Click on any phrase to play the video from that point.
[CS6]
This is the video that's going to show you how use SpeakWrite CS6
for adding impact to your footage.
We've got some nice footage here from the Mattel Hot Wheels theme.
As you can see, it's probably shot--it's action material coming from a 5D,
and it's lit well
and exposed properly, but the only thing it doesn't do yet
is actually really making you connect with it emotionally.
So let's see in which kind of direction we can develop this.
I typically like to present to the DP--into the director--
just various options on where to take this.
So we're going to do at least 2-3 various ways,
and they're going to go different directions.
So the first one I always like to do is just re-go into the primary section,
make sure I've got full contrast in this picture.
I'm going to set flex here.
I'm going to set this for full wide.
I'm going to take a look at the white balancing here.
And that's already pretty much good to go.
I actually might come down with the gamma a bit,
just make it a bit more punchy.
And the nice thing about SpeakWrite is, for doing this kind of work,
you can just quickly click control+P
or just use the icon down here for saving a look,
and that's immediately going to come down into your look browser here.
That's option Number 1.
I'm going to name that Neutral because that's somewhat what it is.
This is before. This is after.
Just hit zero on the numpad to quickly go to before and after.
I'm going to actually reset that and then take another starting point,
which is I'm going to apply a lookup table to this
which is going to simulate film output.
And here on the layer stack, I'm going to keep that on top, with all I'm doing.
It's a bit harsh, and the way the 5D records,
it's actually kind of hard to make this work with any kind of preset lookup table.
But the cool thing about what we can do here is
that I can immediately use the opacity slider and speaker to really just bring that down.
And that's a lot better, but it's taking me the right direction of what I want to do with this.
So I'm going to balance that one as well,
just save that as yet another preset.
Nice contrast there. And that's cool.
Let's save that as a second option.
Let's call this Cinema One.
Let's take it from there.
In the stack where I just called the lookup table,
there's actually another nice thing about the various tools in there,
which is there are filters--something like a technicolor 2-strip filter
or a technicolor 3-strip.
We're going to use both of them, really just to see which direction this is taking us.
And again, this is probably a little bit
beyond what I need to have,
but I might as well actually keep it at full impact, and once I'm sitting down with other people,
I'll just use that to say, "How much of this effect do you like?"
Should I bring it up or tone it down?
For the sake of having something nice to compare with,
this is probably what I'm going to go for here.
So that's my third one, and then I can immediately start going back and say,
okay, this is where we're coming from--
original picture, my first look, my second look,
third look--which is really distinctive from the two others.
Let's try a third one just really with another effect,
and then let's take a look at a couple of the detail options.
So the third one I like is a 3-strip on this--
nice and punchy in the sky--not too bad
but also a little bit beyond what I need,
so I'm going to tone down that particular effect
and actually plug it in underneath the lookup table.
Well, that's actually just my personal preference,
but I think it looks a lot nicer that way.
Cool. Let's name that the 3 Strip.
Now let's go into some more detail,
and we're going to make that based on this very one.
So what I can do
on top of all these things is obviously just add another layer of correction.
I'm going to stack that in here, underneath the filters.
And then, for example, I can still ensure
that other aspects--like the technical aspects--
making sure that I got the black set right, the white set right,
and everything in between.
I can still work with that, and with the scopes it's very interactive kind of work.
I can also just really go into detail with
the midtones.
I'm going to actually warm them up even a bit further to get that sort of
desert, dramatic look to it.
And if the goal was to make this whole thing go more dramatic,
then I think we're getting there.
And finally, let's just actually
do something a bit more isolated.
One of the cool things is that, at all times, I can quickly go into my mask section,
just try to call one of the presets--let's say vignette in this case.
I'm going to use the mask widget, which is really super easy and fun to use,
to call a mask where I'll just call out the sky here,
make the that a little larger, add a bit more fallowing,
and then come back to the look section.
So I'm going to pipe in another primary,
and that is actually going to go on top.
And what I will do here is call just inside the mask.
Let me do something really loud
so you get where I'm going.
This is loud, and now let's go for the fine-tuned version.
So I want to make sure that the sky is actually a bit cooler
than anything else in the picture but giving it
more of a dramatic look in the sky.
This is how easily I get to that.
I can also still play with the gamma regions for that.
That's just applied to the outside of the mask.
If you want to see what just this particular layer does,
you can just always click on the colon on the numpad
or you just use the eye icon over here,
and that works for each individual layer
so you can, at all times, show what this does.
And one nice way of showing all of these things is to say,
hey, this is where we start,
than I'm going to start building a layer stack so I can take things.
And then still, even with that layer, with a mask,
I can just tone that down so I get the general style,
but really just with less opacity for that particular layer.
Let's save that, and just for the fun of it,
go through it from the very beginning.
So this is more of my neutral,
and then I'm getting into more of the creative phase.
So that was my Cinema One with a cinema lookup table.
Then I added the layer for technicolor 2 strip, the 3 strip,
and then eventually getting into refining partially the picture.
The cool thing about the application is that
at all times you can really just hit play
and it will run real time on a full-blown machine
on a work station with NVIDIA GPU.
So this is the reason why it's actually fun to work on a full-blown workstation
with a fully qualified GPU.
You get to do these many layers just all running real time.
And I can immediately bring that now to the next clip, as you can see.
So just review with the recall feature.
I can see how this is working on shots further down the timeline--refine that.
I usually get to present something that's meaningful
and that will make other people
push me towards this or going the other direction.
So it's a great starting point for adding impact to your footage.
[Adobe]
