:56 | Finally, the last scope that we have to use
to analyze the signal is the Histogram.
| | 06:00 | Some people really like the Histogram. I've
never really been a huge Histogram user myself.
| | 06:05 | But what the Histogram allows you to do is
that it sort of works like the Waveform in
| | 06:09 | the sense that it mimics the tonal range from
black to white, and in the case of the Histogram
| | 06:13 | inside of Adobe SpeedGrade, is it actually
layers the different color channels over one
| | 06:18 | another, so you can see where in the
tonal range different colors are happening.
| | 06:23 | Finally, the last thing I want to show you
about analyzing the shot is that if you actually
| | 06:26 | come over to the image here in the monitor and then
click and drag, you'll get this little floating pop-up.
| | 06:31 | And what this allows you to do is sample the
part of the image that you're dragging over
| | 06:35 | to get precise color read outs, which is
really nice if you need to be super detailed about
| | 06:40 | matching particular parts of the image or
matching shots from one shot to another.
| | 06:45 | Okay, so that's a little bit more about using
the scopes here inside of Adobe SpeedGrade.
| | 06:49 | In your own projects the scopes can be your
best friend to allow you to make intelligent
| | 06:53 | decisions when making color and
contrast corrections to your footage.
| | 06:57 |
| | Collapse this transcript |
| Exploring additional tabs in the interface| 00:00 | In this movie, I want to show you a few key
features of the additional tabs found down
| | 00:03 | here at the bottom of the
Adobe SpeedGrade interface.
| | 00:05 | Now we're not going to talk about every
single control or even every tab, but rather some
| | 00:10 | of the key things and
controls on a few of these tabs.
| | 00:12 | The first thing I want to point out is that
you can actually toggle the visibility of
| | 00:15 | these tabs by using the keyboard shortcut P.
| | 00:19 | By clicking this button right here,
you can accomplish the same task.
| | 00:21 | Okay, so let's go ahead and start out here
on the Timeline tab and then come over to
| | 00:26 | the Setup tab and then right here in
the center, you have Timeline Elements.
| | 00:29 | What you can do in the Timeline Elements category
is drag different elements like Grading layers,
| | 00:33 | Dissolves, Solid Clips, Pan & Scan layers
and even Grouping elements directly to the Timeline.
| | 00:39 | So for example, if you click on this icon
right here for Grading layer, simply drag up to
| | 00:42 | the Timeline and let go, and now
you've created a new Grading layer.
| | 00:46 | And we'll talk more about Grading layers
and how they're used later in this title.
| | 00:50 | So for now let me go ahead and undo that.
| | 00:52 | But as I said you can drag any of these items
from this Timeline Elements category, so let
| | 00:56 | me go ahead and drag the Pan & Scan element up
here and now I have a new Pan & Scan layer.
| | 01:00 | And the reason I drag the Pan & Scan is
because I want to talk about the Pan & Scan tab a
| | 01:04 | little bit later in this movie.
| | 01:06 | With one of these clips selected, I am going to skip
over the Clip tab and go directly to the Look tab.
| | 01:10 | And the Look tab is where all the proverbial
magic happens inside of Adobe SpeedGrade.
| | 01:15 | Over here on the left-hand side I have my
Layers stack, and this is where I can add different
| | 01:19 | corrections to a particular clip.
| | 01:21 | So for example, I can add a Primary correction,
maybe a Secondary correction, or maybe even
| | 01:25 | a custom look layer.
| | 01:27 | And over here in the center of the Look tab,
depending on what layer you have active, you'll
| | 01:32 | have different controls for that layer.
| | 01:33 | In this case I have a Primary selected, so
you'll notice that here in the center I have
| | 01:37 | a whole bunch of different color balance
controls or these color wheels right here.
| | 01:41 | Now one thing I do want to point out is that
you can actually toggle between different
| | 01:44 | modes of how you're viewing the controls
here in the center of the Look tab, and you can
| | 01:49 | do that by clicking on
these buttons right here.
| | 01:51 | So the default is the Color Wheels
mode which we're currently looking at.
| | 01:54 | But then you can get into a Sliders mode, or if
you really masochistic, a Numbers mode where
| | 01:58 | you can numerically enter in values
as you're color correcting grade.
| | 02:01 | And you can toggle quickly between these different
modes by using the keyboard shortcut Shift+Enter
| | 02:05 | key, just like that.
| | 02:08 | So one thing I want to mention about the color
wheels is that here in the center of the Look
| | 02:11 | tab you'll notice that you actually have four different
categories: Overall, Shadows, Midtones and Highlights.
| | 02:18 | And you might be thinking to yourself, well
Rob, they look exactly the same, and you're
| | 02:22 | not wrong. Here is how these work.
| | 02:24 | The Overall category splits the tonal range
into offset, or shadows or blacks, gamma or
| | 02:29 | midtones, and then gain or highlights.
| | 02:32 | And these are the same controls that you're used
to probably seeing in any color correction tool.
| | 02:36 | Now the one thing that people ask me a lot
though is, Rob where are the Curves inside
| | 02:40 | of Adobe SpeedGrade? Well there are no Curves
inside of Adobe SpeedGrade; instead what you
| | 02:45 | have is the tonal range is broken down
into Shadows, Midtones and Highlights.
| | 02:49 | And within each tonal range you
have three additional controls.
| | 02:52 | And a good way to think about this because I
am in the Shadows category is as low shadows,
| | 02:57 | mid shadows and then high shadows.
| | 03:00 | The Midtones would be low midtones, mid-midtones
and then high midtones, and I think you get
| | 03:04 | the idea for Highlights; low highlights,
mid highlights and then high highlights.
| | 03:09 | And if you think about the way that you use
Curves, usually you target a portion of the
| | 03:12 | tonal range and then add control points at that
part of the tonal range. You can essentially
| | 03:16 | accomplish the same thing with the three broken down
categories for different parts of the tonal range.
| | 03:22 | And this gives you an amazing amount of
flexibility when it comes time to adjust the contrast
| | 03:26 | and color of different parts of
the tonal range for your images.
| | 03:29 | So let me go ahead and click back over here
to the Overall category and there is one more
| | 03:32 | thing I want to show you about
how these color wheels work.
| | 03:35 | If you hover your mouse over one of these
color wheels, you'll notice that you have
| | 03:38 | a couple of different controls. This little
triangle here on this black to white ring
| | 03:43 | adjust the contrast at a particular part of the
tonal range, and you can simply click on it and drag.
| | 03:49 | Down here in the color wheel if you click
and drag you can adjust your overall color
| | 03:52 | balance and the saturation for a selected hue.
| | 03:55 | Now the really cool thing about this is if you
right-click you enter Virtual Color Wheel mode.
| | 03:59 | And the way that this works is that if you
use the middle scroll wheel on your mouse
| | 04:03 | or two fingers on a trackpad, you can
quickly adjust contrast simply by dragging.
| | 04:09 | And then if you simply move your mouse around
or use one finger on a trackpad, you can adjust
| | 04:14 | the overall color balance at that particular
part of the tonal range and the saturation
| | 04:17 | of a selected hue.
| | 04:18 | If you right-click again you can get
out of the Virtual Color Wheel mode.
| | 04:22 | And the Virtual Color Wheel mode makes it
very quick to great clips without having to
| | 04:26 | make dozens and dozens of clicks.
| | 04:28 | Just keep in mind when you go into Virtual
Color Wheel mode with a trackpad, the trackpad
| | 04:32 | behavior is dependent on the OS
and the machine that you're using.
| | 04:35 | If you ever need to reset contrast and color,
simply use these controls at the bottom of
| | 04:40 | each color wheel.
| | 04:41 | All right, let me go ahead and navigate down
to the next clip in this Timeline, and then
| | 04:45 | I want to skip over the Mask tab. We'll get
back to that in a later movie in this title.
| | 04:49 | Now I want to show you the Annotations tab.
| | 04:51 | The Annotations tab at first glance is kind
of silly, but it's actually really, really
| | 04:55 | useful and it's a way of making notes to
yourself about an entire clip or even a frame, and you
| | 05:00 | can toggle between Clip level and Frame
level with these two buttons right here.
| | 05:04 | So the way this works is that you can
actually add text or you can draw shapes on screen
| | 05:08 | to highlight a particular portion of the image that
you want to focus on. So let me show you what I mean.
| | 05:13 | So with the Text tool selected, I am simply
going to click up here into the actual image
| | 05:16 | in the monitor and let me
type in green/yellow cast fix.
| | 05:23 | And you can see I now have
that annotation on screen.
| | 05:27 | The other thing I can do if I click over here
to the Pen tool is I can click and actually
| | 05:31 | draw a shape around a portion of the image.
| | 05:34 | Better yet I can even change the color of
that, maybe I want to make this one red, and
| | 05:38 | then I am going to go ahead and add another
text annotation, we'll say blown out fix.
| | 05:47 | So the cool thing about this is that you can
actually render out these Annotations if you
| | 05:51 | want. Now I don't think you really want to,
but that option is available to you.
| | 05:54 | But they're simply just notes to yourself
as you're going along and working on shots.
| | 05:59 | And with this menu right here for Show Annotations,
you can toggle how the annotations are shown,
| | 06:04 | only when this page is active, that's
the Annotations tab, Always or Never.
| | 06:08 | So for example if I switched over to the Look tab
here, you'll notice that the Annotations go away.
| | 06:13 | Click back to the Annotations
tab, there they're once again.
| | 06:16 | Okay, let's skip over to the Stereo 3D tab
because we'll talk about that in a later movie
| | 06:19 | in this title, and what I am going to do is
select this layer of audio right here and
| | 06:23 | then click over to the Audio tab.
| | 06:25 | Here on the Audio tab you can adjust things
like Volume or Offset that means the relative
| | 06:29 | sync with your video as well as clip position.
| | 06:31 | And by clicking these arrows, you can simply
move the audio clip around on your Timeline.
| | 06:36 | Now I do want to make it clear that I am
working with a separate piece of audio. This is not
| | 06:40 | audio that actually belongs to a clip.
| | 06:42 | When you have clip audio, this Audio
tab will not be available for you.
| | 06:45 | And then finally I want to show
you how the Pan & Scan tab works.
| | 06:48 | Let me click on the Pan & Scan layer
that I added earlier to activate that tab.
| | 06:51 | So here on the Pan & Scan tab
I can adjust my Pan & Scan.
| | 06:55 | So for example, maybe you want to choose a
preset here, and in this case I want to have
| | 06:59 | a very wide aspect ratio, a 2.4:1
crop, so I'll choose that option.
| | 07:04 | And now you'll notice that
I have that crop going on.
| | 07:06 | And I can view the crop in a
couple of different ways.
| | 07:08 | Normally, as what I am seeing right now, as
Transparent so I can see the rest of my clip
| | 07:12 | behind these sort of semi-transparent
bars, and then simply as an Outline.
| | 07:18 | Anyway that you choose you can use the on
screen widget here to reposition, scale and
| | 07:23 | even rotate your clip within the frame that
you've chosen, and this is very useful for when
| | 07:28 | you need to make different types of outputs or
frame the shots up in different ways. Okay,
| | 07:32 | so that's a few additional features found on the tabs
at the bottom of the Adobe SpeedGrade interface.
| | 07:37 | Feel free to keep exploring the other
controls that you find on these additional tabs as
| | 07:41 | you go along in your own projects.
| | 07:43 |
| | Collapse this transcript |
|
|
2. Getting Clips and Projects into SpeedGradeImporting clips directly into SpeedGrade| 00:00 | In this movie, I want to talk about importing
clips directly into Adobe SpeedGrade without
| | 00:04 | using another instruction set like an EDL
or even an Adobe Premiere Pro project file.
| | 00:10 | Now you might be thinking to yourself, Rob,
why would I want to import clips directly
| | 00:13 | into Adobe SpeedGrade, because after all,
don't I want to you color correction at the
| | 00:17 | end of the editorial process? Well, normally
that's true, but think about it like this;
| | 00:22 | maybe you're on set and a lot of times when
you're on set, you want to be able to bring
| | 00:27 | footage into SpeedGrade
to do some test grades,
| | 00:30 | to make sure that things like your lighting
and the overall look of the scene are working.
| | 00:34 | And to do that you'd simply attach camera
media to your computer, copy files over, and
| | 00:38 | then import clips into Adobe SpeedGrade.
| | 00:41 | Now that's not to say that this workflow
is only germane to on set or on location work.
| | 00:46 | Of course, at anytime you can import individual
clips into Adobe SpeedGrade, so you can color
| | 00:52 | correct and grade them, but I think that you'll
find this direct to Adobe SpeedGrade workflow
| | 00:56 | most often useful when you
are on set or on location.
| | 01:00 | If you're following along with the exercise
files, be sure to open up this project or
| | 01:03 | this Timeline called 02_01
directtospeedgrade.ircp.
| | 01:07 | I've actually already gone ahead and opened
up this Timeline and it's here in the middle
| | 01:10 | of the interface, and you can see
that this Timeline contains no clips.
| | 01:14 | Well, let's go ahead and remedy that.
| | 01:16 | Over here in the Desktop view make sure that
you have the Exercise Files directory selected,
| | 01:21 | and then in the main part of the Desktop view,
with this pulldown menu, make sure that you
| | 01:24 | have the option, Sequences from
folder + subtree selected.
| | 01:28 | Remember, this option simply allows you to
view subfolders within a selected directory
| | 01:33 | over here in your file string.
| | 01:35 | Okay, so with everything set up properly, what
I'm going to do is scroll down just a little
| | 01:39 | bit and I'm looking for four different clips;
here's the first one right here, directclip1.
| | 01:43 | Here is clip2, clip3, and clip4.
| | 01:47 | And I want to get all four of these clips into
this blank Timeline here in Adobe SpeedGrade.
| | 01:52 | So let's start out with directclip1.
| | 01:55 | Probably the easiest way to get a clip into a
blank Timeline and thus into Adobe SpeedGrade
| | 01:59 | is very simply placing your mouse over the
clip, and then if you click this little plus
| | 02:03 | button right here, you can add the clip to a
Timeline, but did you notice what that little
| | 02:07 | yellow sticky said? It's said,
Insert after selected clip.
| | 02:11 | Well, right now since I have no clips on this Timeline,
this clip will be added to the beginning of the Timeline.
| | 02:18 | All right, so we'll go ahead and click the
plus button here, and then there you go.
| | 02:21 | The clip has been added to this Timeline.
| | 02:23 | If you don't want to go through the somewhat
arduous step of clicking that plus button,
| | 02:27 | you don't have to.
| | 02:28 | All you need to do is simply come up to a
clip that you want to add and double-click
| | 02:31 | on it, and it's added to the Timeline
after the clips that you've previously added.
| | 02:35 | Let me repeat that process for clip 3 and 4.
| | 02:38 | I'll click the plus button for 3
and then I'll double-click for 4.
| | 02:43 | And then down here on my Timeline, you can
see that all four clips have been added.
| | 02:47 | Now I should point out, if you have an entire
folder of clips that you want to import, you
| | 02:52 | can easily do that without having
to click on each individual clip.
| | 02:57 | All you do is navigate over here in your file
tree, to the directory, to the folder that
| | 03:01 | you want to import, and then simply click
this button right here to add all the items
| | 03:06 | that are viewable in the Desktop view and thus
in that folder or directory to your Timeline.
| | 03:11 | Of course, to view the actual clips that
you've added to the Timeline, you simply need to
| | 03:15 | switch over to the Monitor tab right here.
| | 03:18 | And remember, a great keyboard shortcut to
quickly switch between your active Desktop
| | 03:22 | in the monitor is simply D on the keyboard.
| | 03:24 | Just remember, when you switch over to the monitor,
your clip will look rather zoomed in and large.
| | 03:29 | You can remedy this by simply clicking this
button right here called Zoom to fit, or if
| | 03:34 | you're on a Mac you can use the keyboard
shortcut Command and then the Home key, or if you're
| | 03:39 | on a PC, you can use Ctrl and the Home key.
| | 03:41 | Okay, so I think you can see that it is really
simple to import clips directly into Adobe's
| | 03:46 | SpeedGrade, and again, in postproduction
this workflow is not all that widely used.
| | 03:51 | It's more often used when you're on set and
you simply want to get clips in quickly, so
| | 03:55 | you can do test and preview grades
while onset or while on location.
| | Collapse this transcript |
| Using automatic scene detection| 00:00 | In this movie, I want to
show you a magic trick.
| | 00:02 | Okay well, I might be exaggerating just a touch,
but I think that automatic scene detection,
| | 00:06 | which we will talk about in this movie, is
a very powerful and useful feature inside
| | 00:11 | Adobe SpeedGrade.
| | 00:12 | Now what do I mean by automatic scene detection?
