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Using analysis tools to evaluate contrast and exposure


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Using analysis tools to evaluate contrast and exposure

In this movie, we're going to take a look at two things. The first thing we're going to do, is take a look at the analysis tools here in speedgrade, otherwise know as Waveform monitors, vectors, scopes, and histograms. The other thing we're going to do is take a look at those analysis tools which I find most useful when we're analyzing the contrast of a shot. Because the way I typically work is, I usually start with contrast, and then move on to color and saturation. If you have access to the exercise files, I'm working off of 02_05_analysiscontrast, and to find our analysis tools, our Waveforms and vector scopes, you've got this little disclosure triangle up here, and I can click that.
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  1. 31m 43s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 52s
    3. Exploring additional equipment
      5m 34s
    4. Using the exercise files
      9m 36s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 13s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      5m 4s
    3. Direct Link vs. Native
      5m 39s
    4. Direct Link on the Mac
      2m 54s
    5. Manipulating the viewer
      5m 44s
    6. Manipulating the Timeline
      5m 3s
    7. Using analysis tools to evaluate contrast and exposure
      6m 42s
    8. Using analysis to evaluate color
      8m 0s
  3. 24m 44s
    1. Importing clips directly into SpeedGrade
      4m 42s
    2. Using automatic scene detection
      5m 53s
    3. Sending a sequence from Premiere Pro to SpeedGrade
      6m 58s
    4. Using an edit decision list (EDL) to conform a project
      7m 11s
  4. 35m 30s
    1. Colorist lingo: What is a primary correction?
      4m 11s
    2. Understanding the 3-Way controls: Contrast
      4m 59s
    3. Understanding the 3-Way controls: Shadows, Midtones, and Highlights
      5m 26s
    4. Understanding the 3-Way controls: Hue and Saturation
      5m 16s
    5. Using the slider controls
      6m 39s
    6. Adding, deleting, and working with primary layers
      8m 59s
  5. 17m 9s
    1. Making initial contrast and color adjustments
      6m 59s
    2. Balancing your shots by removing color casts
      6m 6s
    3. Grading in passes
      4m 4s
  6. 44m 3s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      5m 23s
    4. Mask linking
      5m 41s
    5. Maks and layer linking
      2m 30s
    6. Grading layers and grading clips
      5m 29s
    7. Tracking masks and using the keyframing controls
      8m 15s
    8. Understanding the secondary layer
      8m 16s
    9. Pulling HSL keys and limiting with masks
      4m 38s
  7. 13m 13s
    1. Tracking a face
      6m 44s
    2. Keying and grading skies
      4m 47s
    3. Using a mask with a sky correction
      1m 42s
  8. 27m 10s
    1. Copying corrections from one shot to another
      4m 59s
    2. Using the Snapshot Browser
      7m 19s
    3. Using the Continuity Checker
      5m 47s
    4. Using the Shot Matcher
      4m 14s
    5. Saving and recalling grades
      4m 51s
  9. 14m 8s
    1. Understanding the Look layer
      7m 55s
    2. Saving and applying looks using the Look Manager and Look presets
      6m 13s
  10. 17m 8s
    1. Colorist lingo: RAW, LOG, and look-up tables (LUTs)
      5m 5s
    2. Controls for RAW footage
      5m 46s
    3. Understanding LOG (flat) footage and LUTs
      6m 17s
  11. 20m 1s
    1. Setting up a render
      7m 0s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 38s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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Watch the Online Video Course Up and Running with SpeedGrade CC
4h 54m Beginner Aug 15, 2013 Updated Jan 24, 2014

Viewers: in countries Watching now:

Using Adobe SpeedGrade CC, powerful professional color correction and color grading is available to anyone with a Creative Cloud membership. In this course, professional colorist Patrick Inhofer offers a project-based learning experience to get you familiar with the SpeedGrade tools. You'll work three different types of projects through the color correction and grading process, which includes getting projects and footage into SpeedGrade, color correcting and grading shots, and then rendering and outputting shots. Each step of the process is rich with lessons and anecdotes that are applicable to real-world color grading scenarios that editors, producers, and other creatives will face.

This course was created by Patrick Inhofer and produced by Robbie Carman. We are honored to host this content in our library.

Topics include:
  • Understanding the interface and reading scopes
  • Getting clips and projects into SpeedGrade
  • Understanding the 3-way controls
  • Making contrast and color corrections
  • Pulling HSL keys
  • Making secondary corrections and using custom look layers
  • Tracking masks to objects
  • Matching shots
  • Rendering footage
  • Moving timelines between Premiere Pro and SpeedGrade
Subject:
Video
Software:
SpeedGrade
Author:
Patrick Inhofer

Using analysis tools to evaluate contrast and exposure

In this movie, we're going to take a look at two things. The first thing we're going to do, is take a look at the analysis tools here in speedgrade, otherwise know as Waveform monitors, vectors, scopes, and histograms. The other thing we're going to do is take a look at those analysis tools which I find most useful when we're analyzing the contrast of a shot. Because the way I typically work is, I usually start with contrast, and then move on to color and saturation. If you have access to the exercise files, I'm working off of 02_05_analysiscontrast, and to find our analysis tools, our Waveforms and vector scopes, you've got this little disclosure triangle up here, and I can click that.

And it reveals my analysis tools. I can also use that to hide them, or use the shortcut key, the A button, and that'll toggle the analysis tools on and off. Now depending on if you've played with these or not, you may or may not be up here with the four scopes layout. To adjust that, we can adjust between one and four scopes. If I flip here to three scopes it changes around, and then I can right click in each of these scopes to select. Between one of the four scopes.

