Click on any phrase to play the video from that point.
[CS6]
SpeedGrade includes a lot of tools
that allow for you to work with stereoscopic material.
It actually starts right from the beginning.
So I'm going to open my desktop
and it shows a left and a right-eye sequence for one shot.
And all I've got to do is to click Stereo,
here in my Timeline Setup options,
and then I can bring material to the timeline--just like that.
SpeedGrade has a way of identifying
left and right-eye photo structure,
so it will immediately bring both left and right eye
into one sequence on the timeline.
So this actually is really good
because once we get into the grading part
and doing everything else that the applications call for,
you don't have to actually manually
keep track of what's happening to left and to right-eye.
I can immediately apply and see the sequence.
I typically--actually, if this is really just the first time I'm looking at it--
prefer to go to the slight because this is helping me tremendously
to do the first steps to make this work.
So the first thing I can do is
just look at the real assignment--
just really take a look at where the light here is coming from.
And the right one is coming from the Right-eye Folder track,
and this one is coming from the left so I'm not worried
about swapping eyes--but, obviously,
from this light, you can see that the right eye, actually, is mirrored.
It's coming off a beam splitter, so that's really just to be expected.
I'm going to mirror that one and just for safety reasons,
I'll also let it roll until we're coming down with this light.
And if I really want to be sure,
I'll just see that again--yep--coming down in the same frame.
So we don't have sync issues.
In case we do, there are ways of just really
adding offset for either left or right-eye--
so it's really super simple to make sure things are properly in sync
and it's producing a really nice and enjoyable stereo picture.
Now going to the next tab here,
this is actually presenting me with all the tools I need to
make sure that the geometry between
left and right-eye is just really a proper match.
So let me show you these tools, just one by one.
I'm going to go into a different Smart mode.
I've got several viewing options,
but this is really the one that I like best
for doing this kind of work.
And we'll get to something more interesting
because the camera actually might move and, obviously,
I want to make this right for the center part of that shot.
So--just really to double-check--
that's indeed what I want to do.
And even in Side-by-side mode, a couple of things are actually obvious.
For example, there is a little bit of a colorimetry shift,
and we'll get to that in a second as well.
But just looking at the geometry, nicely aligned,
I'll quickly just really eliminate parallax on here
because we're always mostly interested
in the talent and making sure we're eliminating
any kind of other offset, so there actually might be
a little bit of a vertical offset here.
It's not much, but I can actually get this to become a closer match.
I also sense a bit of rotation,
but this is already somewhere down in the dot something degree.
So it's really actually hard to analyze that.
And plus, it's rather interactive.
Did I actually overdo it with the vertical--
and is the rotation then off a little bit because of that?
And what if I'm using zoom lenses on the relative scale?
So while you do have all these tools, manually--
and if you're quick at working them,
and if you exactly know what you're going for, that's cool.
But SpeedGrade includes, actually, a really sophisticated system
of letting you work the Stereoscopic Workflow--
just in a lot easier fashion--
just by really clicking this Match button.
And as much as you need to be afraid of everything
that's just happened automatically,
this thing is actually giving you a readout value
so there is no reason not to really just use it
and see if it gets it right--and typically it does.
For most shots you're going to notice,
once you start shifting around parallax,
this is not really the closest possible match
on all axes we're manipulating.
So I've got a really clean shot
and if I want to really go down to numbers,
we also have an opportunity to switch the view
so you can read out the numbers--so there's
a little bit of rotation, a little bit of vertical--as expected,
but not quite the numbers I was calling.
Plus, clicking Match is just a lot faster.
So, at least for daily scenarios,
it's really just a perfect tool to make sure you're getting
into the right ballpark--and then refine it.
Now--
I already mentioned that there's sort of a color shift.
As a matter of fact, it's more like a colorimetry shift,
and it can occur just because of a number of things--
like it could happen because you've got
the beam splitter obviously having some refraction issues.
There is never quite the perfect beam splitter.
it could be the glass, you're using 2 lenses--all these things.
So wherever it's coming from, it's actually really good to know
that SpeedGrade has a opportunity
to really just take you there
and let you: A) see what's happening here--
and you can totally see that,
in particular, on the skin tones, it's not quite the match.
So while I could add a Color Grading track
to either one of the eyes, and break it apart
and just really try to bring it into the same kind of ballpark
it's cool that, for at least getting me started with all that,
I have yet again the opportunity to click the Match button--
and you see these 3 things here.
So I just have 3 different ways of just really putting things together
and making the colorimetry match.
So let's go back into Split Screen.
So I've got both addressed with one click--geometry and colorimetry--
and I'll just actually put the split around here
and let you see this with Before and After.
So Before--
the colorimetry matching--this is what we're seeing with the original recording.
And this is what I'm going to get with the automated match.
If you want to take it further--absolutely, go ahead and do so,
and just add a Grading Track for left or right-eye.
But typically, yet again, this is getting you so close
that you get to a really pleasant picture
that's worth watching.
So finally--obviously I'm going to actually set depth here,
and that's just really separate from the geometry.
So if you need to do fixes even using the Parallax control
because something is really out of whack,
then you get to something that's really just the Creative tool.
So this is pretty much the only thing
that you're going to touch with someone else telling you
let's push everything further back
and make sure it's actually behind screen playing
or let's have her stick out a little and then
pretty much create less diversion of the background.
This shot is not having enormous depth,
so I could place it anywhere.
It will actually work, no matter what.
And this is pretty much it, so I can
now take it to any kind of 3D system.
SpeedGrade actually supports a lot of the 3D systems out there
just for single screen setups, but
you can also use the nVIDIA SDI option
if you're running it on a PC
to really just feed two separate streams--
left and right--just out to your projection system.
So it's widespread, in terms of
what you can do, workflow-wise, and it's really versatile.
And talking about the Creative tools,
I actually forgot to mention one really important thing here,
which is the Creative tool to work with Floating Windows
to really either cover violations to the left or to the right.
And we can skew them and really just make them work
any way we'd like--use the keyframing options
that the product brings to the table.
So all the things you really need to do to make sure
whatever is happening with your picture,
you make it smooth, you make it a pleasant experience to watch.
So eventually we're now going to get to the fun part,
which is grading that.
So in SpeedGrade, as everything is a
stereoscopic pipeline, from the very beginning,
you can expect the grading tools to work in stereoscopic space,
just the same, soo here is the cool thing:
I'm now into my Look Design area
and I can easily really just--
for example--bring up the Gamma,
add a little more light to the scene
and also bring out the Gain a little.
You'll notice this is actually left; this is right-eye.
So SpeedGrade is immediately going to apply it
to both left and right-eye.
It's treated, really, as one stream--as one picture--
with a left and a right-eye component.
So this is super easy for all the tasks you need to do,
like shot matching, like reapplying Looks--
all the things you're familiar with
in the 2D Workflow are still applicable here in 3D.
There is no extra step involved--once you get to
fixed geometry and colorimetry.
And that is a quick overview of SpeedGrade CS6
and its stereoscopic features.
[Adobe®]