Well, sometimes you'll be delivered a single
| | 00:17 | self-contained movie file and because it's
a self-contained file, all the constituent
| | 00:22 | clips are not available for you to color
correct and grade, like they would be say, if you
| | 00:26 | had a Adobe Premiere Pro project, or if you
had a folder of clips that you want to conform
| | 00:31 | with an EDL.
| | 00:32 | Both of which, by the way, we'll
talk about later in this chapter.
| | 00:35 | So in the case of a single self-contained
file I guess you could color correct it and
| | 00:39 | grade it by key framing corrections throughout the
entire length of the shot, but that would be a giant pain.
| | 00:45 | So a better way of working with a self-contained
file is to cut it up into its constituent clips.
| | 00:52 | That's what automatic scene detection does.
| | 00:55 | Automatic scene detection analyzes a clip
to see where the separate clips or separate
| | 00:59 | shots actually are in the file.
| | 01:02 | Then based on your input it will
make cuts at those various edit points.
| | 01:07 | If you're following along with the exercise
files make sure that you open up this project
| | 01:10 | or this Timeline called 02_02_scenedetection.
| | 01:14 | Down here in middle of the interface you can
actually see that this particular Timeline
| | 01:17 | is a blank Timeline.
| | 01:19 | So with the Exercise Files folder selected
over here in my file tree, what I'm going
| | 01:24 | to do is come down and scroll to the bottom
of this view until I find this particular
| | 01:30 | shot right here called scenedetect.mov.
| | 01:33 | This is actually a self-contained file
of three or four maybe even five shots.
| | 01:38 | What I want to do is use the automatic scene
detection inside of Adobe SpeedGrade to cut
| | 01:43 | this file up into its constituent clips.
| | 01:47 | So what I'm going to do is click the plus
button here to add it to this blank Timeline,
| | 01:51 | and then down here in the Timeline tab and
then on the Reels tab, what I want to do is
| | 01:56 | hover my mouse over the shot, this movie right
here called scenedetect.mov, and then I want
| | 02:01 | to click this button right here called SCD,
Scene Cut Detection, and when I click on that,
| | 02:07 | automatically Adobe SpeedGrade will start
analyzing this self-contained movie file.
| | 02:12 | What it's doing is it trying to figure out
where the separate cuts are in this file.
| | 02:19 | So now in this floating window I want to
show you what you're actually looking at.
| | 02:22 | Over here on the right we have
this weird graph looking thing.
| | 02:26 | We'll get back to that in just a second.
| | 02:27 | Over here, I can see a preview as I drag through
this weird looking graph over here on the right.
| | 02:32 | Down here I have some controls to navigate
through some various points in this graph.
| | 02:36 | Then right here I can control the
sensitivity of what I actually think is a cut point.
| | 02:42 | So looking at this graph you will notice
that there are bunch of bars, and no, I am not
| | 02:47 | trying to harking you back to
your days in high school math.
| | 02:50 | But what these bars indicate is Adobe
SpeedGrade's confidence that, that particular frame is
| | 02:56 | an actual cut point.
| | 02:58 | The higher the bar, the more confident Adobe
SpeedGrade is that that particular frame is a cut point.
| | 03:04 | And when it's really confident, you'll
get a blue bar like this one right here.
| | 03:08 | A blue bar indicates Adobe SpeedGrade thinks
that this particular frame is a cut point.
| | 03:13 | Let's go ahead and take a look at
this particular one right here.
| | 03:16 | Yup! That indeed was an actual cut point.
| | 03:21 | Now sometimes things like dissolves in other
transitions will confuse Adobe SpeedGrade
| | 03:27 | into thinking that a frame is
actually cut point when in fact it's not.
| | 03:32 | So there are two options that have to sort
of adjust how Adobe SpeedGrade handles scene
| | 03:36 | cut detection when analyzing a file.
| | 03:38 | The first is by using this little
slider right here for sensitivity.
| | 03:42 | Notice that I have this little sort
of orangey gold line right here.
| | 03:46 | This is my sensitivity line.
| | 03:47 | If I drag down, notice that the line goes up,
and if I drag the other way, notice that
| | 03:53 | the line goes down.
| | 03:54 | Now let me drag all the way forward and
you'll notice that the line starts to touch some
| | 03:59 | of these bars and when it does,
it turns those bars blue.
| | 04:03 | Now Adobe SpeedGrade thinks of these blue
bars, these guys right here, are actually cut
| | 04:08 | points, when I know in fact,
they are not actual cut points.
| | 04:11 | So you can adjust the sensitivity control when
Adobe SpeedGrade falsely indicates different
| | 04:17 | frames as cut points.
| | 04:18 | Now you have to balance this out, because
you don't want to be too aggressive and make
| | 04:22 | too many frames cut points, but you also don't
want to go the other way and have things that
| | 04:27 | are really truly cut points not be cut points.
| | 04:30 | Let me go ahead and reset that by
clicking this little gray square right here.
| | 04:34 | The other thing that you can do is you
can use the controls right over here.
| | 04:38 | If you click this button right here, you can
navigate to the next frame that Adobe SpeedGrade
| | 04:42 | thinks is a true cut, right there.
| | 04:45 | Now in this case, this
frame is truly a cut point.
| | 04:50 | But if I didn't want it to be, I could
simply click this button right here to make it a
| | 04:55 | regular frame or non-cut point.
| | 04:57 | Let me go ahead and click that back.
| | 04:59 | Let me just briefly scan through this.
| | 05:02 | I think that most of the cut points that Adobe
SpeedGrade shows in this particular case are
| | 05:06 | probably true cut points, because there is
only a three or four shots, and guess what?
| | 05:10 | They are all cuts.
| | 05:11 | So I'm happy with the automatic cut
detection or the actually automatic scene detection
| | 05:14 | that Adobe SpeedGrade did.
| | 05:16 | So what I'm going to do is go ahead and simply
click this button right here, split into clips.
| | 05:20 | Then in just one second here on my Adobe
SpeedGrade Timeline you will notice that I have one,
| | 05:26 | two, three, four different shots.
| | 05:29 | Let me press D on the keyboard to navigate
over to my Monitor view and then let me
| | 05:33 | drag the playhead through the sequence.
| | 05:35 | Oh, and remember there's a cool
keyboard shortcut you can use.
| | 05:38 | On the Mac it's Command+Home and on the PC
it's Ctrl+Home to snap the image into the
| | 05:44 | viewable area here of the monitor.
| | 05:46 | So let's drag through.
| | 05:48 | So it looks like it automatically detected
all the shots in the self-contained file.
| | 05:53 | So no matter what you call it, automatic scene
detection, automatic cut detection, or scene
| | 05:58 | cut detection, really it's
all just the same thing.
| | 06:01 | I think that you'll find this to be a very
powerful and useful feature inside of Adobe
| | 06:06 | SpeedGrade when you have a single self-contained
file that you want to color correct and grade
| | 06:10 | by being able to cut it up
into its constituent clips.
| | 06:13 |
| | Collapse this transcript |
| Conforming a project with an Edit Decision List (EDL)| 00:00 | In this movie, I want to show you what is
probably the most common way of getting projects
| | 00:04 | into Adobe SpeedGrade and that's by
using an EDL or an Edit Decision List.
| | 00:09 | By using an EDL, you can conform a project
here in Adobe SpeedGrade back to the original
| | 00:14 | edit that you had in your editorial tool.
| | 00:15 | And by using a standard CMX 3600 EDL, you can
reconnect to a wide variety of video formats
| | 00:21 | such as RAW video from a Red camera or other
codecs and resolutions that your project may contain.
| | 00:27 | Now I know what you might be thinking, EDLs
really Rob? Well, it's true, EDLs are a
| | 00:32 | little bit of an antiquated format, but they
still really work well for exchanging information
| | 00:37 | between different applications.
| | 00:39 | So in this movie, we're going to use an EDL
and then reconnect the EDL to the clips that
| | 00:44 | we want to color correct and grade.
| | 00:46 | If you're following along with the exercise
files, be sure to open up this project for
| | 00:49 | this Timeline called 02_03_edl.ircp.
| | 00:53 | Make sure you don't open up
this one, also called 02_03.edl.
| | 00:56 | We'll use this file in just a second.
| | 00:58 | For right now, I want to have the actual
IRCP file or the SpeedGrade project file open.
| | 01:03 | So down here in my Timeline, you can see that
I have that Timeline open, but there are no
| | 01:07 | clips in it.
| | 01:08 | So what I want to do is add the EDL to this
Timeline and remember an EDL is simply an
| | 01:13 | instruction set. It doesn't
actually contain any media.
| | 01:18 | So what I'm going to do is come back up here
to my Desktop view and let's go ahead and
| | 01:21 | select the EDL file, 02_03.edl.
| | 01:24 | I'll click the plus button
to add that to my Timeline.
| | 01:27 | Okay, so down here in the Timeline, you
can see that I have a whole bunch of clips.
| | 01:30 | And notice the color of these clips,
they are kind of a peachy orangey color.
| | 01:34 | This indicates that these
clips are not actually online.
| | 01:37 | And if you look at one of the clips here,
you can see it says Reel not loaded.
| | 01:41 | Again this is because an EDL is simply an
instruction set, it doesn't actually contain any media.
| | 01:47 | So what we need to do is point
SpeedGrade to the media that this EDL uses.
| | 01:52 | So the way I'm going to do that is by coming
down here to my Timeline tab and then over
| | 01:56 | to this tab right here labeled Reels.
| | 01:58 | Here in the Reels tab, you can see all the
individual clips that are used to make up
| | 02:02 | this particular sequence, or this particular
Timeline, but notice again, they say Reel not loaded.
| | 02:07 | So what I want to do is come over and click
on this button right here, Load from desktop,
| | 02:11 | and what this says is it loads
reels from the sequence desktop.
| | 02:14 | However, there's one really important thing
that you need to understand about this, is
| | 02:18 | that it loads media based on
your current Desktop view.
| | 02:22 | So right now, I'm looking at the Exercise
Files folder and I know that all of my clips
| | 02:26 | that make up this EDL and make up this Timeline,
are located in the Exercise Files folder,
| | 02:32 | and then in the subfolder called Media, and
I'm viewing the subfolder again because I
| | 02:35 | have this option right here,
Sequences from folder + subtree selected.
| | 02:39 | So it's important that you first navigate
to the location or the folder or the driver
| | 02:43 | whatever it may be, where the media is
located for the EDL that you're trying to conform
| | 02:48 | and reconnect media to.
| | 02:50 | If your media is in multiple locations, you'd
first just need to navigate to each location
| | 02:54 | and reconnect each
location separately to the EDL.
| | 02:58 | You can make this task easier by using
multiple Desktop tabs and sort of create bookmarks
| | 03:02 | for each location in which your media resides
that you need to reconnect back to the EDL.
| | 03:07 | So I'm already in the right place.
| | 03:09 | So let me come down here and click this
button right here, Load from desktop.
| | 03:13 | And instantaneously, all of my media is reconnected,
conforming to show to the EDL or to that instruction
| | 03:20 | set that I exported.
| | 03:21 | Okay, so now that we've reconnected all the
media to this EDL, what I'm going to do is
| | 03:25 | come up here to my Monitor tab and remember
you can always use the keyboard shortcut D
| | 03:29 | on the keyboard to toggle between your active
Desktop view and the monitor, and then what
| | 03:34 | I'm going to do is use the keyboard shortcut,
since I'm on a Mac, of Command+Home to snap
| | 03:38 | the clip back into the
viewable area of the monitor.
| | 03:41 | Just remember if you're on a PC, you can use
the keyboard shortcut Ctrl+Home to accomplish
| | 03:44 | the same task.
| | 03:46 | Next, down here on the Timeline,
I want you to notice something.
| | 03:48 | I actually have three different tracks.
| | 03:51 | I have two shot tracks, and then I have
a track right here labeled Dissolves.
| | 03:54 | In this particular Timeline, I have some
dissolves that transition between these clips.
| | 03:58 | An EDL supports simple
transitions like dissolves.
| | 04:02 | Okay, let me go ahead and just drag through
this sequence, and you can see that I have
| | 04:07 | a little dissolve there, cut into another clip,
another dissolve right there. Everything
| | 04:11 | is looking pretty good.
| | 04:12 | Let's back up and I'll play
this by pressing the spacebar.
| | 04:14 | (music playing)
| | 04:18 | Visually, everything looked great, but did
you hear that audio? Well, that audio came
| | 04:22 | through because we reconnected to a
couple of clips that had audio with them.
| | 04:26 | And if I don't want to listen to that clip
audio, I can come over there to the left side
| | 04:30 | of the Timeline and click these little speaker
buttons right here for each one of the shot tracks.
| | 04:35 | Now personally, I don't find listening to
clip audio to be all that helpful while I'm
| | 04:39 | color correcting and grading, but what I do
find to be particularly useful is listening
| | 04:43 | to all the audio of the entire show, the music
track, the sound effects track, the nat sound,
| | 04:48 | and so on.
| | 04:49 | So what I'll often do is export a self-contained
stereo file of the entire show or ask my client
| | 04:54 | to do that.
| | 04:55 | And then what I will do is I'll bring that
into SpeedGrade, so I can color correct and
| | 04:59 | grade the show in context of the audio
that I'm working with in the project.
| | 05:03 | So what I'm going to do is press the Home
key to navigate back to the first frame of
| | 05:07 | this Timeline and then I'm going to press D
on the keyboard to toggle back to my last
| | 05:11 | active desktop, in this case, it
was the Exercise Files folder.
| | 05:14 | And then what I'm going to do is scroll up a
little bit here, and there's a file right
| | 05:18 | here called edl_audio.wav.
| | 05:21 | I actually want to go ahead and add
this audio file to this Timeline.
| | 05:25 | So let me go ahead and select this file
and then drag it down here to my Timeline.
| | 05:28 | What I want to do is position it
underneath all the other clips.
| | 05:32 | When I do that, you'll notice this
red line underneath all the clips.
| | 05:35 | And I'm going to try to position the clip
right at the beginning of the Timeline, something like this.
| | 05:40 | So I will go ahead and let go.
| | 05:42 | And you'll notice it lined up
pretty well, but not exactly.
| | 05:44 | You'll notice that there are a couple
frames difference here at the end.
| | 05:48 | So anytime that you want to move a clip around
on an Adobe SpeedGrade Timeline, simply place
| | 05:52 | your mouse over that clip and then using
this little icon right here, you can click and drag.
| | 05:57 | Notice that red bar as I drag?
| | 05:58 | What I'm going to try to do is line up that
red bar right to the end of edl_clip7, right here.
| | 06:02 | All right, that looks pretty good.
| | 06:04 | Let me switch back over to my monitor by
pressing D on the keyboard, then let's go ahead and
| | 06:08 | play back this Timeline.
| | 06:09 | (music playing)
| | 06:23 | Okay, so now I have the audio mix
down in context with all of my shots.
| | 06:27 | Now you might have noticed that the audio
stumbled there just a little bit, that's because
| | 06:31 | it was just playing through
this last cross dissolve right here.
| | 06:34 | Once it's sort of cached that cross dissolve,
everything should play back just fine.
| | 06:37 | Okay, so that's an EDL
workflow of Adobe SpeedGrade.
| | 06:40 | I think you'll find that it's the workflow
that you'll use most often, especially if
| | 06:44 | you're doing long form work.
| | 06:45 |
| | Collapse this transcript |
| Sending a sequence from Premiere Pro to SpeedGrade| 00:00 | Earlier this chapter we talked about three
different ways to get footage and projects into
| | 00:03 | Adobe SpeedGrade.
| | 00:04 | The first was by directly importing clips into
SpeedGrade. Next, we talked about automatic
| | 00:09 | scene or automatic cut detection, and we also
talked about conforming shots by using EDL.
| | 00:14 | Well, in this movie I want to show you a fourth way
to get clips and projects over to Adobe SpeedGrade.
| | 00:19 | And that fourth way actually starts here in
Adobe Premier Pro by selecting a sequence
| | 00:23 | and then coming up to the File menu
and choosing Send to Adobe SpeedGrade.
| | 00:27 | Now for this movie I'm assuming that
you have access to Adobe Premiere Pro.
| | 00:31 | If you're using a standalone version of the
Adobe SpeedGrade and don't have access to
| | 00:35 | Premiere Pro, then you will just need to follow
along with the steps that we do in this movie.
| | 00:39 | However, if you do have access to Premiere
Pro and you're following along with exercise
| | 00:42 | files, you should open this project called O2
_04_premieretospeedgrade, and there is only
| | 00:47 | one sequences in this project called O2_04_
premieretospeedgrade and that's the open sequence right here.
| | 00:52 | Now before we actually send this sequence
over to Adobe SpeedGrade, I want to point
| | 00:56 | out a few really important things.
| | 00:59 | First down here on the sequences, let me scrub
through it, you'll notice that there are couple
| | 01:02 | of cool looking guitar shots here, but also
notice that the sequence is really short and
| | 01:06 | this is actually a really
important thing to keep in mind.
| | 01:09 | When you send to Adobe SpeedGrade, what you're
actually doing is you are creating DPX image
| | 01:14 | sequences for each and every shot on your
sequence, and this can take quite a bit of time.
| | 01:19 | So I've found that the Sent to Adobe
SpeedGrade command is best often used in short form
| | 01:24 | work, things like spots
and other short pieces.
| | 01:27 | It's not particularly
suited for long form work.
| | 01:30 | I find that the EDL workflow, which we've discussed
earlier in this chapter, works best for long form work.
| | 01:35 | But if you on a pinch and you're doing a short
form piece, sending to Adobe SpeedGrade from
| | 01:39 | Adobe Premiere Pro is a
perfectly valid workflow.
| | 01:42 | There are couple other things I want you
to understand about DPX image sequences.
| | 01:45 | First, DPX image sequences are
really, really, really, big.
| | 01:49 | In 1920x1080 there are
approximately 8 megabytes per frame.
| | 01:54 | So you are going to need a lot of hard drive
space to store all those frames, especially
| | 01:59 | when you consider that you have DPX
sequences in probably your original media as well.
| | 02:04 | So you will need a lot of storage space.
| | 02:06 | Because DPX image sequences are so big and
there are so many separate frames, you will
| | 02:10 | also need very fast hard
drives to support playback.
| | 02:14 | If you notice that you're dropping frames when
you send a sequence over to Adobe SpeedGrade,
| | 02:18 | it's probably because your drives are not
fast enough to support the throughput needed
| | 02:23 | to playback DPX image sequences.
| | 02:26 | The other thing I want to point out about
creating a DPX image sequence and using the
| | 02:29 | Send to Adobe SpeedGrade command is that when
you do that you lose access to the original
| | 02:34 | codecs that you have here
in Adobe Premiere Pro.
| | 02:37 | For example, maybe you are working with
Red raw files here in Adobe Premiere Pro.
| | 02:41 | Well, when you create a DPX image sequence,
you lose access to that raw metadata.
| | 02:46 | Likewise, any effect that you have placed
on a clip here inside of Adobe Premiere Pro
| | 02:51 | is baked into the DPX image sequence.
| | 02:54 | So just keep those things in mind, but the actual
process of sending to Adobe SpeedGrade is pretty easy.
| | 02:59 | So with the sequence selected what I am going
to do is back up to the File menu and choose
| | 03:03 | Send to Adobe SpeedGrade, and then here in
the dialog box, I can choose where I want
| | 03:07 | to save this new .ircp project.
| | 03:11 | That's an Adobe SpeedGrade project.
| | 03:13 | Now it defaults to the same location that
your Adobe Premiere Pro project is located
| | 03:17 | in, and I am fine with that for this particular
movie, and it also defaults to the same name
| | 03:21 | as your sequence in Adobe
Premiere Pro which I am fine with.
| | 03:25 | In this movie, we're simply going to be saving
things back out to the Exercise Files folders.
| | 03:29 | Let me go a head and click Save, but before I do
just remember that this is going to take some time.
| | 03:34 | So what I am going to do is start rendering
and we'll come back right before the project
| | 03:37 | is about to be sent over to Adobe SpeedGrade.
| | 03:44 | Okay, so the project is done rendering
all those DPX image sequences.
| | 03:47 | Let me actually go out to my Exercise Files
folder here and then look at this folder right
| | 03:52 | here 02_04premierestospeedgrade Media.
| | 03:55 | If I go ahead and open that up, you'll notice
that there is a folder for each and every
| | 03:58 | shot that we had in my Adobe Premiere Pro
timeline, and if I open up one of the folders
| | 04:02 | for one of these clips, you'll notice that there
are ton of DPX files inside, one for each frame.
| | 04:08 | And notice because this was 1920x1080 each
one is about 8 megabytes per frame, and just
| | 04:14 | remember that really adds up,
especially if you're doing longer sequences.
| | 04:18 | Let's switch over to Adobe SpeedGrade.
| | 04:20 | Here in SpeedGrade, you can see
that I now have my project.
| | 04:23 | Let me press D on the keyboard
to switch over to my monitor.
| | 04:25 | Because I'm on a Mac I'll use the keyboard
shortcut Command+Home to fit the clip into
| | 04:29 | the viewable area of the monitor here.
| | 04:31 | If you are on PC you just use Ctrl+Home.
| | 04:34 | Let me go ahead and scrub through this,
and everything looks pretty good.
| | 04:39 | Also notice that we have an audio file
right here 02_04_premieretospeedgrade.wav.
| | 04:43 | Now back inside of Adobe Premiere Pro I didn't
actually have any audio, but this is a pretty
| | 04:49 | important thing to keep in mind, is that
your audio from the sequence will also be sent
| | 04:54 | over to SpeedGrade, and in this case, the audio track
here inside of Adobe SpeedGrade is actually empty.