So instead of down here I wanted the RGB parade, I could right click, select parade, and now I've got my RGB parade down here. And if I want to move my Vectorscope up here, I can right click, select vector scope. There it is. There's also a thing to note here is this pull down menu for ten bit, eight bit, 16 bit, and float. That's going to change the, the numbering here on the right side of both the Waveform and the parade. So right now this is set for 10-bit, so it's showing me from 0 to 1023. I can also for instance flip this into float, and now 0% black is 0.0 and 100% white is 1.0.

And notice it changes for both of these displays. If I'm in a color shot, so I'm going to jump here to the last shot in the timeline, I have a choice on this LumaScope, I can right click and select switch to RGB which is usually its default state. And now it's showing me this RGB parade overlayed on top of each other. Or I can right click, switch to the Luma. And this is a Luma only or why only display. So, it's stripping away the color information and giving me basically the sum of what these three are, when they're summed together to the final image.

I find I use this on a fairly regular basis. Although I like to say, I make my living off the RGB parade scopes. So now the question is, what are the scopes or the analysis tools that I use on a regular basis when I'm looking at contrast? Well, number one is this y-only Waveform. I'm going to come down here and switch this to one scope, right-click and show Waveform. And, we're on the y-only and this is showing me. The image am looking at from black to white.

Now, I am going to go ahead and control left arrow, back to the first shot in this timeline and the first shot is this gradient with black on the left and white on the right and notice on this Wave form, I've got black on the left. Sloping up to white on the right. And every step in between, the Waveform is showing what each of these pixels are, reading from left to right. Now, if I go to the next shot here, I'm going to control right arrow, I flipped the shot and now we've got white on the left, black on the right, and notice we've got white on the left, black on the right.

In other words, the scope here reads the picture information and displays it from left to right. Now, I'm going to move to the next shot on this timeline. And also what I've got going on here, is I've got speed grade spelled out as text, but filled with a gradient. And you can see that absolutely, that the left edge of the S here is the left edge of the S here. And as we move across, you can see that there's a direct relationship between say this point in the image and this point in the Waveform.

Now, about the only time a Waveform will ever give you a (LAUGH) one-to-one relationship so you can read exactly what's going on here, is something like this, electronic text with a gradient in which every single pixel as you go from top to bottom is a different grayscale value. That's whats going on here, it's all a different grayscale value, but notice with something else, I'm going to move to the next shot where I've inverted the text itself. (LAUGH) I've inverted the text and notice that this is still reading the same.

Why is that? Because there is no top to bottom relationship in a Waveform monitor. When i flip this, I've got the white. The brightest part of this on the bottom, and the darkest on top. The Waveform doesn't care. The Waveform always displays the brightest at the top and the darkest at the bottom. So, essentially what you should walk away from this is the Waveform is a left to right display of the picture information. I come back to this last shot, what am I being shown here? Well, if I'm looking for her in this Waveform, I'm going to have to guess that she's in here and she's got some highlights up here and the sky has some highlights.

I'm thinking she's in this part of the image right here. And he's probably in this part of the image over here. Too little tough to tell. Let me hit play (NOISE) and I'm a take a look at where this camera is and she could be here, she could be here. It's a little tough to tell, but this is a left to right display. Now on the other scope I might use for this is the parade scope and it's essentially the exact same thing as the Waveform only showing me each color channel replicated. So if I come back to the very first shot in the timeline, I'm seeing each individual color channel.

And then I'll move to the next shot. And the next shot. And you can see I'm seeing SpeedGrade CC replicated out here. I move to the next shot. It doesn't flip over, remember? It's reading always from the brightest elements at the top, the darkest elements are always on the bottom. And it's replicating from red to green to blue. Now the thing is, when it comes to analyzing contrast this is useful, but the RGB parade for me is also a very valuable color balance tool. It will show me imbalances in color temperature very, very easily as I compare the red channel to the green channel to the blue channel and for more on that, we've to check out other video on doing on the analysis tools as to which tools I use when I am analysing color.

Find answers to the most frequently asked questions about Up and Running with SpeedGrade CC .


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Q: This course was updated on 12/20/2013. What changed?
A: This update covers the new features added to SpeedGrade 7.1. There are new movies covering the Direct Link workflow, which allows you to open Premiere Pro projects in SpeedGrade. Also covered are improvements to mask and layer linking, grading layers, and grading clips. We also revised several movies to reflect the impact Direct Link has on managing media, tracking, rendering, etc.
Q: This course was updated on 1/24/2014. What changed?
A: We added one new movie to address the changes in the 12/12/2013 update to Creative Cloud.
Q: Why am I getting the 'File Not Supported' error when reconnecting to the source files in Premiere Pro?
A: If you get the 'File Not Supported' error when reconnecting to the source files in Premiere Pro - this is a problem with the reconnect dialog in
Premiere Pro that Adobe has not yet fixed. Everything is fine with the media and the projects. To get around this 'bug':
 
1. Open the Premiere Pro project in Premiere.
 
2. During the reconnect dialog click Locate and navigate to Exercise files > Media and then to the sub-folder of media the dialog is asking for...
 
3. Here is the trick: You MUST actually select/highlight the first file that Premiere is asking for. The easiest thing is to click the 'display
exact name' button and then *actually click on the file* that matches the name.
 
*If you don't highlight the file*--navigating to the folder and *clicking ok without selecting the file will give you the 'file not supported' error
each and every time*. You must select the file that matches - Premiere is not smart enough to just figure out the folder contains the file.
 
This is not something that is unique to this training its just a little quirk of Premiere Pro currently.
  
After you select the first file all the other files should reconnect - assuming you have 'relink others automatically' selected.
 
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