Up and Running with SpeedGrade
With Adobe SpeedGrade, editors working with the Creative Suite now have a professional-level color correction and grading application in their hands for the first time. In this course, professional colorist Robbie Carman guides colorists and video editors through this new dedicated color correction application. The course walks through the interface, and then shows how to import footage and start making primary and secondary color corrections. Discover how to use masking and create and apply looks for maximum impact. The final chapters show how to make sure your corrections match shot to shot, and how to render your final output.
- Viewing clips and navigating the timeline
- Using automatic scene detection
- Sending a project from Premiere Pro to SpeedGrade
- Using SpeedGrade in a stereoscopic workflow
- Making primary contrast and color corrections
- Creating and applying looks
- Making secondary corrections
- Copying corrections from shot to shot
- Importing rendered media back into Premiere Pro
- [Voiceover] Hey there, I'm Robbie Carman and welcome to Up and Running with Adobe SpeedGrade. In this title we'll explore the essential aspects of getting up and running with Adobe's new, powerful professional color correction and grading tool. Color correction is an important finishing step in any television and film workflow and for many years color correction tools have been found both within NLEs as well as within stand alone software. Adobe SpeedGrade is a member of this stand alone and dedicated category but now it's also a part of the Adobe Creative Suite.
So it can actually intergrate nicely with Adobe Premier Pro and other Adobe applications within the Suite. If you're new to color correction and grading in a dedicated, purpose build application or if you've just been stumped about what SpeedGrade does and how to get started with this powerful tool, then this title is for you. We'll start out by exploring the Adobe SpeedGrade interface and how the streamline user interface and intuitive controls makes even the most complex grading situation an easy task. Next, we'll take a look at how to get footage and projects into Adobe SpeedGrade in various ways including conforming EDLs, the new Send to Adobe SpeedGrade command from Adobe Premier Pro and we'll also take a look at getting set up to work with stereoscopic 3D projects.
Making corrections quickly is why this application is called SpeedGrade. So we'll explore Adobe SpeedGrade's powerful layer based approach to grading so you can quickly make detailed primary corrections as well as work with Raw and Log video. If we're talking about primary corrections, we'll also explore secondary corrections in Adobe SpeedGrade using masks and keys that allow you to easily target a specific portion of a clip for a correction. Finally, we'll wrap up by exploring grade management and creating looks as well as rendering footage from Adobe SpeedGrade.
As a professional colorist I've spent years honing my skills, learning new tools, and grading a lot of content each and every year. However, I've noticed that although color correction can look complex, new users need to experiment, seeing the changes to contrast and color of their images. We'll with some fundamental concepts and techniques under your belt you'll be able to make some real improvements to your projects relatively quickly using Adobe SpeedGrade. So without further delay, let's get Up and Running with Adobe SpeedGrade and thanks for joining me.
I'm Robbie Carman.
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