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[CS6]
Hi, my name is Patrick Palmer,
I'm the Senior Product Manager of Adobe
SpeedGrade CS6,
and I'm going to take you on a quick tour
of what we've done with the SpeedGrade CS6.
We're actually going to start in Premiere,
and that's because there is a new option
here that is called send to Adobe SpeedGrade,
and once I click that,
I will actually get the option to save
a SpeedGrade product file from here,
and it's also going to create DPX sequences as per edit
so it's going to be really
super easy for me to bring that over to the SpeedGrade.
Here it is, and to start working on it.
So the material I've got is from the Mattel Hot Wheels stuff,
and it's all fun, it's great actually,
but the 1 thing you will notice here is
it's actually shot flat like it should be,
no clipping, no clamping, but there's no distinctive look set for it yet,
and what I want to do now is to just
create more impact with that footage,
really just to add more of a
notion of something distinctive rather than
just saying I took out a camera to the desert.
So, I can actually go about that in many different ways.
The first thing I'm going to do is, I'm going to apply
some of the preset looks that we're shipping with the application.
They're not meant to do the creating for you,
they're actually meant to augment.
So you're going to see just how you can
use this material and take it different directions
and also explore what the product
has to offer in terms of its layering structure for the looks
and what kinds of tools are available and how they are used.
So, I kind of like this one here, the cinematic one.
And in terms of the layer structure, it's rather simple actually.
So I've got a primary layer, you can easily see that
saturation has been changed,
it's been brought down a little.
Then here's the lookup table that's been applied,
which is just really a 2383,
a lovely film simulation lookup table.
I can easily see what's happening
if I just bring it to 100% impact or really just to tone it down,
and it's one of the great things here that each layer
just can have its own opacity and just blends into the mix.
As the engine is a 32-bit floating point engine,
we have the ability to just make this work without
ever compromising quality.
So it's one of the fascinating things
that you can really just work around your creative ideas and not so much
worry about whether this is something that technically
creates a problem.
So this is actually already rather interesting
in terms of where I want to take this to.
So let's quickly mark that as a preset
and then pipe in another layer here.
I'm going to try out the effects layer for technicolor 3 strip.
Now this is rather brutal,
but it's rather distinctive,
and that's what I'm going for, something punchy.
And this is really interesting if I
turn this down and just make it blend
into the lookup table there, and eventually
I can also play around and see what's happening
if I actually switch order of abrasions.
You'll notice this looks much cleaner,
and I like that much better, so I'm going to mark that
as another layer, but yet again,
there's no right and wrong, you just play around
with it, you see what you like best.
So here's the cool thing about saving my own presets,
I can now just quickly go back and forth and see what they do.
The one that I like, I'm just going to use and
apply to the other shots here and see if that's working.
So, I'm just using here the 1 on the number pad to recall my looks,
and everything that's part of that scene,
I'll just use the same look applied.
You'll notice that this is actually working pretty well for the most part.
The one thing that doesn't work too well is
actually that shot in the middle.
So there is something about atmospheric density
that makes just everything in the background
getting sort of a slight greenish bluish cast,
and I want to get rid of that so it's actually a closer
match to everything else here.
And just looking at the scopes,
it also would seem that I probably need to change the gamma a little,
so let me just quickly do that,
just lighten it up a bit, and I've got
several ways of addressing what I want to see in this picture.
My favorite way here is just to go into the mid-tones
and see what exactly that is in the picture,
and I've got 2 sliders that allow me just to
isolate against the highlights, and I want less of them,
so I'm sure that the highlights are actually not getting
any kind of color casts,
and I'll also isolate rather nicely against
the blacks here because they don't need to see it either.
Coming back to the full picture view,
I'll use the temperature slider now really just to give it a bit more warmth,
and you will see that this is nicely affecting the background now.
And obviously, some of the foreground here is attacked by that as well,
so I might be careful with that
or even use a mask eventually to put that on top of it
or just use something that is a bit more subtle
like changing the chroma here in the gamma layer.
And by the way, I might eventually notice,
hey wait a second, this is a cool look for an extreme movie,
I'm going to mark that too and just going to see
if I like that on either one of the other shots
so I can just easily recall,
and as a matter of fact,
that's not too cool, I don't like that too much,
so just stick with the original idea.
So it's really super simple to play around with ideas
and just make it work your way.
So let me use 1 more tool that is just
really frequently used in creating more impact to the picture
and actually directing you to look at something rather specifically.
So what I'm going to do here is quickly just
add a mask, and I've got several presets.
The one that is most suitable right now
is immediately the one for vignette.
I can change the size; I can easily change the feathering.
This tool also allows me to
really just make it work my way,
squeeze it, then rotate it, scoot it, whatever you need to do.
Obviously, I can also move it to a different position.
I'll actually center it around the car for the most part
and then make sure that the explosion is fully covered.
Coming back to the layer stack for my look,
I can now really just pipe in another primary,
and I've got selections here for making this
new layer work just really for everything
or for inside the mask or for outside the mask.
