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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Using automatic scene detection


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Using automatic scene detection

In this movie I'm going to show you an extremely useful feature here in SpeedGrade CC and that's the scene change detect feature. And perhaps the best way of explaining it is to show it to you and if you have access to the exercise files be sure to select that. Make sure you've selected sequences from folder and subtree, I'm going to turn off all my filtering, so I'm filtering all my files and I'm going to load up 03_02scenechangedetec.ircp. (LAUGH) we're about to change that because I'm going to come back here.
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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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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
Subjects:
Video Color Correction
Software:
SpeedGrade
Author:
Patrick Inhofer

Using automatic scene detection

In this movie I'm going to show you an extremely useful feature here in SpeedGrade CC and that's the scene change detect feature. And perhaps the best way of explaining it is to show it to you and if you have access to the exercise files be sure to select that. Make sure you've selected sequences from folder and subtree, I'm going to turn off all my filtering, so I'm filtering all my files and I'm going to load up 03_02scenechangedetec.ircp. (LAUGH) we're about to change that because I'm going to come back here.

Re-filter back to my movie formats. Scroll down, and select the movie scenechangedetect.mov. Now, in order to get the scene change detect to work, I have to add it to my timeline. So I'll click the plus key. And I have added it to my timeline I press the D key to pull up my viewer and I'm going to go ahead and click play and essential what you are looking at here is an entire scene that's been rendered out as a single self contained movie. This can be extremely valuable and work flows where maybe (INAUDIBLE) They couldn't get it down to one video track.

So we just had them render it out as one long flat movie. The problem is well how do I go in and individually grade each of these clips as stand alone shots. The answer is we need to come in here and add edit points every time there's a shot change. Now of course we could do this manually and come through play it down. Pause it every edit point, add a key frame and keep moving across. That gets to be very very tedious especially because SpeedGrade has an automated way of doing this for us. It's called scene change detect and you get to it by highlighting the clip in the timeline, selecting the timeline tab here.

Going into the set-up sub tab and selecting scene change detect. When I click this button, it's going to automatically pull up this little dialog box, and SpeedGrade is now going frame by frame through the entire shot, and looking for places where it thinks the endpoint actually exists. This workflow allows me to take in sequences from Premiere, from Final Cut, from Avid, from smoke, from about just any other editing app that can render out a single self-contained movie, allowing SpeedGrade to be an extremely flexible tool. Now, the scene change detect is finished.

This dialogue box opens up and essentially what we're going to do is go through what the scene change detect found and we're going to modify and fix any problems we might find. So the first thing I'm going to do is scan through this bar graph and this bar graph is, it's really quite simple. Every bar along here is an individual frame and as I scroll through, I'm going to come up with these blue bars. These blue bars are what SpeedGrade thinks is a scene change. So as I scroll through this you can see where SpeedGrade thinks all the edit points are.

So for instance near the end of this film, I've got these long bars up here and what's happening is there's a lot of activity going on screen. And that's what it's showing you but it's not necessarily, it doesn't think. Speed Grade doesn't think this is an actual scene change. And what I can do to confirm that is simply click and drag. And now I can go frame by frame watching this little preview window, seeing if indeed there's a scene change there. And look right there, there is indeed a scene change on this blue bar.

Now I can come forward and go backwards from blue bar to blue bar. So I can go backwards one edit, go back one frame. Yep that's a different frame. Yep that's an edit point. Next edit point, go back one frame. Yep, that's an edit point, press forward, one edit. And now I'm looking at this, I go back one frame and no, that's not an edit point. That is just an area of motion blur. That SpeedGrade detected and, thought was an edit point and it's not.

So now I've got a couple different choices. I could change the sensitivity. What's the sensitivity? It's this orange line right here. If I hover over this bar and slide it to the left while holding down the Shift key to make this move real quick. You can see, I'm lifting up the sensitivity, and I can keep lifting this up until that blue bar goes away. And, now it no longer sees that as an edit point. And, now I can come back and see, have I lost any other edit points here, and it doesn't look like I have, so you could see how useful the sensitivity scale is in filtering out false positives.

Now, if I were to come in here and reset by clicking this gray box. And now I've reset my sensitivity back to where it was, I'm come to the back end where I know this is a false positive. The other way I could have gotten rid of this false positive is using this little checkbox. If I just deselect that, it no longer thinks it's an edit point, I've manually made that change. Now I no longer have the option to change my sensitivity settings, so usually, what I want to do is first. Set the sensitivity to there where I think is the optimal value and then I'll go in and make these manual changes.

Now that I've gone through and gotten rid of my false positives, I'm going to split this into individual clips so now when I click this. There we go, and because now we've taken this and, kind of, tricked SpeedGrade into thinking these are all individual clips, there are a whole bunch of different work flows, including applying looks and saving off looks and all of this stuff that we'll be talking about later in this title becomes very easy to do, now that SpeedGrade thinks these are all individual shots.

So there it is. Scene change detect. So people call it automatic scene detection, automatic scene cut detection. All the same thing. All available to us here in SpeedGrade CC.

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 12/20/2014. 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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