| | 04:58 | It's just representative of the fact that
we had audio tracks back in our sequence in
| | 05:02 | Adobe Premiere Pro.
| | 05:03 | Finally, we'll discuss in the last chapter
in this title the idea of getting back to
| | 05:07 | Premiere Pro but I do I want to put it in your
head that this is not a true round-trip workflow.
| | 05:12 | There is a reason that the command is Send
to Adobe SpeedGrade, because it's a one-way trip.
| | 05:17 | What we're going to do is get our footage
into Adobe SpeedGrade and then grade it of
| | 05:21 | course, and then we will render it out.
| | 05:23 | But we actually need to manually import that
footage back into Adobe Premiere Pro at the
| | 05:28 | end of the process, and again, we'll talk
about that in the last chapter in this title.
| | 05:32 | So there you go, a pretty
straightforward workflow.
| | 05:34 | You just have to keep in mind some gotchas
about working with DPX image sequences in
| | 05:38 | the new Send to Adobe SpeedGrade
command from Adobe Premiere Pro.
| | 05:42 | But for short form work and other small
projects this is a great workflow that easily gets
| | 05:46 | projects and footage from Adobe
Premiere Pro over to Adobe SpeedGrade.
| | 05:51 |
| | Collapse this transcript |
| Exploring the stereoscopic workflow| 00:00 | Over the past few years, stereoscopic 3D production
and post production has really gained in popularity,
| | 00:05 | and in this movie, I want to show you the
essentials of how you can get set up to work
| | 00:08 | with stereoscopic 3D
inside of Adobe SpeedGrade.
| | 00:11 | Before we jump into SpeedGrade, I want to
show you how I have my stereo footage organized
| | 00:15 | here on my machine.
| | 00:15 | So let me go ahead and open up the Exercise
Files folder here, and then let me go into
| | 00:19 | this folder right here called Media, and then let me
open up this folder right here called stereo footage.
| | 00:24 | Inside of this folder, you will notice that
I have two subfolders, one called left for
| | 00:27 | my left eye footage and one called
right for my right eye footage.
| | 00:30 | And inside of each folder, I have a shot called lizard,
one for the left eye and one for the right eye.
| | 00:35 | Now it's always a good idea to organize your
stereo footage into separate left and right
| | 00:38 | folders, but not only is this a good organizational
practice, it can also help you inside of Adobe SpeedGrade.
| | 00:44 | Adobe SpeedGrade can automatically detect
which shots are for the left eye and which
| | 00:47 | shots are for the right eye,
depending on how you've named your folders.
| | 00:51 | So I always think it's a good idea to name your
folders left and right for separate left and right eyes.
| | 00:56 | Okay, let's jump into SpeedGrade and see how
stereoscopic footage works inside of the application.
| | 01:01 | If you are following along with the exercise
files, let's go ahead and open up this project
| | 01:04 | right here called 02_05_stereo.ircp.
| | 01:08 | Before you can actually start working with
stereo footage, there are a few things that
| | 01:11 | you need to adjusting in your settings.
| | 01:13 | So to get over to your Settings tab of course,
you can just click, but you can also use the
| | 01:17 | keyboard shortcut S on the keyboard.
| | 01:19 | Here in the Settings tab, the first area or
the first category that we need to look at
| | 01:22 | is the Editing category and if you scroll
down just a little bit, you first need to
| | 01:27 | make sure that you enable stereo.
| | 01:29 | If you don't have this option selected,
you will not be able to work in stereo.
| | 01:33 | Next, let's come up to the Display category
and in the Display category, we have Stereo
| | 01:38 | 3D Display Options, and if you click into the
Stereo display mode menu right here, you have
| | 01:43 | a few different options for how you are going
to actually display 3D, you can turn it off,
| | 01:47 | you can choose to display anaglyph
red/cyan, interlaced, and so on.
| | 01:50 | For this movie I am going to go
ahead and choose the red/cyan option.
| | 01:53 | Then I am going to go down to my Timeline
tab here and on the Setup tab, let me make
| | 01:57 | sure that this Timeline is
set up to work in Stereo.
| | 02:00 | Let me press D to get back to my desktop.
| | 02:02 | Then what I am going to do is scroll down
just a little bit, and I want to look for
| | 02:07 | those two lizard shots that we
were looking at just a moment ago.
| | 02:10 | Okay, here are the two shots, lizard_ left
and lizard_right, let me go ahead and add
| | 02:14 | the lizard_left shot to my Timeline.
| | 02:16 | Okay, I have added it to my Timeline, but
let me click the Timeline tab and then click
| | 02:19 | over to Reels, and you will notice that
SpeedGrade automatically added the right eye as well.
| | 02:24 | And that's because of the way
that I have my footage organized.
| | 02:27 | Remember I had it organized into separate
left and right folders and Adobe SpeedGrade
| | 02:30 | is really smart when it comes to Stereo work and it can
automatically detect matching shots for either eye.
| | 02:36 | Okay, let's go ahead and click on this tab
right here called Stereo 3D, and this tab become
| | 02:40 | active when you are working
with stereoscopic 3D projects.
| | 02:43 | Here on the Reel Assignment tab, under the
Stereo 3D tab, is where you can set up your reels.
| | 02:47 | Now this was automatically done
for us when we added the footage.
| | 02:50 | Again, SpeedGrade is really smart
and figured out which eye is which.
| | 02:53 | Here is the left eye and
here is the right eye.
| | 02:55 | But if for some reason, SpeedGrade didn't
actually choose the right eye, you can always
| | 02:58 | manually come back to your desktop and drag
a shot in for either eye, just like that.
| | 03:03 | Here on the Reel Setup tab, you can adjust
things like mirroring and you will often need
| | 03:06 | to do this if your footage was shot on a beam
splitter rig, but my footage was shot side-by-side,
| | 03:11 | so I don't need to do any mirroring changes.
| | 03:13 | On the Geometry job, this is where the "magic"
happens with stereo work inside of Adobe SpeedGrade
| | 03:18 | as far as I am concerned.
| | 03:19 | So what I can do on this tab is I
can automatically align my image.
| | 03:23 | Now let me show you the
image before we continue on.
| | 03:25 | I want to press D on my keyboard to
hide my Desktop and here's the shot.
| | 03:29 | It looks pretty good. Remember, it looks kind of
weird right now, because it's just in anaglyph
| | 03:32 | mode, that red/cyan mode. I don't see anything that
strikes me as being totally off and totally weird.
| | 03:37 | However I am willing to bet that there are
some alignment problems with this shot.
| | 03:41 | So what we can do with these controls
right here, is we can align the image.
| | 03:44 | This first one allows you to adjust Parallax.
This next one, Rotation. This one, Vertical
| | 03:48 | offset and then this one Relative scale.
| | 03:51 | These controls right here allow you to
match color and contrast between the eyes.
| | 03:55 | The first button tries a little bit to match
the color, the middle button tries a little
| | 03:59 | harder and then finally this button right
here, matches the color and the contrast of
| | 04:03 | the shots or of the different
eyes really, really strongly.
| | 04:06 | Of course, you can always use the manual
controls up here to adjust things, but I like to go
| | 04:11 | ahead and first do an
automatic match to see where I get.
| | 04:15 | So what I am going to do is click the Match button
right here and SpeedGrade will process these clips.
| | 04:19 | And in just a second, it
will automatically align them.
| | 04:22 | And you can see up here in the manual controls
it did in fact make some adjustments, and you
| | 04:27 | can further refine those
adjustments if you see fit.
| | 04:29 | Okay, so up here in the Monitor, I have a few
different buttons that I want to show you.
| | 04:33 | The first button is this one right here and this is
how we can view our stereo image in Display mode.
| | 04:38 | Remember we set that up just a moment ago
in our Settings, and right now I am viewing
| | 04:42 | this image as red/cyan anaglyph.
| | 04:44 | But at any time, you can view
separate left and separate right eyes.
| | 04:48 | You can also use the keyboard shortcuts Option+L
or Alt+L or Option+R or Alt+R to quickly switch
| | 04:52 | between the left or right eyes, clicking
back on the center set of glasses will get you
| | 04:56 | back to both the eyes.
| | 04:58 | This button right here lets you go
into Side-by-Side display mode.
| | 05:01 | Side-by-Side display mode is a popular way
that 3D stereoscopic productions are worked
| | 05:05 | on in postproduction.
| | 05:06 | It's also a popular way that
stereoscopic 3D work is delivered.
| | 05:09 | With this button right here, you can
view a Difference Matte of the two eyes.
| | 05:13 | A Difference Matte is particularly useful
for when you need to come down here to the
| | 05:16 | Adjust button under the Stereo 3D tab and
start adjusting your parallax or your separation.
| | 05:21 | And as you do that, it's really easy to see how
you have separated the left and right eyes.
| | 05:26 | And over here on the Floating Window tab, you
can control the position of the stereo window.
| | 05:30 | When objects have a negative parallax are in
front of the screen, sometimes they go past
| | 05:34 | the edge of the screen and when they
do, this breaks the stereo effect.
| | 05:38 | But by using Floating Windows, you
can prevent these types of problems.
| | 05:41 | Okay, let me go ahead and close this Timeline
and I want to show you one more thing about
| | 05:44 | getting set up to work
with stereoscopic projects.
| | 05:47 | I don't need to save this, but what I am
going to do is come back to my desktop, and then
| | 05:51 | scroll back up to the top here, and once again
open up the project 02_05_stereo.ircp, but
| | 05:57 | I want to make sure that my Timeline is setup
to work in Stereo, which it is, and then
| | 06:00 | let me open up this EDL
called 02_05_stereo.edl.
| | 06:04 | Just like when we worked with an EDL earlier in this
chapter, we have an offline or not loaded clip.
| | 06:09 | So what I am going to do is come over to my Reels
tab here and click the Load from desktop button.
| | 06:13 | And once again, Adobe SpeedGrade
automatically figured out the left and the right eyes.
| | 06:18 | Now why is this any different than what we
did? Think about it this way, oftentimes in
| | 06:22 | stereoscopic productions, an
editor will work in mono.
| | 06:25 | Typically, working with the left eye to cut
the show together and get everything sorted
| | 06:29 | out with the story, but then what they
can do is export an EDL of the left eye.
| | 06:33 | You can bring that EDL into Adobe SpeedGrade
and based on the way that Adobe SpeedGrade
| | 06:37 | can automatically figure out the other eye,
assuming that timecode matches, you can simply
| | 06:41 | load a mono EDL and Adobe SpeedGrade will
automatically create a stereo Timeline for
| | 06:45 | you if you have this settings
enabled, which is hugely useful.
| | 06:48 | Finally, the last thing I want to discuss
is just about grading with stereo footage.
| | 06:51 | Now I know we haven't talked about grading
quite yet inside of Adobe SpeedGrade, but
| | 06:55 | I just want to show you something real simple.
| | 06:56 | If I come over here to my Look tab, what I am going to
do is just a simple contrast correction on this shot.
| | 07:02 | Let's make it a little darker in the midtones and
we'll make those highlights a little brighter as well.
| | 07:07 | Now what happened automatically, if I switch
between those two eyes, is that Adobe SpeedGrade
| | 07:11 | copied the correction to both eyes.
| | 07:13 | You don't have to switch back and forth
between different Timelines making sure that your
| | 07:18 | different eyes match.
| | 07:19 | Adobe SpeedGrade does it
for you automatically.
| | 07:21 | Okay, so that's the essentials of getting
set up to work with stereo 3D footage inside
| | 07:25 | of Adobe SpeedGrade.
| | 07:26 | Even if you are not working with stereo 3D
footage at the moment, it should be reassuring
| | 07:30 | to know that Adobe SpeedGrade is up to the
task when it comes to stereoscopic finishing
| | 07:33 | and color grading.
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|
|
3. Making Primary CorrectionsGrading layers and exploring the Layer Stack| 00:00 | In this movie, before we actually jump into
primary grading, I want to explain the semi-confusing
| | 00:04 | topic of grading shots here on the Look tab,
and then here in the Layers stack versus adding
| | 00:10 | new grading layers up here in
the Adobe SpeedGrade Timeline.
| | 00:13 | And as you learn more about SpeedGrade, at
first blush these seem to be sort of contradictory
| | 00:18 | approaches to grading, but in fact they are
actually very complementary, and I'll explain
| | 00:22 | that in just a moment.
| | 00:23 | But first, if you are following along with
exercise files be sure to open up this Timeline
| | 00:27 | on a project called 03_01_timelinevslayers.
| | 00:30 | By default when you navigate to or select a
clip here in the Abode SpeedGrade Timeline
| | 00:35 | you're going to obviously grade
that clip. Let me show what I mean.
| | 00:38 | So I am going to come down here to the Look
tab, and then here in the center section of
| | 00:41 | the Look tab I am going to
make a simple correction.
| | 00:44 | Now I know that we haven't talked about
making corrections yet, but just bear with me.
| | 00:47 | What I am going to do here on the Overall
tab is make a contrast adjustment here in
| | 00:51 | the midtones of the shot, I'll also make a
little bit of an adjustment to my Shadows
| | 00:56 | and my blacks, something like that.
| | 00:57 | And then I am going to neutralize the slight green
color cast that's in the shot, here in the midtones.
| | 01:03 | Okay, I am happy with that.
| | 01:04 | A good keyword shortcut to remember, by the way,
when you're grading is the 0 key on your keyboard
| | 01:08 | numberpad, and what that does is it
toggles the grade on and off, just like that.
| | 01:13 | So what I am really getting at is that each
clip has a built-in container for corrections,
| | 01:18 | and that's the Layers stack over here.
| | 01:20 | However, sometimes you'll want to combine
different looks or even have separate grades
| | 01:24 | for different looks that you're trying out, or
grades that different project stakeholders like.
| | 01:29 | So let me go ahead and navigate over here
to the Timeline tab and then on the Setup
| | 01:33 | tab, right here in the middle, I have a
category called Timeline Elements and then another
| | 01:37 | category over here called Tools.
| | 01:39 | And we're going to use some tools in both
of these categories to illustrate the idea
| | 01:42 | of adding grading layers up here
on Adobe SpeedGrade Timeline.
| | 01:46 | So what I want I first do is click on this
button right here to extract new grading
| | 01:51 | layers from my clips in my Timeline, and when
I did that you'll notice that I have these
| | 01:55 | two pink bars above each one of the clips
here on my Adobe SpeedGrade Timeline, and
| | 01:59 | these are new grading layers for each clip.
| | 02:01 | So as I mentioned before, each clip by default
has a grading layer on it, but by clicking
| | 02:06 | this button you can add additional
layers for each clip in your Timeline.
| | 02:10 | So I am going to ahead and click it two more
times here, so I have three additional layers,
| | 02:13 | but in reality I really have
four different grading layers.
| | 02:17 | The original grading layer on the clip itself
and then these three additional grading layers.
| | 02:21 | Let me go ahead and navigate down to the second clip on
my Timeline and here I have a pretty looking lizard.
| | 02:26 | A good way to thank of these Timeline layers as I
mentioned is as containers for grades and corrections.
| | 02:31 | And by selecting one of these grading layers
what you can do is then come back down here
| | 02:34 | to the Look tab and make a correction.
| | 02:36 | Now I am just going to make some very extreme
corrections just to illustrate the mechanics of this.
| | 02:41 | So let me go ahead and I'll make this clip
kind of pinky-purple, something like that.
| | 02:46 | I'm going to select another layer right here,
up here on my Timeline, and then we'll make
| | 02:51 | another extreme correction; make this one
kind of greenish, something like that, and
| | 02:56 | then we'll select the third one and we'll
make this nice and blue. We'll crush the blacks
| | 03:01 | kind of a bit, like that. There we go, and
maybe we'll even add a Custom Look layer over
| | 03:07 | in my Layers stack.
| | 03:09 | So you might have noticed besides the clip
looking horrible up here in the monitor,
| | 03:13 | the different corrections that I made for each
one of these grading layers sort of combined.
| | 03:18 | That's because the layers by default mix
together, and why you can certainly grade like that,
| | 03:22 | a better way to conceptualize these
different grading layers is as different grades.
| | 03:27 | And what I mean is that you might have one
that you like, the director likes, and the
| | 03:30 | one that you are just playing around
with and trying some ideas out on.
| | 03:32 | But by clicking this little eye icon for each
layer you can disable a particular grading
| | 03:37 | layer so you're only viewing one
grading layer at any given time.
| | 03:41 | And this is again a great way to toggle between
different grades that you've applied to a shot.
| | 03:46 | If you'd like to remove a grade track, simply
click on this icon right here, and then drag
| | 03:50 | up into the blank area here above the
Timeline until you see that red X, and then let go
| | 03:54 | to delete that grading layer.
| | 03:56 | And one thing I do want to make clear though is that
each grading layer is its own self-contained entity.
| | 04:00 | We'll go ahead and turn both of these layers
back on, and then select one of them and come
| | 04:04 | down to my Look tab again.
| | 04:07 | And you'll notice on this one we had
sort of that hot pink correction.
| | 04:10 | If I click on this one, you'll notice
that we have that green correction.
| | 04:13 | Let me go ahead and just add a
couple of additional primary layers.
| | 04:17 | So now you'll notice on this particular
grading layer I have three primary layers, but if
| | 04:21 | I click back on the first one I
only have a single primary layer.
| | 04:24 | Okay, finally I want to show you one more
thing about grading layers on a Timeline.
| | 04:28 | Let me go ahead and remove all of these
additional grading layers that I added just a moment
| | 04:32 | ago, and then what I want to do is come back over
here to the Timeline tab then to the Setup tab.
| | 04:37 | And here in the Timeline Elements section I
am going to click on this element and drag
| | 04:41 | up to the Timeline to add a new grading layer.
| | 04:43 | But don't actually let go as you drag.
I want to illustrate something.
| | 04:47 | Right now when I drag I have a thick red line.
