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Using the Shot Matcher

From: Up and Running with SpeedGrade CC

Video: Using the Shot Matcher

One of the big new features here in SpeedGrade CC is the Shot Matcher. And the Shot Matcher allows us to take the grade that we've done on one shot and automatically try to get another shot to match. Now, there are a couple things we need to point out. For instance, if I were going to use the first shot in this sequence here, as the shot I'm going to use as a reference to match two. I've got a couple primary layers here that have a mask attached to them. Masks do not come across when using the Shot Matcher.

Using the Shot Matcher

One of the big new features here in SpeedGrade CC is the Shot Matcher. And the Shot Matcher allows us to take the grade that we've done on one shot and automatically try to get another shot to match. Now, there are a couple things we need to point out. For instance, if I were going to use the first shot in this sequence here, as the shot I'm going to use as a reference to match two. I've got a couple primary layers here that have a mask attached to them. Masks do not come across when using the Shot Matcher.

That's just something to keep in mind. So what are we going to do? Well, let's take a look at shot number six in this sequence, and I'm using Cmd+right arrow to get to that shot. And, we want to match the drummer to this single of her, where we got this heavy red light form the sign above her head. So we want to get more of that in there, and I'm thinking well, maybe let's use the Shot Matcher and see if the Shot Matcher can put some reds into those highlights. And what I'm going to do now is go into the 2-Up continuity checker by pressing Option+2.

That pulls up the second playhead as we learned in an earlier movie when talking about the continuity checker. And I'm going to take this second playhead and move it here onto this first shot we want to match too. Now, the thing to remember about the Shot Match function is that the playhead that is active, which is in this case is the one with the orange, number one here is the active one, is the one that will get the grade applied to it. So, if I were to come here and click on the number two, it becomes orange.

Now, what's going to happen is if I were to use the Shot Matcher on this shot, it would get applied to this shot, because it is active. But that's not what I want, I'm going to come over to playheadnumber one, make that active. And now this is the shot that will get the grade applied to it over here on the right hand side. I'm going to go ahead and click this button here, which is the Shot Match button. (LAUGH) and then there you go, there's our shot match. clearly it's wrong, we're going to have to fix it. But first, let's take a quick look at what precisely happened.

When I clicked this button, what SpeedGrade CC date is it added a special layer called the Auto Color Match layer. Now, unlike the perimeter control, where I have all of these controls available to me, if I click on the Auto Color Match layer there are no controls. This is very much an under the hood kind of thing. It either works or it doesn't, and in this case, yeah, it did not work. But before we abandon it, all may not be lost. It might just be we need to pick two different frames. So, let me come here to, to this second playhead, press this Play button to unlink play head number two.

And I'm just going to move it up here where I've, I've got fewer shadows, because, what it did is it add a lot of red in the shadows. And then I'm going to come over to playhead number one, and I'm looking for a point when they're looking at. Yeah, right there. When their fac, heads are up, their faces are looking at each other, and I probably have some highlights here that the shot match will work with. I'm going to come down here to this original Auto Color Match layer and delete it. And this time I'm going to use the keyboard shortcut Cmd+M or Ctrl+M on a PC.

And there we go, we got a much better shot match going on here. This is absolutely looking like I've got the red sign up there, giving me those red highlights here, that was missing when I have the grade turned off here. Also notice, let me turn the grade back on, and you can see this vignette around Chris Jane. I'll turn this off. Turn it back on. Notice there is no vignette around the drummer and the keyboard player, because that does not get copied across. And that in a nutshell is the shot match function here in SpeedGrade CC.

As you saw, it doesn't necessarily work every time. But when it fails all may not be lost, and you may be able to recover by f, by selecting slightly different frames that will give you a different shot match result. So give it a shot, play with it a little bit. it will work sometimes, it won't work sometimes. But it's good to know you've got it there when you have move real quick and move from shot to shot to shot to shot.

Show transcript

This video is part of

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

55 video lessons · 10217 viewers

Patrick Inhofer
Author

 
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  1. 30m 23s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 7s
    3. Exploring additional equipment
      5m 28s
    4. Using the exercise files
      9m 7s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 7s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      4m 58s
    3. Direct Link vs. Native
      5m 39s
    4. Direct Link on the Mac
      2m 54s
    5. Manipulating the viewer
      5m 44s
    6. Manipulating the Timeline
      5m 3s
    7. Using analysis tools to evaluate contrast and exposure
      6m 42s
    8. Using analysis to evaluate color
      8m 0s
  3. 23m 14s
    1. Importing clips directly into SpeedGrade
      4m 42s
    2. Using automatic scene detection
      5m 53s
    3. Sending a sequence from Premiere Pro to SpeedGrade
      6m 6s
    4. Using an edit decision list (EDL) to conform a project
      6m 33s
  4. 35m 30s
    1. Colorist lingo: What is a primary correction?
      4m 11s
    2. Understanding the 3-Way controls: Contrast
      4m 59s
    3. Understanding the 3-Way controls: Shadows, Midtones, and Highlights
      5m 26s
    4. Understanding the 3-Way controls: Hue and Saturation
      5m 16s
    5. Using the slider controls
      6m 39s
    6. Adding, deleting, and working with primary layers
      8m 59s
  5. 17m 9s
    1. Making initial contrast and color adjustments
      6m 59s
    2. Balancing your shots by removing color casts
      6m 6s
    3. Grading in passes
      4m 4s
  6. 48m 23s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      9m 43s
    4. Mask linking
      5m 41s
    5. Maks and layer linking
      2m 30s
    6. Grading layers and grading clips
      5m 29s
    7. Tracking masks and using the keyframing controls
      8m 15s
    8. Understanding the secondary layer
      8m 16s
    9. Pulling HSL keys and limiting with masks
      4m 38s
  7. 11m 25s
    1. Tracking a face
      5m 25s
    2. Keying and grading skies
      4m 18s
    3. Using a mask with a sky correction
      1m 42s
  8. 27m 10s
    1. Copying corrections from one shot to another
      4m 59s
    2. Using the Snapshot Browser
      7m 19s
    3. Using the Continuity Checker
      5m 47s
    4. Using the Shot Matcher
      4m 14s
    5. Saving and recalling grades
      4m 51s
  9. 14m 8s
    1. Understanding the Look layer
      7m 55s
    2. Saving and applying looks using the Look Manager and Look presets
      6m 13s
  10. 17m 8s
    1. Colorist lingo: RAW, LOG, and look-up tables (LUTs)
      5m 5s
    2. Controls for RAW footage
      5m 46s
    3. Understanding LOG (flat) footage and LUTs
      6m 17s
  11. 19m 40s
    1. Setting up a render
      6m 42s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 35s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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