So--and then it's super simple to really
just get into the offset tool
and really just come down with the offset.
I can make this go unreal, rather dramatic,
and if I don't like where it's placed, it's very interactive.
I'll just go back, and for example,
add a bit more feathering,
but instead of making it that large,
I'll just add a lot more feathering here.
And then yet again, if it's still a little too harsh,
then I can just use the opacity.
So if the geometry is right and the general feeling is right,
I'll just really use the opacity to bring it
to the level that I want it to.
And this is so helpful because if you’re sitting down with directors,
if you’re sitting down with producers, and all the people that need to see
what's happening with their picture,
it's just a lot better to have this opacity slider
for all the ideas I created already
and just give them more or less impact instead of
just fiddling around with all the knobs that produce the grade.
So once I'm happy with that, and obviously I can also really just
recall that including the vignette to all the other material,
and then each shot just really--
I can individually play with all these settings,
eventually decide to even turn if it off if I don't need it for the next shot.
Once I'm happy with all that,
I'll just take this to the output engine of SpeedGrade,
so--and I've got lots of interesting options here.
For example, if you just look at theout put options for
the file formats we've got, let me open
actually the full stack here.
So for frame sequences, we've got
the classic ones like SMPTE DPX, we've got codec Cineon.
We also can take this into OpenEXR including the various compression options,
so this is great if your feeding a VFX pipeline with it.
You've also got the TIFF output opportunity,
which is yet again showing
basically the output part of the Lumatree DeepColor engine .
As we are processing everything in 32-bit float,
it does make sense to allow for that on outgoing
if you have pristine eye quality material
that deserves this kind of format
and can actually make use of it
in other stages of the process or even for final presentation,
and one of the commonly used format
settings would be a TIFF 16 bit, so I can just give it that name
and save that to my preset section,
and it will show up here in my
pull-down for the presets for rendering.
I've also got tons of other things that are cool in terms of workflow.
For example, I can adhere to
the original source timecode or sort of re-mask
and give it timeline, timecode, use auxiliary, or even
render according to frame number.
So whatever is required to make it work with
other products and make this a good citizen,
you can make that work here in the output engine.
I can also decide on what kind of size of file I want to produce
so the frame size I can define.
I can do letter boxing and pillar boxing, all these things are
really available to create the kind of output you want.
And then finally, let’s take a look at something else here,
which I can show you best with another project.
I'm going to pull in a file from a project
where I'm going to yet again create an
interesting look for it and then
we're going to look at an interesting
problem I'm going to have with the original setup
that's not going to work too well anymore
in terms of representing the color in this shot.
So we've got the blue guy and the red guy.
I'll really create a look for it,
yet again just piping in a 2383 here, which I really like,
and in this case--well, we have the 3-strip already,
let me show you the 2-strip.
Ooh, now that's heavy, let's tone that down.
We're getting into that kind of end of '60s style of film making,
and the one thing that's happening here for sure
is that what used to be blue is now green,
and my producer might not like that.
So, but he might like the general look or even might demand that.
So here's what I'm going to do.
I'll add a layer of secondaries.
Here's my secondary interface.
I can either use the color picker,
and I typically prefer that.
I can just really quickly say give me the blues, just the blue vector.
So I've got the hue here, I can shift that around.
You can totally see what other ranges we've got, right?
So I'll adjust that around until I have
really the best selection in hue.
I can now narrow down luminance in that,
and I am going to isolate a little bit from
right outside of that with saturation.
Well, after a little while of working the application you typically
note that this kind of selection would
require me to go for the lower end of it.
And then from here on, I've got interesting tools to deal with
problems that I might encounter in the picture.
So there's some sort of pixelation,
there's a slight noise artifact,
depending on what kind of original footage you've got.
This is one is rather pristine,
so the original recording happened on a rack camera,
so I wouldn't expect this with this kind of lighting
to produce a lot of noise, but it's still nice
actually for all the artifacts if you just
watch what's happening at around here
with all the artifacts that I'm just generating
by picking the color to be able to
really just get rid of that and just get it
out of the way so I get a really pristine
cure on my secondary color, so here's what I can do.
Once I've qualified the secondary,
I can just easily bring back the blue to my second gymnast.
This is how easy it is.
And obviously, I've got all the other tools available to me as well.
And if you want to go crazy, you make him the green guy,
or you make him the yellow guy, or the orange guy,
or whatever is available and whatever you need to produce.
I typically don't like this too much
saying the green car is going to be a blue car,
but the reality is at one point you’re going to be asked to do that,
and the application has got all the tools to do that.
If we're talking about the subtle changes like
doing an extreme look but then bringing back the
original theme of the red and the blue guy,
this is as simple as it gets.
So this was a quick tour of what's inside the package
of Adobe SpeedGrade CS6.
We hope you will enjoy using it,
and let me just say that I'm thrilled to come aboard
at this particular point in time as with all we've got going with
Premiere Pro, with After Effects, and now with adding SpeedGrade to the mix,
It's just a fantastic package, and we hope you will enjoy using them all.
[Adobe®]