If I drag up a little further, you'll notice
| | 04:51 | that I have a thin red line. Let me go
ahead and start with the thin red line.
| | 04:54 | When I apply the thin red line, a grading layer
is applied only to the shot that I was dragging
| | 04:59 | to. Let me go ahead and undo that.
| | 05:01 | If I drag up again and I get a
thick red line like that and let go.
| | 05:06 | You'll notice that you have a grading layer
applied to both shots, grading layer one and
| | 05:12 | grading layer two. Let me
go ahead and undo that.
| | 05:14 | At any time if you add a grading layer to
the Timeline you can trim it out to match
| | 05:19 | the length that you want.
| | 05:22 | And I'll use a grading layer this for a scene
or maybe even the entire Timeline to apply
| | 05:26 | a unifying look to that scene or Timeline, or
to do things like apply a custom Look layer
| | 05:31 | to legalize an entire Timeline, and I'll show
you that method of legalizing entire Timeline
| | 05:36 | using a grading layer in a
later movie in this title.
| | 05:39 | Okay, so that's a bit more about the Layers
stack and how it integrates with Timeline
| | 05:42 | grading layers. Once you see how these items
can work together, you'll see that you have
| | 05:46 | a lot more options for how you
approach grading inside of Adobe SpeedGrade.
| | 05:50 |
| | Collapse this transcript |
| Making contrast corrections| 00:00 | In this movie, I want to talk about making
contrast corrections here inside of Adobe
| | 00:03 | SpeedGrade, and I want to talk about contrast
corrections for three different scenarios;
| | 00:07 | first, on an underexposed shot, next, on an
overexposed shot, and then finally, on a shot
| | 00:12 | that's neither under or overexposed but could
benefit from having an expanded contrast range.
| | 00:16 | And if you are following along with the exercise
files, be sure to open up this project or Timeline
| | 00:20 | called 03_02_contrastcorrections, and if you
take a look at the first shot here in this
| | 00:25 | Timeline, you can see that it's pretty
dark and kind of well underexposed.
| | 00:28 | But let's go ahead and verify that by taking
a look at the Waveform and the easiest way
| | 00:32 | to open up the Waveform is by
pressing W on the keyboard.
| | 00:35 | You could also click on this button
right here at the bottom of the monitor.
| | 00:39 | Over here on the Waveform, the trace, the
stuff right here for the red, green and blue
| | 00:43 | channels is clumped up towards the
bottom of the scale that the Waveform uses.
| | 00:47 | And remember the scale that the Waveform
uses goes from zero or black or dark up to 100
| | 00:51 | or white or light.
| | 00:53 | And with most of the trace clumped up here
towards the bottom of the scale, this verifies
| | 00:57 | what our eyes are telling us, that this shot
is pretty dark and kind of underexposed.
| | 01:00 | Okay, so to fix this shot, what I am going
to do is come down here to the Look tab at
| | 01:04 | the bottom of the Adobe SpeedGrade
interface and then to the Overall tab.
| | 01:07 | And you will notice I have a slider right
here called Contrast and you could use this
| | 01:11 | Contrast slider to fix this shot, but I have
found that it doesn't give you very good results
| | 01:15 | when you have severely
underexposed or severely overexposed shots.
| | 01:19 | So instead, what I am going to do is use these
three different color wheels, these guys right
| | 01:22 | here and you will notice on each color wheel,
you have two sets of controls; an outside
| | 01:26 | ring to affect contrast and then the inside
wheel to affect overall color balance and
| | 01:31 | saturation for a selected hue.
| | 01:33 | So I am going to start here on the Gain color
wheel and I am going to click on this little
| | 01:36 | triangle right here and drag to increase the
contrast at this part of the tonal range.
| | 01:41 | Just remember, you can enter into virtual
Color Wheel mode for any of the color wheels by
| | 01:45 | right-clicking on the color wheel and then
using the middle scroll wheel on your mouse,
| | 01:50 | you can increase the contrast at that
particular part of the tonal range very quickly.
| | 01:54 | So I am going to drag up quite a bit like
that. All right, that's working pretty well.
| | 01:58 | I'll right-click again to get
out of virtual Color Wheel mode.
| | 02:00 | Then I am going to come over to the midtones
with the gamma control, this guy right here,
| | 02:04 | and I won't go into virtual Color Wheel mode,
I'll just click and drag the little triangle control
| | 02:08 | up to the right just a little bit there.
| | 02:10 | All right, and that's looking pretty good.
| | 02:12 | Just notice up here in the image in the Monitor,
not only have I lightened the clip, but I
| | 02:16 | have also increased the visual noise.
| | 02:18 | And this is a problem with
severely underexposed shots.
| | 02:22 | As you lighten them up, you also lighten the
visible noise in the shot, and while we do
| | 02:26 | have a custom Look layer effect, here inside
of Adobe SpeedGrade, called fxDegrain, I found
| | 02:31 | that for really severe noise reduction, it's
best to depend on third-party tools like those
| | 02:36 | you can find from Neat
Video as well Magic Bullet.
| | 02:39 | Unfortunately those tools do not work inside
of Adobe SpeedGrade; rather you will have
| | 02:43 | to depend on using those tools in say Adobe
Premiere Pro or even Adobe After Effects.
| | 02:47 | In your own projects, you can try the Degrain
effect and the way that you access it is by
| | 02:52 | coming down here to the layer stack, clicking
on this plus button and then coming up here
| | 02:56 | and choosing fxDegrain.
| | 02:58 | And you can drag the Strength slider up quite
a bit, remember, you can hold down the Shift
| | 03:02 | key to increase the speed at which this slider
changes, and you can maybe adjust the sensitivity
| | 03:07 | a little bit as well.
| | 03:08 | All right, that's looking a little bit better,
but again I often depend on third-party tools
| | 03:13 | and other applications to do
heavy-duty noise reduction. Okay,
| | 03:17 | let me click back on the Primary layer here.
| | 03:20 | Next thing I want to do is come over to my
Offset or my blacks color wheel, this guy
| | 03:24 | right here and I am going to drag down just a
touch, something like that to increase the
| | 03:29 | blacks or increase the depth in
the shot just ever so slightly.
| | 03:32 | All right, that's working pretty well.
| | 03:34 | Now one thing you might have noticed up here
in the Waveform is that the blue trace, right
| | 03:38 | here, is under 0% and if you are in a broadcast
workflow, this would indicate that this shot
| | 03:43 | is illegal for broadcast.
| | 03:45 | For right now, don't worry about that.
| | 03:47 | In a later movie, I'll show you how you can
legalize a clip or even an entire Timeline
| | 03:52 | by using a custom Look layer.
| | 03:54 | So let me go ahead and toggle this correction on and
off by using the 0 key on my keyboard number pad.
| | 04:00 | So here's the original shot, and then here
is the corrected shot; the original shot and
| | 04:05 | the corrected shot.
| | 04:05 | I think you will agree that the corrected
shot, while not bright by any means, is a
| | 04:09 | whole lot more usable.
| | 04:10 | All right, let's go ahead and navigate
down to the second shot on this Timeline.
| | 04:14 | And this clip has the opposite problem of
the first shot that we just corrected.
| | 04:18 | It appears to be pretty overexposed and if I
go ahead and take a look at the trace here
| | 04:22 | on the Waveform, yup, the
trace indicates that as well.
| | 04:26 | Most of the trace is bunched up here towards
the top of the waveform indicating that this
| | 04:30 | clip is pretty bright and
well, kind of overexposed.
| | 04:33 | So I want to make a similar type of
contrast correction to fix this shot.
| | 04:37 | Let me come back down here to the Look tab
and once again we'll start out here in the
| | 04:40 | highlights or Gain color wheel.
| | 04:42 | And I'll click on the Contrast control right
here and drag down until the top of my trace
| | 04:47 | is right around 90% or so.
| | 04:49 | Next, I'll come into my blacks or my Offset
control and drag down as well, until just
| | 04:55 | the bottom of the traces are
touching 0%, something like that.
| | 04:59 | Now after I made that correction with the
Offset control, you will notice that the top
| | 05:02 | of the trace here, which we set previously
around 90% is down here around 75%-73% and
| | 05:08 | this is due to the overlapping nature of the
controls here and how they affect the tonal range.
| | 05:13 | It's not a mistake and it's not a bug.
| | 05:16 | All you need to do is simply come back into
the highlights or the Gain control and drag
| | 05:19 | up just a touch to increase
those levels once again.
| | 05:24 | And this time I actually like
a value right around 81%-82%.
| | 05:28 | And then finally, I'll fix the midtones of
this clip and sort of adjust the exposure
| | 05:31 | overall to taste.
| | 05:33 | And I am going to drag down just a touch,
something like that works pretty well.
| | 05:38 | Let me go ahead and once again press 0 on the
keyboard to toggle this correction on and off.
| | 05:41 | Here is the original shot, pretty overexposed
and bright, then here is the corrected shot;
| | 05:46 | original and then corrected shot.
| | 05:48 | Once again, the corrected shot is much better.
| | 05:50 | Then finally, let's navigate down
to the last clip in this Timeline.
| | 05:53 | And this shot looks pretty good and by taking
a look at the Waveform, I don't really see
| | 05:56 | any problems with this shot.
| | 05:58 | The trace here goes from about 10 or so
percent up to about 92%-93% and this is a situation
| | 06:04 | that you will encounter all the time, a
clip is neither underexposed nor overexposed.
| | 06:09 | But a lot of times when clients walk into
the suite, they say things to me like, Rob
| | 06:13 | we'd really like that shot to pop a little
bit more, and when they say that, I know what
| | 06:16 | they want me to do is expand
the contrast range of a shot.
| | 06:20 | So that's exactly what we are going to do on
this shot, that's either over or underexposed.
| | 06:24 | So once again, I'll come down to the Look
tab here and this time let's go ahead and
| | 06:26 | start out with the Offset or blacks control,
and I am going to drag down ever so slightly
| | 06:30 | until the bottom of traces are just
touching 0%, something like that.
| | 06:35 | Next, I'll come into the Gain or Highlights
control, drag up just a touch like that, and
| | 06:42 | then finally, I'll come into the gamma or the
midtones and I am going to drag down ever so slightly.
| | 06:46 | I am going to go ahead and
toggle that grade on and off.
| | 06:49 | Here is the original shot and then the corrected
shot; the original and then the corrected shot.
| | 06:54 | And you will notice it's almost like a
patina has been removed from the shot.
| | 06:57 | And this is exactly the pop or punch
that clients are always asking for.
| | 07:00 | Okay, so that's making some simple contrast
corrections to shots here inside of Adobe SpeedGrade.
| | 07:04 | And contrast corrections are always the first
type of correction that you will make on a
| | 07:07 | shot, even before you make color
corrections and that's a really important point.
| | 07:12 | It's always a good idea to first make contrast
corrections before color corrections, because
| | 07:16 | as you adjust contrast, you potentially change
where the tonal range, colorcast will happen.
| | 07:21 | And of course, we'll talk about making color
corrections in an upcoming movie in this chapter.
| | 07:25 |
| | Collapse this transcript |
| Making color corrections| 00:00 | Earlier in this chapter we took a look at
making contrast corrections to shots here
| | 00:03 | inside of Adobes SpeedGrade.
| | 00:04 | Well, in this movie I want to talk about the
cousin of the contrast correction and that
| | 00:08 | is of course is the color correction.
| | 00:10 | And if you're following along with the exercise
files be sure to open up this Timeline called
| | 00:13 | 03_03_colorcorrections.
| | 00:14 | Now let's go ahead and take a look at this
first shot in the Timeline and it's a pretty
| | 00:17 | cool looking shot of a lizard, but what
strikes me about it is that appears to have sort of
| | 00:21 | a blue kind of purplish color cast to it,
but I of course want to verify that by taking
| | 00:25 | a look at my scopes.
| | 00:26 | So I'm going to open up the Waveform by
pressing W on the keyboard and I'm also going to open
| | 00:30 | up the Vectorscope by pressing V.
| | 00:32 | Let's start up by taking
a look at the Waveform.
| | 00:34 | Over here I have traced for the three primary
channels; red, green and blue, and if you notice
| | 00:38 | this portion of trace on all three channels,
right here on the blue channel, it appears
| | 00:42 | to be elevated over the green and red traces
indicating that I have sort of a blue, kind
| | 00:47 | of purplish color cast to the shot.
| | 00:49 | And if I take a look at the Vectorscope, you'll
notice that I have a large portion of trace,
| | 00:53 | this part right here, pointed out
towards the blue area of the scope.
| | 00:56 | Both of these things combined verify what
my eyes are telling me, that I have sort of
| | 00:59 | a blue kind of purplish
color cast to the shot.
| | 01:02 | So of course I want to go ahead and neutralize
this color cast and the way I'm going to do
| | 01:05 | that is by coming down to Look tab
here and then to the Overall tab.
| | 01:09 | In just a moment, we'll talk about using the
three different color wheels right here, in
| | 01:12 | the middle of the Overall tab.
| | 01:14 | But for right now, I want to show you how
we can make a color correction by using the
| | 01:17 | sliders here at the top of the Overall tab.
| | 01:20 | But before you make a color correction, it's
always a good idea to make a contrast or exposure
| | 01:24 | correction first.
| | 01:25 | As you adjust contrast, you potentially change
where in the tonal range a color cast is occurring.
| | 01:30 | So it's always a good idea to first make a
contrast or exposure correction before making
| | 01:34 | a color correction.
| | 01:36 | So for this shot, the way I'm going to make
the exposure or contrast correction is by
| | 01:39 | using a slider right here called Contrast,
and I'm going to drag to the right just a
| | 01:43 | little bit just to increase the contrast and
sort of deepen up the blacks in the shot.
| | 01:47 | Something like that works just fine,
maybe back off just a touch.
| | 01:50 | Okay, that's working pretty well.
| | 01:52 | Now to neutralize the color cast, I'm going
to start here with the Temperature slider,
| | 01:56 | and I'm going to drag to the right over towards
to the orange part of the slider, and remember,
| | 02:00 | you can always hold down the Shift key on
your keyboard while you drag to change your
| | 02:04 | parameter faster.
| | 02:05 | So I'm going to drag up to a value of 22,
maybe 21. Yeah, that's looking pretty good.
| | 02:10 | And then using the Hue control right here,
I'm going to drag to the left to add a little
| | 02:15 | bit of green back into the shot, maybe a value of
around .5, .6 or so. That's looking pretty good.
| | 02:21 | Now up here on the trace you'll notice that
the red, green and blue channels, especially
| | 02:24 | this clump of trace right here in the middle
are all in relative balance with each other,
| | 02:28 | indicating that I've neutralized a large portion of
that sort of blue, sort of purplish color cast.
| | 02:33 | Now as you are color correcting, just keep
in mind, in the real world there is no such
| | 02:36 | thing as a perfectly neutral image.
| | 02:39 | You'll notice the peak of the red trace is
a little elevated over the green and blue
| | 02:42 | traces right here. That's okay.
The shot looks much better.
| | 02:46 | And to show you the difference between the
original shot and the corrected shot, I'm
| | 02:48 | going to go ahead and press 0
key on the keyboard number pad.
| | 02:51 | So here's the original shot, and then the
corrected shot; the original shot and then
| | 02:56 | the corrected shot, and I like the corrected
shot much better because it doesn't have sort
| | 02:59 | of that blue purplish color cast.
| | 03:00 | Okay, so now that we fixed the first shot in
this Timeline, let's go ahead and navigate
| | 03:03 | down to the second shot and this is also a
cool shot of a lizard, but you'll notice that
| | 03:07 | it has an obvious purple color cast to it.
| | 03:09 | Over here on Waverform, notice that the blue
trace is elevated over the red and green traces
| | 03:14 | and that the red trace is
elevated over the green trace.
| | 03:17 | Both of these factors combined indicate
that I have a purple color cast in the shot.
| | 03:21 | Also if you take a look at the Vectorscope,
you'll notice that most of the trace is pointed
| | 03:24 | up here in the red sort of purple area, once
again, indicating that the shot has an obvious
| | 03:28 | purple color cast.
| | 03:29 | So of course, we want to go ahead and
neutralize this purple color cast, and the way we are
| | 03:32 | going to do that is by coming down to
the Look tab and then to the Overall tab.
| | 03:36 | But instead of using the sliders here at the
top of the Overall tab, we are going to use
| | 03:39 | the three primary color
balance controls right here.
| | 03:42 | Now of course, before you actually make a
color correction, it's a good idea to make
| | 03:45 | contrast corrections first.
| | 03:46 | So I'm just going to make an ever so slight
contrast correction by coming in here to my
| | 03:49 | to Gamma or Midtone control, dragging up just
like that. Okay, so that looking pretty good
| | 03:54 | and now I'm ready to
make the color correction.
| | 03:57 | The thing you need to know is that to
neutralize a color cast you need to add in color from
| | 04:00 | the opposite side of the color wheel.
| | 04:03 | And fortunately SpeedGrade has
a great way to visualize this.
| | 04:06 | If you take a look at the color balance
controls right here, you'll notice that if you had
| | 04:09 | a purple color cast, right here on the color
wheel, you need to add in green or sort of
| | 04:13 | yellow from this side of the
wheel to neutralize that color cast.
| | 04:17 | So on this shot, I'm going to go ahead and
start in the Midtones or Gamma control, and
| | 04:20 | why am I doing that? Well, because most of
the imbalance is happening here in sort of
| | 04:24 | the middle part of the traces.
| | 04:26 | So let me go ahead and add in a little bit
yellow-green by dragging here on my Gamma
| | 04:30 | or Midtone control, something like that, and
I'm trying to get the traces on the Waveform
| | 04:34 | to be relatively equal.
Something like that is working.
| | 04:37 | Next let's come over to the Gain control and
repeat that process by dragging out towards
| | 04:41 | the yellow-green part of the color wheel,
something like that is working pretty well.
| | 04:45 | And if you take a look at the Waveform, you'll
now notice that all three traces are in relative
| | 04:48 | alignment with one another.
| | 04:50 | And as I mentioned, in the real world there's
no such thing as a perfectly neutral image.
| | 04:54 | And while you are trying to get the traces
to be relatively equal, you need to use your
| | 04:57 | eyes and actually look at the image
and adjust your corrections to taste.
| | 05:01 | Okay, so now that we've made the correction,
let's go ahead and toggle the grade on and
| | 05:04 | off by using the 0 key on
the keyboard number pad.
| | 05:07 | So here's the original shot and then the corrected
shot; the original shot and then the corrected shot.
| | 05:11 | And I think you'll agree that the corrected
shot is a whole lot more neutral and we've
| | 05:15 | eliminated that purple color cast.
| | 05:17 | Finally, the last thing that I want to share
with you about making color corrections inside
| | 05:20 | of Adobes SpeedGrade is that you have a whole
another level of granular control to making
| | 05:24 | color corrections.
| | 05:26 | And what I mean is that so far we've been
making color corrections, as well as contrast
| | 05:29 | corrections here on the
Overall tab of the Look tab.
| | 05:32 | But you also have the Shadows, Midtones and
Highlights tabs, and these three tabs for the
| | 05:37 | different parts of the tonal range give you
curve like control over making very subtle
| | 05:41 | adjustments to those parts of the tonal range, and
what I mean, for example, here on the Highlights
| | 05:46 | tab is that we have Low-Highlights,
Mid-Highlights and High-Highlights.
| | 05:50 | On the Midtones tab, Low-Midtones,
Mid-Midtones and High-Midtones.
| | 05:54 | And I think you get the
idea on the Shadows tab.
| | 05:56 | Low-Shadows, Mid-Shadows and High-Shadows.
| | 05:58 | If I come back over here to the Highlights
tab, I can make a correction that is very
| | 06:02 | subtle and only targets a very
small portion of just the highlights.
| | 06:07 | So I've noticed here on this image that I
still have a little bit of a purple color
| | 06:10 | cast here in the Highlights.
| | 06:11 | And what I'm going to do is come into the
Midtones Highlights control, this guy right
| | 06:15 | here or the Gamma control, and drag over towards
yellow-green, ever so subtly, just to eliminate
| | 06:21 | even more of that purple color cast.
