Click on any phrase to play the video from that point.
[CS6]
This is a video on how to use SpeedGrade CS6 for creating dailies.
Let's have a look.
So, over here to the left in the file browser
I've got a folder active, and the first thing I'm going to do
as I want to make this work as quickly as possible
I'm going to choose "Sequences from folder + subtree,"
which in my desktop is going to show all the material
that's in the subfolders here, and it actually doesn't matter how deep that goes.
You're just going to get it all,
so if you want to bring in all material from one camera from one day
in one shot you just click the Add All button.
That's going to produce a timeline in SpeedGrade, and you can
already close out of the desktop.
So, the first thing that I will recommend is
that you turn on the scope, so you've got buttons for
the vector scope, for the waveform and for the histogram over here.
Choose the tools that you prefer to have.
You can also resize them if you prefer to rearrange
to both of them being on the left or vice versa.
Just make it work the way you'd like to have it set up.
Once that's done I'm going to do a really simple thing,
which is helping me to speed up the process tremendously.
I'm going to add one grading track
on top of the project data on the timeline.
I'm going to stretch this out and make it just appear across the timeline.
And what that does for me once I get into the Look area is
it enables me to actually create a default for all the material
before I get into the shot matching that is according
to what this project is about, and in this case this is for cinematic use.
I'm going to use a look-up table that's going to simulate
a 2383 on the material.
You can kind of see that this makes a huge difference already,
and some people might say, "Oh, I'm done with the grading."
But for grading at first light obviously you want the shots to be somewhat balanced,
so let's take a look at some of the stuff that's actually coming from different cameras
but not nicely matched yet, and you can already see that in the scopes
if I'm going from this shot to next shot that's appearing underexposed now.
If I'm going to the next one that has a different gamma,
so all the various things you're going to see just with this kind of material.
Let's see how we can make that work.
I'm going to start out with this one here, make this work the way I need it to.
I'm going to bring up the gamma a bit.
I'm going to use the temperature slider here just as this is an interesting tool
that makes it really super easy to balance red against blue channel,
and if necessary there's the magenta slider here that also allows me to balance
that against green, so that's a nice and easy way of getting to
a sort of neutrally balanced picture.
You can also set the blacks, obviously, for the first light grade.
If you have a specific white point to reach you can do that too,
so you've got blacks, whites, and the gamma control here.
And I'm somewhat happy with that, so I'm going to stick with that
and move on to the next shot.
The first thing I can do is just see whether what I did for the shot
before is working for this one here, and that's always going to be my first choice,
so on a keyboard with a num pad the first thing I'm going to do is hit 1,
and that's going to apply the look from the shot before,
and this actually has a memory of 9, so if you have 9 shots
graded before you can actually choose from the various ones that you've got.
For example, 2 before obviously non-graded.
This is the look I created for the shot before.
Look at the scopes.
Not quite balanced yet, and I definitely need to bring up the gamma on this one,
but here's something that's helping you visually quite a bit.
If I do a second playhead on this timeline,
which is easy to create by just using Control and a mouse click,
and I'll bring this over here to the shot before.
SpeedGrade is going to automatically open a second playhead
in the view port for you.
Now, that's a super handy thing as this is actually now not limited to stills.
Both pictures, as you'll notice with the screen recording,
are still moving, and I can still individually place both of them
at exactly the point in time on the timeline where I need them to be,
so let's just roll back a little
and get those 2 pictures.
The other thing that's happening is that my master playhead is defining
which shot I'm working with which one is active,
so I can easily start now working on the one to the left
without affecting the one to the right, which is my reference,
and just make that work visually as well as looking at the scopes,
so maybe it wasn't quite as balanced as the one before.
And it's easy to get to something that will work for your data's workflow.
Now, I can also stop each playhead individually,
so that's what I'm going to do.
I'll leave the second playhead behind but move on to the next shot,
and yet again the nice thing is I can try out the looks
that I have on the shot before and on the one before that,
so that before and the one before that,
and you'll notice that one is actually a really good fit because lighting is somewhat the same,
and it's apparently coming off the same camera, so that's an easy target.
Let's move on to the next one and see what I can do about it.
Oh, and surprise.
Actually already with the 2 looks I created for the matching of the ones before
they are still working for me, so from here on actually it's really an easy task.
You can actually move on quickly and just get that project done.
Once I'm done creating my first light grades
I can add a couple more options before I take this
into the output section of the application.
The one thing that really comes in handy is an opportunity to use burn-in display
so you can burn in frame number, the name of the media,
time code, and there are a couple of options here
which you can customize in the preset files of SpeedGrade.
You can also turn on save title, save action.
If you need to crop to a different output from it
it's as easy as that, and you've got additional options.
If you come back to the timeline tab and then just take another look
at what's available to you in the View tab--so if I click on the pull down here
for the burn in I can select different ones.
For example, they don't have to be at the bottom,
and this is full path display, which is a bit much on this one.
I can go back to my original settings where SD rush is here.
I can have other crops that are just available from the huge list of presets,
so whatever you need to have is available to you right now right here.
And then you take it into the output section of SpeedGrade,
so you just click on output or you hit Control R,
and you've got lots of options available to you
to make sure that you preserve all that you need for your
proxy workflow like preserving original time code,
and we're going to cover that in another video about creating render output.
And this was an introduction on how to use SpeedGrade for creating dailies.
[Adobe]