Okay, that's looking pretty good to me.
| | 06:25 | Okay, so there are the essentials of making
color corrections inside of Adobe SpeedGrade,
| | 06:29 | and there are few different ways
that you can make color corrections.
| | 06:32 | You can use the sliders on the Overall tab, as
we did, you can use the Color Balance controls,
| | 06:36 | but for even more granular control you can
come into the three tabs for the different
| | 06:40 | parts of the tonal range and make curve like
corrections when you need to eliminate very
| | 06:44 | subtle color casts.
| | Collapse this transcript |
| Using custom look layers| 00:00 | In this movie, I want to talk about a very
unique feature inside of Adobe SpeedGrade
| | 00:03 | called custom look layers.
| | 00:05 | And in this chapter, we're talking about
primary corrections, and in the next chapter, we'll
| | 00:08 | talk about secondary corrections.
| | 00:10 | But I like to think of custom look layers
as a hybrid correction motivated towards a
| | 00:14 | primary correction, and that it allows you
to quickly create a look without having to
| | 00:18 | do a lot of manual labor.
| | 00:20 | Now at first glance, a custom look layer
might appear as just a way to add an effect to a
| | 00:24 | shot, and that's true,
| | 00:25 | but custom look layers also serve more
utilitarian purposes such as the ability to apply a LUT
| | 00:30 | to a shot, which we'll talk about later in this
chapter, as well as do things like legalize footage.
| | 00:35 | For now, let's start off talking about
how to actually apply a custom look layer.
| | 00:39 | And on this shot in the Timeline called 03_04_
looklayers, I've already gone ahead and applied a basic
| | 00:44 | primary correction to the shot.
| | 00:46 | Essentially, what I did was just tweaked the
contrast ever so slightly with this primary
| | 00:49 | layer right over here in my layer stack.
| | 00:52 | Now how you actually add a
custom look layer is very easy.
| | 00:55 | Simply come down to the bottom of the layer stack,
and click on this plus button right here.
| | 00:59 | And when you do that, you get a whole long
list of different custom looks that you can
| | 01:02 | apply to the shot.
| | 01:04 | Now some of these things are more effect-
based like a Bleach Bypass look, Day-for-Night,
| | 01:09 | Emboss, and so on.
| | 01:10 | But as I mentioned, some of these are more
utilitarian, like the ability to apply a lookup
| | 01:14 | table or to do things like legalize footage.
| | 01:17 | I'll show you how to legalize a shot with a
custom look layer a little bit later in this movie.
| | 01:21 | For right now, what I want to go ahead and do is
just apply this effect right here called fxBloom.
| | 01:26 | On this shot, I like sort of the highlights that are
happening here on the back of the lizard's head,
| | 01:30 | but I really want to blow them out,
and give them sort of a nice glow.
| | 01:34 | So by applying the fxBloom
custom look layer, I can do that.
| | 01:38 | So I'll come over here to the Intensity control,
and drag up quite a bit, and still those highlights
| | 01:43 | are getting kind of blown out and nice
and glowy. Something like that is working.
| | 01:47 | I might adjust the Radius ever so
slightly, something like that.
| | 01:51 | And then I'm going to go
ahead and adjust the Threshold.
| | 01:54 | Okay, and I am really
liking the look of this shot.
| | 01:56 | So I want to go ahead and toggle off the
fxBloom custom look layer by using the decimal key
| | 02:01 | on my keyboard number pad. So here's the shot
without the Bloom, and then with the Bloom;
| | 02:05 | before and then after.
| | 02:06 | I am really liking the blown out sort of glowy
highlights, but I think I may have a problem.
| | 02:10 | Let me go ahead and press the W key on
my keyboard to open up the Waveform.
| | 02:14 | And then here on the Waveform, notice this
trace that's above 100%, well in most broadcast
| | 02:19 | workflows, trace that's above 100% or
below 0% is illegal for broadcast.
| | 02:24 | So what I actually want to do is come back
down here to the layer stack, and once again
| | 02:27 | click the plus button to
add a new custom look layer.
| | 02:29 | And this time, I'm going to choose
this one right here, fxLegalizeNTSC.
| | 02:33 | I'm choosing NTSC because
it matches my footage.
| | 02:36 | And when I apply that custom look layer, now
on the Waveform, you'll notice that the trace
| | 02:39 | is once again within or right at 100%
indicating that it's now legal for broadcast.
| | 02:45 | Now here's the thing though.
| | 02:46 | As you go ahead and apply primary and
secondary corrections as well as custom look layers,
| | 02:50 | you might have shots that are illegal for
broadcast, and it would be a giant pain to
| | 02:54 | have to legalize each one by itself.
| | 02:57 | So I want to show you a better way of
applying a Legalize custom look layer.
| | 03:02 | And this is one of my favorite
uses of custom look layers.
| | 03:05 | So what I'm going to go ahead and do is come
back down here to layer stack, and then delete
| | 03:08 | the fxLegalize custom
look layer off of the shot.
| | 03:11 | Then, what I'm going to do is come over to the
Timeline tab, and then click on the Setup tab.
| | 03:17 | And what I'm going to do is click on the
Grading icon right here, and drag it up to the top
| | 03:21 | of the Timeline here, and let go.
| | 03:23 | So now, I have a new Grading layer
that I've applied to this Timeline.
| | 03:25 | Let me go ahead and select that Grading layer,
come back over to Look tab, and go ahead,
| | 03:30 | and once again click the Plus button here to add a new
custom look layer, and then choose fxLegalizeNTSC.
| | 03:36 | I have the same result
over here on the Waveform.
| | 03:40 | The advantage of this workflow is that if you
apply a Grading layer to your entire Timeline,
| | 03:45 | you can legalize the entire Timeline in one
fell swoop with a Legalize custom look layer.
| | 03:51 | I'll often do this right
at the start of a project.
| | 03:53 | I'll add a new Grading layer, apply the Legalize
custom look layer, so that way when I'm actually
| | 03:58 | grading and correcting my shots, I'm working
within the confines of a legalized image.
| | 04:03 | Okay, so that's a little bit more
about applying custom look layers.
| | 04:06 | Now in this movie, we only applied two effects:
the fxBloom effect, and then the Legalize effect.
| | 04:11 | But, if you come back down to the layer stack,
and click on the Plus button to add a custom
| | 04:15 | look layer, just keep in mind that there are
a ton of different custom look layers that
| | 04:19 | you can apply to your shots depending on what
you're trying to do and how you are trying
| | 04:23 | to stylize your footage.
| | Collapse this transcript |
| Layering corrections| 00:00 | In this movie, I want to show you how you
can use opacity changes between different
| | 00:03 | layers and the Layers stack to effectively
layer different types of corrections together.
| | 00:08 | Now if you're following along with the exercise
files, be sure to open up this Timeline called
| | 00:11 | 03_05_layeringcorrections.
| | 00:13 | And this Timeline contains a pretty cool
looking shot of a lizard that I've actually already
| | 00:16 | gone ahead and applied a
primary correction to.
| | 00:19 | So let me go ahead and press the 0 key on my
keyboard number pad, and here's the original
| | 00:23 | shot and then the corrected shot; the
original shot and then the corrected shot.
| | 00:26 | And all I really did was slightly expand the
contrast of the shot with the primary correction,
| | 00:31 | but now I think I want to go on
a slightly different direction.
| | 00:33 | I want to have this lizard look like he's
hanging out in the middle of the night, and
| | 00:37 | when I think of night, I think of dark of
course, but I also think of slightly blue.
| | 00:41 | So what I want to do is go ahead down here to
my Layers stack and add a new Primary layer
| | 00:45 | by clicking the +P button right here.
| | 00:47 | And then in the Look tab and then into the
Overall tab right here, I'm going to come
| | 00:51 | into my Gamma or Midtones control right
here and drag towards blue, like that.
| | 00:56 | I'm also going to darken up the
midtones just a touch, something like that.
| | 01:01 | Now I don't know about you, that
doesn't look all that great to me.
| | 01:04 | Sure, I made the shot darker, and I've also
made it blue, but I'm sort of losing detail
| | 01:08 | over here in the shadows, and I can't really see the
lizard, and I also think it's kind of too blue.
| | 01:13 | Now of course I could back off the blue, and
I could back off sort of how I darken the
| | 01:17 | midtones, but I want to show
you another way of doing this.
| | 01:20 | Over here in the Layers stack with the
second Primary layer selected, I have an Opacity
| | 01:24 | slider here at the top of the stack.
| | 01:26 | And what I can do is adjust the opacity
between these two layers to effectively change how
| | 01:32 | they're layering or sort
of combining together.
| | 01:35 | So with the second Primary layer selected,
what I'm going to do is click on the Opacity
| | 01:38 | slider here and drag, and remember, you can
also use the Shift key to have a slider update
| | 01:43 | faster here inside of SpeedGrade.
| | 01:45 | So what I'm going to do is drag down until I
have an Opacity value of maybe around .50,
| | 01:50 | maybe a little lower, .48 or so.
Something like that's working pretty well.
| | 01:55 | Now if I drag through the shot again,
yeah, that's looking pretty good.
| | 02:00 | And let me go ahead and toggle off the second
Primary layer, that's the layer I currently
| | 02:03 | have selected, and the way I'm going to do that is by
using the decimal key on my keyboard number pad.
| | 02:08 | So here's the original shot with the basic
parameter correction that I did to expand
| | 02:12 | the contrast and then with the second Primary
layer that I added, but this time remember
| | 02:17 | I adjusted the opacity so these
two layers were blending together.
| | 02:20 | Now I know what you might be thinking, are
there other blending modes available like
| | 02:23 | you might have in Photoshop, like Add and Dodge
and that kind of stuff? No, there's really not.
| | 02:28 | You have this Opacity control to
sort of blend two layers together.
| | 02:32 | But a lot of times the Opacity control works
very well to sort of back off an effect, or
| | 02:36 | maybe if you backed off too much, you can
add a little bit more of that effect back
| | 02:39 | in to create the overall look for a shot.
| | 02:42 | Now of course I did this opacity change between
two Primary layers, in the next chapter we'll
| | 02:46 | talk about secondary corrections of course, but
you can apply the same technique to secondary
| | 02:50 | corrections, as well as custom look layers.
| | 02:53 | So for example, if I came down and clicked
on the plus button right here to add a new
| | 02:56 | custom look layer, maybe I want to do a
BleachBypass here. Now I have a really sort of crushed
| | 03:01 | look and I can't see hardly anything.
| | 03:03 | Well, I'll simply with the BleachBypass layer
selected, come into the Opacity slider and
| | 03:08 | drag way down so I get a little bit of that
desaturated type look, but it's not as heavy
| | 03:14 | as it was at 100% opacity.
| | 03:16 | Okay, so that's a little bit more about layering
corrections by using the Opacity control between
| | 03:22 | different layers.
| | 03:23 | And in your own work, I think, you'll find
this is a very effective way to blend or sort
| | 03:27 | of layer corrections together on a shot.
| | 03:29 |
| | Collapse this transcript |
| Correcting log and raw footage| 00:00 | These days as you hear a lot about the digital
cinema cameras from Red and from Arri; cameras
| | 00:04 | like the Red One, Scarlet and Epic, as well
as the Arri Alexa have defined the high-end
| | 00:09 | production and postproduction
markets for the past few years.
| | 00:12 | And in this move, I want to show you the essentials
of working with footage from these camera systems.
| | 00:16 | So if you're following along with the exercise
files, be sure to go ahead and open up this
| | 00:19 | Timeline called 03_06_loganddraw.
| | 00:22 | This first shot comes from a Red Scarlet camera,
and the Scarlet like other Red cameras allows
| | 00:27 | you to shoot RAW.
| | 00:29 | And the biggest benefit of shooting RAW is
that you have to all the original sensor data
| | 00:33 | coming off the camera.
| | 00:35 | So instead of baking in contrast and color you
can do things like recover blown out highlights
| | 00:39 | and recover contrast deals that
you never thought were possible.
| | 00:43 | Now before we go ahead and actually access
the RAW controls for this Red footage, I want
| | 00:47 | to show you a few setup things.
| | 00:49 | Over here in the Settings tab and then in the
Dynamic Quality category, we have a section
| | 00:53 | called Resolution.
| | 00:55 | And the Resolution section allows us to
dynamically adjust our Playing Resolution as well as our
| | 01:00 | Paused Resolution.
| | 01:01 | Now in my experience what I typically like to
do is lower my Playing Resolution to something
| | 01:06 | like 1:4 or even 1:8 and this gives me a relative
good balance between image quality and overall
| | 01:12 | performance during playback.
| | 01:13 | Remember, RAW footage, especially 4K or 5K footage
from a Red camera system is very system intensive.
| | 01:20 | So by lowering your playing resolution
you're going to get more real-time performance.
| | 01:24 | But while i'm paused, I like to have
typically a 1:1 or at least a 1:2 resolution.
| | 01:31 | Now these Resolution controls
have one more ramification.
| | 01:35 | Let me go ahead and change both of these
back to 1:2 and then let me go ahead and click
| | 01:39 | back here on the Monitor tab.
| | 01:42 | Now when I am set to 1:2 notice that my
resolution right now is 1920x1080. Let me go ahead and
| | 01:48 | click back on Settings and change both of these
to 1:1 and then click back on the Monitor tab.
| | 01:54 | Now notice that my resolution is 3840x2160, that's
because I'm working with a full resolution image.
| | 02:02 | Now if I scroll down to the next shot here
on my Timeline, this shot comes from an Arri
| | 02:06 | Alexa camera and it's 1920x1080.
| | 02:09 | And you'll notice that my
resolution now is set to 1920x1080.
| | 02:13 | And this can be a little troublesome when
you're working with mixed media format timelines.
| | 02:17 | Often what I'll do is go ahead and apply a
Pan & Scan layer and you can do that by coming
| | 02:21 | over to the Timeline and then to Setup and
dragging a Pan & Scan layer up to the Timeline.
| | 02:27 | From there you can set the overall frame that
you want to work within, and typically I'll
| | 02:31 | have the frame match my output resolution.
| | 02:34 | And then you can Pan & Scan
footage to match that output frame.
| | 02:38 | Let me go ahead and go
back to the first shot here.
| | 02:40 | Instead of working at a 1:1 resolution, what
I am going to do is come back to my Settings
| | 02:43 | tab here and change both of these Playback
and Paused controls to 1:2, so I am working
| | 02:49 | with a slightly reduced resolution, which
for the purposes of this movie is just fine.
| | 02:54 | The other thing I want to show you here on
the Settings tab is over in the File Formats
| | 02:56 | category and then the R3D section.
| | 02:58 | Adobe SpeedGrade can actually work with Red
Rocket cards if they're available including
| | 03:02 | multiple Red Rocket cards.
| | 03:04 | And this is great if you work with a lot of
Red RAW footage as a Red Rocket card offloads
| | 03:08 | the necessary debarring process for Red
footage from your computer's CPUs to the Red Rocket
| | 03:13 | cards themselves.
| | 03:14 | Now let me go ahead and click
back over here on the Monitor tab.
| | 03:16 | And the next thing I want to show you is how we
actually access the RAW controls for Red footage.
| | 03:20 | And we can actually do it
in two different places.
| | 03:23 | First is down here on the Timeline tab and
then over to the over to the Format Defaults tab.
| | 03:27 | Now the Timeline tab and the Format Defaults tab
controls your RAW footage for your entire Timeline.
| | 03:32 | In just a moment I'll show you how we can
override the controls here on the Timeline
| | 03:36 | tab and then in the Format Defaults tab.
| | 03:38 | But over here in the Format menu I can actually
control RAW controls for not only Red footage
| | 03:43 | or .R3D files, but also for .arri RAW
files coming from the Alexa camera.
| | 03:48 | But in this case I am going to go
ahead and work with R3D files.
| | 03:51 | Now down here in this menu you can
use the settings stored in each clip.
| | 03:55 | But if you go ahead and click you can go ahead
and override those settings and use the settings
| | 03:59 | that you control down here below.
| | 04:01 | Now again, because this is the Timeline tab
and Format Defaults, you'll be controlling
| | 04:06 | all the Red RAW footage that
you have on your Timeline.
| | 04:09 | So I often find a better way to do this is
to change these back to use settings stored
| | 04:13 | in each clip here in the Timeline tab, and then
Format Defaults, and then click over to the Clip tab.
| | 04:17 | And here on the Clip tab you
also have a Format Options tab.
| | 04:21 | Now the one thing you need to do is go ahead
and check this box Override Timeline default.
| | 04:26 | Because remember, just a second ago when we
were on the Timeline tab and Format Defaults,
| | 04:29 | I mentioned that that controls all of the
RAW footage that you have in your Timeline.
| | 04:33 | But often you'll need to control an individual clip and
adjust its RAW parameters on a case by case basis.
| | 04:40 | So I am going to go ahead and click this button
right here to Override the Timeline defaults,
| | 04:43 | and when I do that this same menu becomes
available, use settings stored in each clip
| | 04:48 | or use settings below.
| | 04:49 | And when I click use settings below, I
can adjust any of the RAW parameters.
| | 04:54 | So for example if I wanted to click here and
adjust my Kelvin value maybe to something
| | 04:58 | like 2000 and make this shot really
cool, I can go ahead and do that.
| | 05:03 | But of course just because you're adjusting
RAW data doesn't mean that you can't actually
| | 05:07 | go back and color correct and adjust
contrast and color as you normally would.
| | 05:12 | So after adjusting any of the RAW parameters
that you'd like here in Adobe SpeedGrade,
| | 05:16 | you can come back over to the Look
tab and then color correct as normal.
| | 05:20 | Okay, so that's how you access RAW controls
for Red footage, let's go down to the next
| | 05:24 | shot on this Timeline.
| | 05:25 | Now this shot is an Apple ProRes file
that came off an Arri Alexa camera.
| | 05:29 | And you'll notice that it looks kind of, well
flat, it doesn't look all that great. I mean
| | 05:33 | it doesn't look bad, but
it doesn't look great.
| | 05:36 | One of the things about working with the Alexa
camera is that you have the option to work in Log.
| | 05:40 | And when you shoot Log, all your footage will
look, well pretty flat and kind of boring.
| | 05:46 | That's because you're preserving all the
original contrast detail that's available in the shot.
| | 05:51 | So what you often need to do is apply a LUT
or a lookup table to transform your shot from
| | 05:57 | the Log space to say the Rec709
space that most HD video uses.
| | 06:02 | And how we actually apply a LUT is a pretty
simple process here inside of Adobe SpeedGrade.
| | 06:06 | So down here on my Layers stack what I am
going to do is go ahead and click on this
| | 06:09 | plus button right here to add a custom look
layer and then I am going to choose this option
| | 06:12 | right here to add a LUT.
| | 06:14 | Now before I click in just a second my
footage is going to look really, really weird.
| | 06:18 | Don't worry. We'll change the options
that are available in just a second.
| | 06:22 | So I'll go ahead and choose LUT and as I
told you my footage looks, well really weird.
| | 06:27 | Here in the center of the Look tab, I have
my Lookup table menu, and if I click here I
| | 06:32 | can choose from different LUTs
that ship with Adobe SpeedGrade.
| | 06:35 | But in this case I am going to go ahead and
choose this LUT right here, Alexa LogC2Video_Rec709.
| | 06:41 | So let me go ahead and choose that option and
instantaneously my footage looks way, way better.
| | 06:47 | On my keyboard number pad, let me go ahead
and use the zero key to toggle the entire
| | 06:51 | grade on and off.
| | 06:52 | Here is the original shot, it's pretty flat and
then here's the transformed shot using the LUT.
| | 06:57 | You'll notice that it has much better contrast
and overall color, and just like Red RAW footage
| | 07:02 | this is just a starting point.
| | 07:04 | You can always come back to the Look tab here
and click on your Primary layer and then adjust
| | 07:08 | parameters as you see fit.
| | 07:10 | So for example maybe I want to raise my
gamma or midtones here and then may be I want to add
| | 07:15 | a little bit more saturation.
Okay that looks much better.
| | 07:18 | Okay, so that's the essentials of working with RAW
and Log footage from Red and Arri camera systems.
| | 07:23 | I should mention that although we didn't work with
an Arri RAW file in this movie, the methodology
| | 07:28 | of working with an .arri RAW file is exactly
the same as working with a Red RAW file.
| | 07:32 | They are just different controls.
| | 07:34 | While you may not be working with RAW or Log
footage yet, both RAW and Log footage gives
| | 07:38 | you incredible access to image data, so you
can apply corrections and looks at their full potential.
| | 07:44 |
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|
|
4. Making Secondary CorrectionsUsing a key to make secondary corrections| 00:00 | In this movie, I want to begin our exploration
of secondary color inside of Adobe SpeedGrade
| | 00:04 | by talking about using keys.
| | 00:06 | Keys lets you isolate a portion of the image
based on the HSL, Hue/Saturation and Lightness
| | 00:10 | values for further refinement and correction,
and making a secondary color correction using
| | 00:15 | a key inside of Adobe SpeedGrade is
really straightforward and pretty easy.
| | 00:19 | Let's begin by taking a look at the shot.
| | 00:21 | This is pretty cool looking shot of a lizard,
but there's one things that's distracting
| | 00:24 | me about the shot, and that's this
green leafy background right here.
| | 00:27 | I think it's just a touch too saturated.
| | 00:29 | So what I want to do is use a key to isolate
this leafy background and then de-saturate
| | 00:34 | it just a touch so it's not as distracting.
| | 00:36 | Well, let's come down to our Layers palette
down here and you can see that I actually
| | 00:39 | already have a primary
correction on this shot.
| | 00:41 | And I use this primary correction to do a
slight contrast adjustment on the shot.
| | 00:45 | If I use the decimal key on my keyboard number
pad, I can toggle that correction on and off,
| | 00:50 | so there's before and there's after; before
and after, and you can see it's just a simple
| | 00:55 | contrast correction.
| | 00:56 | But this is actually a really big point; you
want to make sure that you perform primary
| | 01:00 | corrections before secondary corrections.
| | 01:02 | Why? Well, as you perform primary corrections,
you potentially change where in the tonal
| | 01:07 | range an object that you're
trying to isolate exists.
| | 01:10 | So it's always a good idea to perform a
primary correction before a secondary correction.
| | 01:15 | Okay, so now that we've seen that we have a
primary correction on the shot, let's come
| | 01:19 | back down to the Layers palette here and click
on this button right here, the +S button, and
| | 01:23 | that's going to add a new
secondary layer to this shot.
| | 01:25 | And in Adobe SpeedGrade, the main
purpose of a secondary layer is for a key.
| | 01:29 | Over here in the main part of the window, I
have my controls for this key, but we are
| | 01:32 | not seeing all of them right now, so let
me grab this little handle and drag up so
| | 01:36 | we see everything.
| | 01:38 | And then, because I'm on a Mac, I'm going
to go ahead and use the keyboard shortcut
| | 01:40 | Command+Home to snap the image back into
the viewable area, up here in the monitor.
| | 01:45 | If you are on a PC that keyboard
shortcut would be Ctrl+Home key.
| | 01:48 | Down here in the main part of the Look tab
with my secondary layer selected, the most
| | 01:52 | noticeable thing that you'll probable see
is this area right here, and these are my
| | 01:56 | Hue, Lightness and Saturation controls.
| | 01:58 | And let's start at the very top.
| | 02:00 | Using these buttons right here, I can isolate
different vectors or different preset colors.
| | 02:05 | So for example, red, yellow and green.
| | 02:09 | Below these Presets, or below these Vectors, I
have my individual Hue, Lightness and Saturation
| | 02:14 | qualifiers, and I can enable and disable each one by
simply using this little check box right there.
| | 02:19 | On each qualifier, you'll notice a scale, one
right there, one right there and one right there.
| | 02:24 | Let's start out with the Hue scale.
| | 02:26 | The Hue scale just simply shows me the color
spectrum, wrapping around from red to red.
| | 02:30 | The Lightness scale shows me black on the left
and white on the right, and then the Saturation
| | 02:35 | scale shows me desaturated on the left and
heavily or fully saturated on the right.
| | 02:41 | Now each qualifier, when you make a selection
can have a little block, like this one for hue.
| | 02:45 | This block determines the range of the selection
that you've made on that particular qualifier.
| | 02:49 | And you can adjust the range by using this
top little triangle here, by dragging out
| | 02:53 | or dragging in to adjust the range.
| | 02:56 | Once you've settled on a range, you can use
the bottom of the triangle here to drag out
| | 03:00 | to soften that selection
or to soften that range.
| | 03:02 | Below the qualifiers, you'll find
a plus eyedropper and a minus eyedropper.
| | 03:06 | The plus eyedropper lets you add to your
selection and the minus eyedropper, of course, let's
| | 03:10 | you subtract from your selection.
| | 03:12 | Using the X key here, you
can reset your selection.
| | 03:14 | And then this little button right here, that's
a plus and minus button, allows you to invert
| | 03:18 | the selection that you've made.
| | 03:20 | Normally, when you make a selection and then
make a correction based on that selection,
| | 03:24 | you're affecting what you've selected.
| | 03:26 | However, if you click this button you can
correct the inverse of your selection, which
| | 03:30 | is useful in certain circumstances.
| | 03:32 | Then over here in the main part of the
window I have all my color correction controls.
| | 03:36 | Things like Input Saturation,
Contrast, Temperature, and so on.
| | 03:39 | I also have controls for Offset and Gain.
| | 03:42 | All right, so let's go ahead and actually
make a selection, and the way I'm going to
| | 03:45 | do that is by clicking the plus eyedropper
right here and then coming up to the image
| | 03:49 | and clicking and dragging on the
green leafy background there.
| | 03:52 | Now it looks like nothing
happened, but something actually did.
| | 03:56 | Notice here in my Hue, Lightness and
Saturation qualifiers, I've actually made a selection.
| | 04:00 | These different ranges right here, but I'm not
actually seeing that selection at the moment.
| | 04:05 | To see the selection, I need to come over to
this menu right here, labeled Gray-out and the
| | 04:09 | default option is None, meaning that I'm
not going to actually see my selection.
| | 04:12 | But I have three different ways of
viewing my selection in this menu.
| | 04:16 | I can view the selection
as Color/Gray background.
| | 04:18 | I can view the selection as Color/Black
background, and I can also view the selection in a more
| | 04:23 | traditional matte view as
White/Black background.
| | 04:26 | Let's start out with a Color/Gray background.
| | 04:28 | So here's my initial selection, what's in color
right here, and then my background here which
| | 04:32 | is gray, it's stuff that they don't have
selected in the shot. The same idea with the
| | 04:36 | Color/Black background.
| | 04:38 | What's in color is what I've selected and
what's in black is stuff that I haven't selected.
| | 04:42 | And then, finally, for a more traditional sort
of matte view, you have the White on Black
| | 04:45 | view, again it's the same idea.
| | 04:47 | What's white is what you have selected, and
what's black is not selected. It will not
| | 04:51 | take part in the secondary correction.
| | 04:53 | I actually like the Color/Gray view, but
which option you choose is totally up to you.
| | 04:56 | So now that I've made a selection, let's go
ahead and refine it just a touch so we get
| | 05:00 | a little bit of a better selection.
| | 05:02 | I'm going to start out with my Hue qualifier
here and widen out the Hue just a touch; something
| | 05:07 | like that works, and then I'm going to do
the same thing with my Lightness control.
| | 05:11 | Yeah, I'm liking that, and then finally, I'll
do the same thing with my Saturation control.
| | 05:16 | I'll also soften up the Saturation control just
a touch, and go back and soften the Lightness
| | 05:24 | qualifier or the Lightness
control, just a touch as well.
| | 05:27 | Okay, one last thing that we need to do
before actually making the correction, and that's
| | 05:31 | to use these two controls
right here for Blur and Denoise.
| | 05:34 | It's always a good idea to blur and denoise
your selection, so that you don't get any
| | 05:38 | chattering or ringing on the edges, or any
other artifacts that might be present when
| | 05:42 | you make a selection.
| | 05:44 | So what I'm going to do is drag up the Blur
control here, and remember, you can always
| | 05:47 | hold down the Shift key to change the value
of a slider, a little bit faster here inside
| | 05:52 | of Adobe SpeedGrade.
| | 05:53 | So I'm going to drag up until I'm around a
value of 2 or so, yeah that's working, and
| | 05:57 | then I'm also going to denoise the selection
just a touch, maybe a value of around .5,
| | 06:03 | .55, somewhere in there.
| | 06:04 | All right, that's looking good and then I'm
going to come back to the Gray-out menu here,
| | 06:08 | and change this back to None.
| | 06:10 | So I've made a selection and I'm pretty happy with it,
but now it's time to actually make the correction.
| | 06:15 | So I'm going to come into my final Saturation
control right here, this guy, and drag down,
| | 06:19 | again, holding the Shift key, so I can drag
a little faster and something like that is
| | 06:24 | working pretty well for me.
| | 06:26 | Now with the secondary layer
selected over here in the Layers palette,
| | 06:29 | once again I'm going to use the decimal or
period key on the number pad on my keyboard
| | 06:33 | and toggle that on and off.
| | 06:35 | So there's the original and then the
corrected shot; original and corrected shot.
| | 06:39 | And you can see that the leafy
background here is less distracting.
| | 06:42 | I actually think I want to touch too far,
so I'll add a little more saturation back
| | 06:46 | in and that's looking pretty good.
| | 06:50 | So there you have it, performing a secondary
correction by using a key inside of Adobe SpeedGrade.
| | 06:55 | Keys are a very versatile way of
making secondary corrections.
| | 06:59 | Although, we used the key in this movie to
isolate a background element so we could
| | 07:02 | reduce its saturation,
| | 07:04 | keys can be used for a wide
variety of circumstances;
| | 07:07 | things like skies,
adjusting skin tone, and so on.
| | 07:10 | I think the more that you practice using the
key, instead of Adobe SpeedGrade, the more
| | 07:13 | usage you'll find for
them in your own projects.
| | 07:16 |
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| Using masks to make secondary corrections| 00:00 | Earlier in this chapter, we took a look at
making a secondary correction by using a key.
| | 00:03 | In this movie, I want to show you another
way that you can make a secondary correction
| | 00:07 | here in Adobe SpeedGrade,
and that's by using a mask.
| | 00:09 | A mask allows you to isolate an object or
something else onscreen by using a geometric shape.
| | 00:14 | And once you've isolated it, you can then
go back and refine the contrast and color
| | 00:18 | within that shape.
| | 00:20 | So let's begin here by playing back
this clip and seeing what we got.
| | 00:23 | All right, this is a pretty straight
forward shot, guy working on his guitar.
| | 00:27 | But the one thing I notice is that his face
over here, kind of gets lost in the shadow
| | 00:31 | of this dark room.
| | 00:32 | Now I should mention that I've actually already
gone ahead and performed the primary correction
| | 00:36 | on this shot, that is a correction
that affects the entire image.
| | 00:39 | And what I did was I deepen the blacks and I
neutralized a little bit of yellow colorcast.
| | 00:43 | And I did that with this
Primary layer right here.
| | 00:46 | On my keyboard, let me use the number pad
and then use the Decimal or Period key to
| | 00:50 | toggle this correction on and off.
| | 00:52 | There's the original shot and
there's my corrected shot.
| | 00:55 | So you can see I cooled it off
and darken it up quite a bit.
| | 00:58 | After I made that correction though, the subject's
face, as I mentioned, kind of got lost in shadow.
| | 01:02 | So I want to fix that, but I don't want
to brighten up this stuff over here.
| | 01:06 | I like the look of this shot.
| | 01:08 | I just want to lighten up
the area around his face.
| | 01:11 | And the way that I'm going to
do that is by using a mask.
| | 01:13 | Okay, let's come down to our layers here and
then I'm going to click on this +P button
| | 01:17 | right here to add a new Primary layer.
| | 01:19 | Now you might be thinking to yourself, hold
on a second Rob. I thought we were doing
| | 01:22 | a secondary correction.
| | 01:24 | We are, but remember, secondary layers
inside of SpeedGrade are really just for keys.
| | 01:28 | What we're going to do is tie a
mask into this Primary layer.
| | 01:31 | Okay, so now that I've added a new Primary
layer, let me click over here to the Mask tab.
| | 01:37 | And the Mask tab is where I find
all my controls for creating masks.
| | 01:41 | Now you can create very simple masks or very
complex masks, and in this movie, we're going
| | 01:45 | to create a pretty simple one by
using a preset, these guys right here.
| | 01:49 | We can create a circle mask, a square mask,
or a traditional edge vignetting type mask,
| | 01:53 | and again these are presets.
| | 01:54 | But please keep in mind that you can draw
your own masks with Bezier controls and all
| | 01:59 | that kind of stuff to your heart's content,
but for this movie, as I mentioned, I just
| | 02:02 | want to do a simple mask
around the subject's face.
| | 02:06 | So I'm going to go ahead and click this Preset
button right here for a circle mask and when
| | 02:09 | I do, up here in the Monitor you will
notice that I have some onscreen controls.
| | 02:14 | Now this is a really unique feature to Adobe
SpeedGrade and that's this guy right here, the Widget.
| | 02:19 | The Widget provides you onscreen and sort
of tactile control over adjusting the shape
| | 02:24 | and the size and the softness of the mask,
and I really, really, really love the Widget.
| | 02:30 | And you can turn the Widget on and off by using
this button right down here in your Mask controls.
| | 02:35 | So how does the Widget actually work?
Well, it works in a few different ways.
| | 02:37 | You are just going to have to
experiment and play with it.
| | 02:40 | These controls right here allow you to adjust
the vertical and horizontal size of the mask.
| | 02:46 | This sort of semi-grade control right here
allows you to adjust the overall size of the mask.
| | 02:51 | This little plus button right here in the
middle allows you to move the mask around.
| | 02:56 | These grade controls right here and right here
allow you to skew the mask however you want.
| | 03:01 | And then this control right here allows you
to rotate the mask, and then finally, this
| | 03:06 | control on the outside of this box,
allows you to soften the mask up.
| | 03:11 | So what I want to do is adjust this mask
so I can position it around the subject's
| | 03:15 | face and I'm going to do something like this,
maybe we'll make it a little bigger, somewhere
| | 03:20 | in that range. That's working pretty good.
| | 03:23 | I'm going to come in and adjust the skew,
just a slight amount something like that's
| | 03:27 | working, maybe make it a little smaller,
and then I'll rotate it just a touch.
| | 03:32 | Again, the idea is I'm just trying to get
it around the subject's face, and I'll go
| | 03:35 | ahead and add a touch more softness as well.
| | 03:38 | Okay, so I positioned the mask around the
subject and I should also be clear that the
| | 03:42 | subject doesn't really move a whole
lot throughout this entire shot.
| | 03:46 | Later in this chapter, we'll talk about tracking
masks, when you want to have a mask move within
| | 03:50 | an object onscreen.
| | 03:51 | Okay, so we've set up the
mask pretty well here.
| | 03:53 | Now what I'm going to do is
come back to my Look tab.
| | 03:55 | Right here in the Primary layer that we just
added, what I need to do to make this correction
| | 03:59 | actually work is use
these buttons right up here.
| | 04:02 | These buttons allow me to apply my grading
layer to the inside or the outside of the mask.
| | 04:08 | The inside is this one right here.
| | 04:09 | It has kind of white opaque background with a
sort of black, sort of translucent center,
| | 04:14 | and then if I wanted to affect the outside
of the mask, I'd simply click on this guy.
| | 04:18 | And if I didn't want the layer to work with
the mask at all, I'd simply click this one
| | 04:21 | right here to turn off
the mask for that layer.
| | 04:24 | But I want to control the
inside of the mask here.
| | 04:27 | So coming over to my Overall controls right
here on the Look tab, what I'm going to do
| | 04:32 | is use my Gamma controls and adjust the
contrast for the inside of that mask.
| | 04:38 | Something like that works just fine,
maybe I'll back off just a little bit.
| | 04:41 | And then what I'm going to do is just up the
saturation inside of that mask just a touch,
| | 04:45 | so he doesn't look so washed out.
| | 04:47 | Again, I'm going to use the Decimal or Period
key on my keyboard to toggle that particular
| | 04:51 | layer that I've selected, this Primary
layer right here on and off. Here you go.
| | 04:56 | So you can see we've lightened him up quite a
bit and we can now see him a whole lot better.
| | 05:00 | But one of the ways that I love using masks
is to sort of digitally relight a scene.
| | 05:05 | So not only do I want to control the inside
correction on this mask, what's happening
| | 05:09 | inside of the shape, but I also want to
affect what's going on, on the outside.
| | 05:13 | And the way I'm going to do that is by adding
another Primary layer here, and then using
| | 05:16 | the Mask control buttons right here, I'm going to
click this guy to affect the outside of the mask.
| | 05:21 | Now that I've selected the outside of the
mask, I'm once again going to come into my
| | 05:23 | Gamma controls and just darken that
contrast a little bit in the midtones.
| | 05:29 | That way we're more focused on the subject
and his face than what's going on over here.
| | 05:33 | Let me toggle that on and off again by using the
Decimal or Period key on the number pad on my keyboard.
| | 05:38 | And you can see that works pretty well.
| | 05:41 | I notice after I made that last correction, I
can see a little bit of a heavy edge around
| | 05:44 | the mask, so no problem. I'm simply going
to come back to the Mask tab here and I'm
| | 05:48 | going to soften that out even more so we have
a nice soft shape, and we don't actually see
| | 05:54 | an edge around where that shape is.
| | 05:56 | Let me go ahead and toggle
this entire grade on and off.
| | 06:00 | Here is the original
shot that we started with.
| | 06:02 | It was warm, there is not all that great contrast to it,
and then here's the final image; original and then final.
| | 06:11 | So you can see in combination with the
primary correction, by using a mask, we were sort
| | 06:14 | of able to digitally relight the scene, to
get the light from over on the left-hand side
| | 06:19 | of the screen to more on the subject's face,
and now our viewer's eyes will be focused
| | 06:24 | right to the subject.
| | 06:26 | So there you go, using a mask to create a
secondary correction inside of Adobe SpeedGrade.
| | 06:31 | It's pretty straightforward, and this was just
a simple example, but in your own projects,
| | 06:34 | I think you'll find that using masks is a
great way to perform secondary corrections.
| | Collapse this transcript |
| Tracking masks| 00:00 | Earlier in this chapter we talked about
using a mask to isolate an object on screen for
| | 00:03 | purposes of making a secondary correction
here inside of Adobe SpeedGrade, but what
| | 00:07 | we didn't talk about is what happens
when that object on screen moves.
| | 00:11 | Of course in the real world objects move
around on screen all the time, and in this movie
| | 00:15 | I want to talk about tracking a mask
to isolate a moving object on screen.
| | 00:18 | Okay, before we do that let's go ahead and
take a look at what's going on with this shot.
| | 00:22 | Down here in my Layers area, you can see that I have
three different corrections applied to this shot.
| | 00:26 | And let me use the 0 key on the number pad
on my keyboard to toggle the entire grade
| | 00:29 | on and off. Here is the original shot and
the corrected shot; the original shot and
| | 00:33 | the corrected shot.
| | 00:34 | What I did with this first primary correction
was I neutralized that yellow colorcast in
| | 00:38 | the shot, and I also increased the
contrast of the shot ever so slightly.
| | 00:42 | Then what I did with these two other primary
corrections was I applied a mask to each one,
| | 00:46 | affecting the inside and the
outside of the mask that I created.
| | 00:49 | And the result of this was I darkened the
edges of the shot ever so slightly and brightened
| | 00:54 | up the center portion of the shot right around this
tool that the guy is using to carve out his guitar.
| | 00:58 | Of course I created the mask over here on
the Mask tab, and you can see that this is
| | 01:03 | just a simple circular mask around the object or the
tool that the guy is using to carve out his guitar.
| | 01:08 | Now earlier in this chapter when we created
a mask, we used a Mask Preset, the Circle
| | 01:11 | Preset right here.
| | 01:13 | That's in fact what I did on this shot as
well, but I do want to point out that anytime
| | 01:16 | you can grab any of the control points for the
actual shape of the mask or for the softness
| | 01:21 | of the mask, and you can also use these
Bezier controls, these guys right here, to adjust
| | 01:26 | the shape of the curve at a particular point.
| | 01:28 | You don't have to just use
presets when you're creating a mask.
| | 01:32 | Okay, let me go ahead and scrub through the
shot, and you can see that the guy is moving
| | 01:36 | around and the tool is moving around just a little
bit, but what is not moving? Well, that's the mask.
| | 01:40 | The mask is not actually following the tool
or the object on screen as it moves around,
| | 01:45 | and I want to remedy that.
| | 01:46 | So the first thing I'm going to do is press
the Home key on my keyboard to go back to
| | 01:49 | the beginning of the shot.
| | 01:51 | When you track a mask, you track from
wherever your current playhead position is for, and
| | 01:56 | since I want to track the entire shot, I
want to go back to the beginning of the shot.
| | 02:00 | Then down here in my Mask controls, there
is a button right here called Track Object.
| | 02:04 | Now before I go ahead and click Track Object, I
just want to be clear that tracking an object
| | 02:08 | can take a little bit of time depending on
the length of the shot and the resolution
| | 02:11 | of your shot, so what we're going to do is
begin tracking and then we'll come back after
| | 02:15 | tracking has completed on the shot.
| | 02:16 |
| | 02:25 | Okay, so the mask has finished tracking. Let
me go ahead and grab my playhead and scrub
| | 02:28 | back through this, and now you can see that
the mask actually moves with that tool or
| | 02:33 | that object on screen.
| | 02:35 | And you can see what SpeedGrade did here on
the track above my actual clip. It applied
| | 02:39 | keyframes and then tweening between those
keyframes to follow the object around on screen
| | 02:43 | and to move the mask in the
same way that the object moves.
| | 02:47 | Let me go back to my Look tab here so you
don't see the outline of the mask, and then
| | 02:51 | let me scrub through again, and yeah, that's looking
pretty good! Okay, so there you go, tracking masks.
| | 02:58 | Tracking masks is a great way to follow an
object around screen that you're trying to
| | 03:02 | isolate with a secondary correction. Just
avoid the temptation to do it on every single
| | 03:06 | shot, as you can waste
valuable time tracking objects.
| | 03:09 | A lot of times you might be able to get away
with just increasing the overall size of your
| | 03:12 | mask instead of actually tracking the object.
In a lot of cases though, tracking an object
| | 03:17 | is necessary and it's pretty easy to
do here inside of Adobe SpeedGrade.
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|
|
5. Matching ShotsUsing playheads to compare shots| 00:00 | In this movie, I want to show you how you can
use multiple playheads here inside of Adobe
| | 00:03 | SpeedGrade to quickly and
visually match shots together.
| | 00:07 | Now of course every single Timeline inside
of Adobe SpeedGrade has a default or master
| | 00:10 | playhead and that's this guy right
here with the yellow number 1 on it.
| | 00:13 | However the issue with using a single
playhead when it comes time to match shots together
| | 00:17 | is that you can only see an
individual shot at any given time.
| | 00:21 | What I mean is that you can scrub through
your Timeline and sort of get an idea of the
| | 00:24 | flow of shots, you can also play through the
shots of course, but at any given time you
| | 00:28 | can only see one shot or one frame that is
underneath the playhead up here in the monitor.
| | 00:32 | But by using multiple playheads, you can visually
compare multiple places on your Timeline together
| | 00:37 | for purposes of matching shots together.
| | 00:40 | Let me go ahead and show you how this works.
| | 00:41 | First I'm going to come down to my master
playhead and simply position it a little earlier
| | 00:45 | in the shot, something like that.
| | 00:46 | And then what I want to do is go ahead and
put my mouse over this little icon at the
| | 00:50 | end of the master playhead.
| | 00:52 | When I do that you can see I gat a little
sticky here that says, if you hold down the
| | 00:55 | Ctrl or in this case the Command key since
I am on a Mac and drag out you can create
| | 00:59 | a new playhead, so that's
exactly what I'm going to do.
| | 01:01 | I want to hold down the Command or if you're
on a PC the Ctrl key and then drag out from
| | 01:05 | this icon and when I do a
new playhead is created.
| | 01:09 | Now before I let go, I just want to show you
as I position this around I can place it on
| | 01:13 | any shot that I want.
| | 01:14 | But I want to make sure that I have
the green plus button on the playhead.
| | 01:17 | Don't drag outside of the Timeline or you'll
get this red X, which means that you'll be
| | 01:21 | deleting that playhead.
| | 01:23 | So I'm going to go ahead and position this
second playhead right about there and let go.
| | 01:26 | Now notice a couple of things.
| | 01:28 | On the actual playhead itself is the number 2,
indicating that this is the second playhead,
| | 01:32 | and notice that that number 2 is not yellow
like this number one, indicating that this
| | 01:36 | is not a master playhead. This is just
a second playhead in this Timeline.
| | 01:41 | Also up here in the monitor, I
now can see both playheads.
| | 01:44 | This is my first playhead or my master playhead,
and this is the second playhead right here.
| | 01:48 | I'm going to go ahead and repeat this process
once again holding the Command or if you're
| | 01:52 | on a PC the Ctrl key and dragging out to
create a third playhead, then I'll do it one more
| | 01:56 | time creating a fourth playhead.
| | 01:59 | Now because I'm on a Mac I'm going to go head
use the keyboard shortcut Command+Home key.
| | 02:03 | If you are on the PC you'd use the Ctrl+Home
key to snap the image in the monitor back
| | 02:08 | into the viewable area.
| | 02:10 | So up here in my monitor you can now see
that I have all four playheads in view.
| | 02:14 | Now here's the really cool thing.
| | 02:15 | If I come down to my Timeline and drag these playheads,
look they all move in tandem with one and other.
| | 02:23 | And if I press the spacebar to begin
playback, they also play with one another.
| | 02:27 | Now the reason that they're all moving together is
because of these icons at the end of each playhead.
| | 02:32 | This icon looks like a little play button and when
all the additional playheads have an icon
| | 02:36 | on them, when you move the playhead or play the
playhead, all playheads will move together in tandem.
| | 02:41 | However if you click on the playhead button,
until becomes a stop icon, you can reposition
| | 02:47 | it in the individual
playhead to a frame that you want.
| | 02:49 | And this makes it really easy when you want
to change the frame that you're using then
| | 02:53 | compare to other shots.
| | 02:53 | If you click the stop button again, it goes
back to the play button and once again all
| | 02:58 | of the playheads work in tandem.
| | 03:01 | So once you actually position your playheads on the
shots that you want, you can visually compare them.
| | 03:04 | And when I am looking at these four shots I
can see that the sky in this one is a little
| | 03:09 | darker than the pinky sky that I have going on
these shots, and I want to go ahead and fix that.
| | 03:13 | So to make it change when you're using
multiple playheads, simply select the shot that you
| | 03:17 | want to work with in your Timeline, and
then you can come down to your layers.
| | 03:20 | In this case, I want to come to this Primary
layer, in which I've applied a mask, and then
| | 03:25 | I'm going to go head and lighten up that sky just
a touch. Something like that works pretty well.
| | 03:31 | If you want a larger view of the clips that you're
trying to compare, don't forget about the P key.
| | 03:35 | By pressing P you can temporarily hide all the
tabs at the bottom of the SpeedGrade interface.
| | 03:40 | And then if you use the Command or Ctrl key
if you're on a PC key, plus the Home key,
| | 03:44 | you can snap the clips into a much larger
view up here in the monitor, which is nice
| | 03:48 | when you want to compare shots visually.
| | 03:50 | Press P again to reveal the tabs at the bottom
of the interface and then of course use the
| | 03:54 | Command or Ctrl key plus the Home key to snap the clips
back into the viewable area up here in the monitor.
| | 04:00 | So once you're done comparing shots you'll
probably want to remove the actual playheads
| | 04:03 | that you've added to your SpeedGrade
Timeline, and to do that it's pretty easy.
| | 04:07 | Simply come down to the same icon that you dragged
from to create the playhead in the first place.
| | 04:12 | Click and then drag off of the SpeedGrade
Timeline and when you do you notice that the
| | 04:16 | playhead has a red X on it. Let go to delete
or remove the playhead, and simply repeat
| | 04:21 | this process for all the playheads that you
wish to remove from your SpeedGrade Timeline.
| | 04:25 | Okay, so that's using multiple playheads inside
of Adobe SpeedGrade. I think in your own project
| | 04:30 | you'll find them a very useful way to
visually compare shots, so that you can match those
| | 04:35 | shots together.
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| Copying corrections from shot to shot| 00:00 | In this movie, I want to show you an easy way
to copy a grade from one shot to another shot
| | 00:04 | by using keyboard shortcuts.
| | 00:05 | During the course a project you'll have shots
that you want to have match, and one way to
| | 00:09 | have these shots match is by copying grades
that you've developed from one shot to another
| | 00:13 | shot, to at least getting the ballpark
of the look that you've developed.
| | 00:17 | You can then go in refine the actual individual
corrections that make up that grade on an individual shot.
| | 00:22 | But the first step is copying a grade from
one shot to another shot, so you at least
| | 00:26 | have some consistency through your program.
| | 00:29 | And in the Timeline I have a shot that has
pretty stylized look on it. It's kind of a
| | 00:33 | bleach bypass type look.
| | 00:34 | Well this second shot doesn't
have that look on it at all.
| | 00:36 | So what I want to go ahead and do is copy the
look from this first shot to this second shot.
| | 00:42 | Okay, so the first thing I need to do is tell
Adobe SpeedGrade from which direction on the
| | 00:45 | Timeline you want to copy grade from, either
earlier in your Timeline from your currently
| | 00:49 | playhead position, or from later in your
Timeline from current playhead have position.
| | 00:53 | And the way that you do that is by
using two different keyboard shortcuts.
| | 00:56 | To copy a grade from earlier on the Timeline
from your current position, simply use the
| | 01:00 | keyboard shortcut Alt or Option and then
the minus key on the keyboard number pad.
| | 01:04 | If you want to copy a grade from later in
your Timeline from current playhead position,
| | 01:07 | use Alt or Option and then the
on the keyboard number pad.
| | 01:11 | Okay, so in this case I'm going to go ahead
and press Alt or the Option and then the minus
| | 01:14 | key on my keyboard number pad to copy grades from
earlier on the Timeline, this area down here.
| | 01:20 | And then what I'm going to do is go
ahead and press the 1 key on my keyboard.
| | 01:23 | Why 1? Well because I want to copy the grade from
one clip back of my current playhead position.
| | 01:29 | So if I go ahead and press 1 now,
I've applied that earlier grade.
| | 01:32 | Now obviously this grade doesn't match exactly,
but what I do want to show you down here on
| | 01:36 | the Look tab is this red text
right here where it says Preview.
| | 01:40 | You have not actually committed to this copy
as of yet. You can still get out of it if
| | 01:45 | you don't like the look that
you've copied to the shot.
| | 01:47 | And the way that you do that is by pressing the
Backspace or the big Delete key on your keyboard.
| | 01:51 | When you do that, you've cancelled the copy.
| | 01:53 | If I go ahead and press 1 again to copy from
the previous shot and if I press the Enter
| | 01:57 | key on my keyboard number pad, you'll notice
that I've actually committed to the copy.
| | 02:01 | Okay, so on this shot it doesn't match
exactly to the first shot. It's a little bright.
| | 02:07 | So what I'm going to go ahead and do is just darken
down the shot just a little bit something like that.
| | 02:12 | And you know what, I've actually decided that
I want to warm this clip up quite a bit. I
| | 02:16 | want to make it nice and
warm, something like that.
| | 02:20 | Now I have the opposite problem.
| | 02:22 | The first shot doesn't match
the second shot in the Timeline.
| | 02:24 | If I use the keyboard shortcut that I told
you about earlier Option and then the plus
| | 02:28 | key and now once again press 1, I'll
copy the grade from one clip forward.
| | 02:33 | And just like last time, you're not actually
committed to this grade right now; notice
| | 02:37 | it says Preview until you press the
Enter key on the keyboard number pad.
| | 02:41 | Now you're probably thinking yourself, okay Rob
that works great when the shots are adjacent
| | 02:45 | to each other, but what about shots
that are not adjacent to each other?
| | 02:48 | Well, what I'm going to do is go ahead and
simply duplicate the second clip by coming
| | 02:52 | over to this icon right here on the second
clip and then holding down my Command or if
| | 02:56 | you are on a PC, the Ctrl key
and then duplicating that clip.
| | 02:59 | Then what I'm going to do is go ahead and do
something a little more funky on this first
| | 03:04 | shot, let's select the first shot, there it is
and we'll make this a little red, something
| | 03:09 | like that, and then we'll lighten this up,
so we have a nice sort of neony type look.
| | 03:14 | So then what I am going to do is navigate
down to the third shot in my Timeline, then
| | 03:17 | I'll use the keyboard shortcut Option or Alt
and the minus key to copy from previous clips
| | 03:22 | in the Timeline, and then I'm going to go head
and press the number 2, so I copy from two
| | 03:26 | clips back of my current playhead position.
| | 03:29 | And there you go. Once
again the grade was copied.
| | 03:31 | Just don't forget, to commit to the preview
grade you simply need to press the Enter key
| | 03:35 | on your keyboard number pad.
| | 03:36 | After committing to the grade you can come
back in to your color controls and adjust
| | 03:41 | the grade however you see fit.
| | 03:44 | Okay, so that's using keyboard shortcuts to
copy grades from one shot to another shot.
| | 03:49 | And the thing about this is that you can copy
up to nine different shots, either forward
| | 03:52 | or backwards using the one through
nine keys on your keyboard number pad.
| | 03:56 | In a later movie in this chapter, I'll show
you another way that we can copy grades and
| | 04:00 | that's by using .look files.
| | 04:02 | But for right now I think you can see that
using keyboard shortcut is an easy way to
| | 04:05 | copy grades from one shots to another.
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| Applying and saving looks| 00:00 | In this movie, I want to talk about looks.
| | 00:02 | Well, what do I mean by a look? Well, a look
is a combination of corrections that you've
| | 00:06 | applied to a shot.
| | 00:07 | So for example, our primary correction, a
secondary correction, a mask or maybe even
| | 00:12 | a custom Look layer.
| | 00:13 | Taken altogether, those separate corrections make up a
look that you've developed for a particular shot.
| | 00:18 | And in this movie, I want to show you how
we can use some pre-built looks that Adobe
| | 00:22 | has developed for SpeedGrade.
| | 00:23 | I also, want to show you how we can
customize those looks to save our own costume looks
| | 00:28 | that we can use within a
project or even for other projects.
| | 00:32 | First off, if you're following along with
the exercise files, be sure to open up this
| | 00:34 | Timeline called 05_03_looks, and this Timeline
has a shot that we've seen before, and it's
| | 00:39 | an okay looking shot of this
guy working on his guitar.
| | 00:41 | But it's just a little flat
and just a little boring.
| | 00:44 | So what I want to do is jazz up
the shot with a custom look.
| | 00:48 | And to do that, what I'm going to do is come
down to my Look tab here, and then underneath
| | 00:51 | my color controls, you should notice,
that you have a bunch of open tabs.
| | 00:55 | This first tab, if you haven't saved your own custom
look before, will be empty like I have it here.
| | 01:00 | But on these other tabs, you have some examples
of looks that Adobe ships with the application.
| | 01:05 | You have Cinematic looks, Desaturated looks,
Stylistic looks and then some Temperature looks.
| | 01:10 | Again, a good way to think about these looks
that Adobe had shipped with the application
| | 01:14 | is as a starting point for
developing your own custom look.
| | 01:17 | I don't advise that you just use these looks
right out of the box, because in many cases
| | 01:22 | they just won't look right.
| | 01:23 | You'll often have to go in and tweak some of
corrections that make up that look to fit your footage.
| | 01:29 | Okay, so what I'm going to do is come over
here to Cinematic category here and there's
| | 01:33 | a look that I want to apply to the
shot right here, called BleachBypass1.
| | 01:37 | I'm simply going to click on this look, I'm
not going to double-click on it, and when
| | 01:40 | I click on it, you'll notice up here in the
monitor I now have that look applied, but
| | 01:46 | I'm just previewing this look.
| | 01:48 | How do I know that I'm previewing it? Well
down here on the Look tab, notice this red
| | 01:51 | text right here, that says Preview.
| | 01:53 | You haven't actually committed
to using this look as of yet.
| | 01:57 | If you don't like this look, or if you don't
want it applied to the shot, simply press
| | 02:00 | the Backspace or the big Delete key
on your keyboard to reject that look.
| | 02:04 | However, if you do want the look, simply
select it again, and then press the Enter key on
| | 02:08 | your keyboard number pad to apply the look.
| | 02:11 | Okay, I've applied that BleachBypass look
and over here in my Layers, you can see that
| | 02:15 | I have a primary correction, as well as a custom
look layer, this BleachBypass layer right here.
| | 02:19 | But what I want to do is customize
this look just a little bit more.
| | 02:24 | So the first thing I'm going to do is come
down here, and click on the plus button to
| | 02:26 | add a New Custom Look Layer, and then what I'm going
to do is choose, this look right here, FxBloom.
| | 02:32 | And then with the Intensity sliders here,
I'm going to drag up until I get a value of
| | 02:36 | around 2 or so, maybe 2.2, and what I'm trying to do
is give a nice glow to the highlights in the shot.
| | 02:42 | All right, that's working pretty well for me.
| | 02:45 | The next thing I'm going to do is add a new
Primary layer, and then I'm going to switch
| | 02:48 | over to my Mask tab, and I'm going to use these
Preset buttons here to create a new mask, and
| | 02:53 | the one I'm going to click on is this guy
right here to create a new Vignette type Mask.
| | 02:57 | And up here on the actual image in the monitor, I can
use the widget here to resize and reposition the mask.
| | 03:03 | So I'm going to make it a little bigger,
something like that, and I'm going to add some softness
| | 03:08 | to it, maybe a little more softness.
| | 03:10 | Yeah, that's working pretty well
maybe just add touch more softness.
| | 03:14 | And then you know what? I'm going to
actually skew it just a little bit, something like
| | 03:18 | that, and let me reposition it ever so slightly, and
maybe just a touch more softness. There we go.
| | 03:24 | Okay, then I'm going to come back down to
my Look tab and using these controls right
| | 03:28 | here, I'm going to click on this button,
so I affect the outside of the mask.
| | 03:32 | And then, using my main color controls here in
the overall category of Look tab, I'm going
| | 03:36 | to drag my Gamma or my Midtone brightness
down quite a bit, something like that, and
| | 03:42 | I'll do the same thing for the Highlights.
| | 03:45 | Now you'll notice that I'm getting sort of
a nice sort of edge vignette on the shot.
| | 03:49 | I'm going to come back to the Mask tab I think,
and size this down ever since slightly, so
| | 03:54 | the vignette is a little bit more
pronounced. Okay, that's working for me.
| | 03:57 | Then finally what I'm going to do is add another
Primarily layer and come over here to my Overall
| | 04:02 | controls in the Look tab, and I'm going to
warm-up the midtones of the shot, just ever
| | 04:07 | so slightly. Something like that.
| | 04:09 | However, that's a little too warm for me.
| | 04:12 | So I'm going to use the Opacity slider here,
for this Primary layer and drag down, and
| | 04:17 | remember you can hold the Shift key down to have
sliders move a little faster inside of SpeedGrade.
| | 04:22 | So I'm going to go to a value of maybe
around .35, .37. Yeah, that works pretty well.
| | 04:27 | Okay, let me go ahead and use the 0 key on my
keyboard to toggle the whole grade on and off.
| | 04:33 | Here's the original shot and
here's the look that I've developed.
| | 04:36 | So now, what I want to do is go ahead and
save this as my own custom look, so I can
| | 04:40 | use it on another shot on a Timeline
or may be even in another project.
| | 04:44 | And to do that I'm going to come
down and click on this tab right here.
| | 04:46 | Remember, this tab I said was empty if you
hadn't previously saved any custom looks.
| | 04:51 | Now when you say you save a look to this tab, where
does it actually go? Well, that's a good question.
| | 04:55 | It goes to by default to your User documents
folder Adobe SpeedGrade 6 for Adobe SpeedGrade
| | 05:02 | 6 and then Settings.
| | 05:04 | With this tab active, I'm going to come down
to my Layers and click this button right here
| | 05:08 | to save a .look file.
| | 05:09 | A .look file is the combination of corrections that
you've applied to a shot, or in other words, a look.
| | 05:15 | So I'll click this button to save the look and over
here you can see that the look has been saved.
| | 05:20 | If I click on the actual name of it, I can remain
this and I'll call this warm bleach with vignette.
| | 05:28 | Finally, I just want to mention a few
more things having to do with .look files.
| | 05:34 | First, if you ever need to remove a look that
you've created, simply hover your mouse over
| | 05:37 | the look and then, click this X
button right here, to delete the look.
| | 05:41 | Another thing that you can do when you hover
over a look is click this E button to export
| | 05:45 | the .look file, and when you
do that a new window opens up.
| | 05:48 | And in this window, you can export the .look
| | 05:50 | file into various flavors of 1D and 3D
LUTs or look-up tables, and look-up tables
| | 05:56 | allow you to exchange
information between different systems.
| | 05:59 | So by translating the .look file into a 1D or
3D LUT, you an exchange the look that you've
| | 06:05 | created with other users on other systems
and this is a very nice workflow thing, when
| | 06:10 | you need to interact with other operators
and other artists on different systems.
| | 06:14 | So in this case, I'm not actually going to
export the look, so I'll just click the X
| | 06:17 | here to close this window.
| | 06:19 | Finally, you should know that if you work
with Adobe Photoshop or Adobe After Effects,
| | 06:22 | you can now access .look files in those
applications to apply looks to footage.
| | 06:27 | And I'm really excited about
this from a workflow standpoint.
| | 06:30 | As in the past as a colorist, I would had to
rendered out footage for those artist to use.
| | 06:34 | Now I can simply develop a look and then they
can apply that look to the footage in Photoshop
| | 06:39 | or After Effects without me needing to render
first, and that's definitely a time saver.
| | 06:44 | So that's just a little bit about working
with looks. As you can see, it's easy to apply
| | 06:48 | one of the pre-built looks that ships with
SpeedGrade, modify it, and then save your own look.
| | 06:53 | But of course, you can always start
from scratch, creating a look as well.
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|
|
6. RenderingUsing the Output tab| 00:00 | In this movie, I want to talk about the essential
aspects of rendering footage from Adobe SpeedGrade.
| | 00:04 | Here, in this project, I have a Timeline
that I've already gone ahead and graded.
| | 00:08 | Let me go ahead and scrub through the
shots here so you can see what I've done.
| | 00:13 | I'm pretty happy with the
way that the shots look.
| | 00:15 | So the next step is to render the footage
out of SpeedGrade, and the way that I do that
| | 00:19 | is by coming up here to the Output
tab at the top SpeedGrade interface.
| | 00:23 | So the Output tab is pretty simple looking,
yet at the same time it's pretty deep and
| | 00:27 | I just want to make a point of that.
| | 00:28 | In this movie, we're not going to talk about
all the parameters that you can find here
| | 00:32 | on the Output tap.
| | 00:33 | But in your own workflows you may need to
tab some of the advanced options that you
| | 00:37 | can find here on the Output tab for different
types of renders that you might need to make.
| | 00:42 | So the Output tab is broken down into three
main sections; the Output section right here
| | 00:46 | at the top of the Output tab, the Framing
section here in the middle, then finally,
| | 00:50 | the Render section at the
bottom of the Output tab.
| | 00:53 | Let's start up here in the Output Section.
| | 00:55 | So the first thing that you need to do to
configure this render is to tell Adobe SpeedGrade
| | 00:58 | where you actually want the render to.
| | 01:00 | And, you do that right
here in the folder area.
| | 01:02 | By default you'll be
rendering out to your desktop,
| | 01:04 | but if you click this button right
here, you can choose other locations.
| | 01:07 | So for example, if I choose my Macintosh HD,
I click again and choose my Users folder,
| | 01:12 | I click again, I'll choose this user, and then I'll
click one more time and I'll choose my Movies folder.
| | 01:17 | And you can see the file path of
where you rendering right here.
| | 01:21 | Now actually in this case I'm
fine rendering through the desktop.
| | 01:23 | So I'm simply going to click this back button
a few times to delete those other locations.
| | 01:27 | Next, you can choose what your file name is.
| | 01:30 | Now this is something
that's kind of important.
| | 01:32 | By default Adobe SpeedGrade will try to render
out your entire Timeline, which is useful, but
| | 01:37 | it renders out entire Timeline
as one self-contained file.
| | 01:40 | And if you are in a Premiere Pro to
SpeedGrade workflow, this is the primary way that you
| | 01:44 | want to render footage back out of Adobe
SpeedGrade so you can import a self-contained file back
| | 01:50 | into Adobe Premiere Pro.
| | 01:52 | With that said, you don't have to
render a single self-contained file.
| | 01:56 | For example, if you come in and
click this M button right here.
| | 01:59 | You have several options that you can use
for how files are going to be rendered.
| | 02:03 | And using the source options for example,
such as this one right here, source and filename,
| | 02:07 | when you render out, what you'll do is you'll
render out each clip, the source, as a different
| | 02:11 | movie file on disk.
| | 02:13 | And this is nice especially if you
go in and say a daily's workflow,
| | 02:16 | but it doesn't work so well when you're trying to
get footage back to your editorial applications
| | 02:20 | such as Adobe Premiere Pro.
| | 02:22 | Again in that case, you'll probably
want to render out a self-contained file,
| | 02:26 | but it is nice to know that you
can render out individual clips.
| | 02:29 | And, in future versions of Adobe SpeedGrade,
I'm hoping that the round-trip workflow improves
| | 02:34 | so, that we can actually render out individual
clips and then simply pass off an XML file,
| | 02:39 | for example, back to Adobe Premiere Pro and
all those individual clips will be reconfirmed
| | 02:44 | back in Premier Pro correctly.
| | 02:46 | But for right now, what I want to do is simply
click on the source file name right here and
| | 02:50 | then click X to remove this type of render.
| | 02:52 | Okay, so let me click back when it says Enter
Filename and let me go ahead and call this
| | 02:56 | file GUITAR SEQUENCE.
| | 02:58 | Next, down here in the Format & Options
area, you have a lot of advanced options.
| | 03:03 | We're not going to talk
about these in this movie.
| | 03:05 | However, I do want to focus on two
options that are available here.
| | 03:09 | First is this pull down menu.
| | 03:10 | Here, you can choose from different
presets that you have in your system.
| | 03:12 | But if you go ahead and click this other
button a new dialog window will pop open.
| | 03:16 | In this window, what I can do is configure an
output preset for various formats including
| | 03:20 | Image Sequences, Quick Time,
Native Move and IHSS.
| | 03:24 | Let me go ahead and click back
right here what it says QuickTime.
| | 03:26 | What I actually want to do in this movie is I
want to output a QuickTime file using the
| | 03:30 | photo JPEG codec.
| | 03:31 | Now you might be thinking to
yourself Rob, why photo JPEG?
| | 03:34 | Well, it's not because, of
its high image quality.
| | 03:36 | It's simply because, photo JPEG is a cross-platform
codec that plays back on pretty much any system,
| | 03:42 | and to do that I'm going to click here in
the video section, where it says Animation
| | 03:45 | and then, scroll down toward it says
Photo JPEG, this option right here.
| | 03:49 | Next, what I want to do is change my frame
rate to match the footage that I'm using in
| | 03:54 | this Adobe SpeedGrade Timeline.
| | 03:56 | So let me click here and type in 23.976.
| | 03:58 | Next, in the Video Quality section, let me
change my quality from Normal to Maximum to
| | 04:05 | render out the maximum quality file.
| | 04:07 | None of my footage actually has any
audio in this SpeedGrade Timeline.
| | 04:11 | So I'm going to click here
and uncheck Enable audio.
| | 04:13 | In the Time Code section I'm going to check
both these options: Add the time code track,
| | 04:17 | as well as to display time
code in the QuickTime player.
| | 04:20 | The last thing that I need to do is
actually save a name for this preset.
| | 04:24 | So the way I'm going to do that is by simply
clicking here what says enter name for this
| | 04:28 | preset, and then let me go ahead and type in PHOTO
JPEG RENDER, and then I'll go ahead and click Save.
| | 04:36 | After I saved my own preset what I want you
to notice here in this menu, it appears as
| | 04:40 | a preset on my system.
| | 04:42 | And this is a great way to access presets
that you want to use over and over again.
| | 04:47 | Next, down one here in the framing area, we
have a few options that we can configure.
| | 04:51 | First you can choose to render out the Full
Image at it's full resolution, or you can render
| | 04:55 | at lower resolutions which is nice when
you want to do just quick test renders.
| | 04:59 | Here, with this menu you can choose to
change the aspect ratio of the render clip.
| | 05:03 | And then, finally with this menu you can choose to
render to a different resolution of your choosing.
| | 05:08 | So for example you can render this 1080 footage
out at 720, 540, you can even render out to the
| | 05:13 | iPad if you want.
| | 05:14 | But the interesting thing is when you choose
a different size like this NTSC Video option,
| | 05:19 | these options right down here underneath the
menus become available, and these options allow
| | 05:22 | you to configure how you're framing
the shot within the video frame.
| | 05:26 | So for example, are you doing a center
card, letterbox, and so on, and so forth.
| | 05:31 | I actually want to render this file at a full
resolution without changing its aspect ratio
| | 05:35 | or its framing at all.
| | 05:36 | So I'm going click back in this
menu and choose same as proxy.
| | 05:38 | Finally, down here in the render area you
have two different options that you can choose
| | 05:42 | from: Online Quality which is the option
that you should choose most of the time, or you
| | 05:46 | can choose Offline Quality
if you're in a super rush.
| | 05:49 | I'm going to make sure that
it choose Online Quality.
| | 05:51 | So let me go ahead and click Render and
we'll come back when the render is done.
| | 05:59 | Okay so, the render is done and you might
have noticed as it was rendering, there were
| | 06:02 | some icons right here on the interface.
| | 06:05 | And these just give you some
performance stats of the render.
| | 06:08 | So once the render is done, you can simply
click over to the Render Result tab and then
| | 06:11 | you can navigate to where you
rendered to view the actual rendered file.
| | 06:15 | It's worth noting though, that this area is pretty
much the exact same thing as the regular Desktop view.
| | 06:20 | You can even bring this file
back into your SpeedGrade project.
| | 06:23 | Okay so, that's little more about rendering.
| | 06:25 | Next up in this chapter, we'll discuss bringing
the rendered file that we created back into
| | 06:29 | Adobe Premiere Pro,
| | 06:31 | so we can integrate it with things
like titles and audio, and so on.
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| Importing rendered media back into Premiere Pro| 00:00 | In this movie, we're going to pick up
where we left off in the last movie.
| | 00:03 | If you haven't watched the previous movie
on rendering from Adobe SpeedGrade, be sure
| | 00:06 | to go back and watch that movie.
| | 00:08 | So what I actually want to do in this movie
is I want to import the file that we exported
| | 00:12 | from SpeedGrade here into Adobe Premiere Pro,
and what I'm going to do is remarry that file
| | 00:17 | with things like text and audio.
| | 00:19 | So before we actually import the clip that
we rendered from SpeedGrade, let me go ahead
| | 00:22 | and show you the original sequence that I
had here inside of Adobe Premiere Pro. It's
| | 00:26 | this guy right here called Guitar Sequence.
| | 00:28 | And if I scrub through the sequence, you can
see it's the same shots that we saw inside
| | 00:32 | of SpeedGrade, but there
are also some text elements.
| | 00:34 | And if I go ahead and play
back, there is some audio.
| | 00:36 | (music playing)
| | 00:39 | Okay, so what I actually did to send this
sequence to SpeedGrade was I duplicated it
| | 00:44 | over here in the Project panel and I created this
sequence right here called Guitar Sequence_EDL PREP.
| | 00:49 | And in that sequence what I essentially did
was just strip off the titles and the audio,
| | 00:53 | because all I really cared about was grading
these shots. I didn't really care about the
| | 00:56 | audio and I didn't really
care about the titles.
| | 00:59 | And plus, the titles wouldn't go
over to SpeedGrade regardless.
| | 01:03 | So I sent this over to SpeedGrade, we graded it,
and then as we saw in the previous movie,
| | 01:06 | I rendered out these shots.
| | 01:08 | So now it's time to get that
rendered footage back into Premiere Pro.
| | 01:12 | And in the previous movie, what I did was I
rendered out a self-contained file of the
| | 01:16 | entire sequence, so that's what I'm going to
go ahead and import back in Premiere Pro.
| | 01:20 | And to do that I'll double-click here on my
Project panel, then I'll navigate out to my
| | 01:23 | Desktop, that's where I saved this movie right
here called Guitar Sequence, I'll select it,
| | 01:27 | and then click Import.
| | 01:29 | Next, what I'm going to do is once again
duplicate the original sequence by right-clicking on
| | 01:34 | it and then choosing Duplicate, and I'll simply
rename this Guitar Sequence_Graded, and then
| | 01:42 | I'll go ahead and open that up.
| | 01:44 | Then what I'm going to do is delete all the
footage here on video track one, so I'll simply
| | 01:49 | with my selection tool select these
clips and then simply press Delete.
| | 01:54 | Finally, the last step in remarrying this
graded footage back to the text and the audio
| | 01:59 | from the original sequence is to simply take the
new graded file and edit it into the sequence,
| | 02:06 | just like that.
| | 02:07 | And now if I scrub through this,
you'll notice I have my graded shots.
| | 02:10 | Now one thing I like to always do is
I like to compare before and after.
| | 02:14 | So one way to do this is to simply copy the
time code from the graded sequence, switch
| | 02:18 | back over to the original sequence, type in
that same time code, and now you can quickly
| | 02:23 | switch between the graded
shots and the original shots.
| | 02:29 | Now one more thing, you might have noticed
I had a cross dissolve here at the end of
| | 02:32 | the original sequence.
| | 02:33 | Well, I can simply duplicate that again, or
come into my Effects and search for Dissolve
| | 02:39 | and there is Cross Dissolve, and I'll drag it
out to the end of the shot, just like that,
| | 02:46 | and now I have an exact replica of my
original sequence, but now it's graded.
| | 02:51 | So there you go, a little bit of workflow
for importing graded footage back into Adobe
| | 02:55 | Premiere Pro and marrying it back up with
text and audio and other project elements.
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ConclusionGoodbye and additional resources| 00:00 | We've reach the end of Up and
Running with Adobe SpeedGrade.
| | 00:03 | And I want to thank you for joining me on
this exploration of the essential features
| | 00:06 | of this powerful color
correction and grading application.
| | 00:08 | In this title, we touched on many key aspects
of Adobe SpeedGrade, but SpeedGrade is a deep
| | 00:14 | and robust application with a plethora of more
features then we were able to explore in this title.
| | 00:19 | So in your own projects keep exploring all
that SpeedGrade has to offer. I did want to
| | 00:24 | leave you though with a few additional
resources that I think that you might find useful.
| | 00:27 | First, is the official Adobe SpeedGrade forum on
the Adobe website. This forum is great especially
| | 00:32 | since quite a few of the SpeedGrade development team
monitor the forum, answer questions, and give feedback.
| | 00:38 | Creative COW also has an Adobe SpeedGrade
forum which is very active and if you are like
| | 00:42 | lot of folks you probably use the Creative
COW forums on a daily basis. So it's nice that
| | 00:46 | they now have an Adobe SpeedGrade forum to
ask questions and to get answers from users
| | 00:51 | around the world.
| | 00:52 | Finally, no application is perfect, so if
you do discover a bug or have an idea on how
| | 00:57 | to really improve SpeedGrade, let Adobe know.
| | 01:00 | By visiting the Feature Request/Bug Report
Form on the Adobe site you can give Adobe
| | 01:05 | valuable feedback about
SpeedGrade and other Adobe tools.
| | 01:09 | So once again thanks for joining for
Up and Running with Adobe SpeedGrade.
| | 01:13 | I'm Robbie Carman.
| | 01:14 |
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