SpeedGrade CS6 Fundamentals will quickly get you up to speed on how to more effectively use the new grading software from Adobe. Taught by Joost van der Hoeven, this all-new course contains over three and a half hours of training covering the fundamentals you need to know to get most out of this new release. It also contains almost 1GB of source material used in the classes so you can follow along with the instruction.
This course is intended for users who are new to SpeedGrade or even a dedicated color grading program in general. While it is targeted towards editors and effects artists using the Production Premium bundle, the course will help get anyone quickly up to speed.
It begins by covering of setting up the software correctly, including key preferences. It then goes through the workflow of a practical project, sending a Canon DSLR edit from Premiere Pro, working the color grade in SpeedGrade and then getting the project back into the editing app.
In addition to that, the course touches on the following and more:
- alternative workflow techniques and working with EDLs
- grading using both the primary and secondary grading tools
- masks and how they open up a lot of possibilities in color grading
- how SpeedGrade handles looks and LUTs
- basic Stereoscopic 3D workflow
The fast forward program is standalone instruction with immediate download and does not include access to our discussion forums or VPN software. Samples and clips used during the course are available to download. Once you purchase the SpeedGrade CS6 Fundamentals course, you can immediately download all class instruction videos.
For a full listing of the individual classes, click the “Read More” link…
SpeedGrade Course Outline
An introduction to the course with a bit of Joost’s background and experience. Staring the software, setting basic preferences, an overview of the application’s User Interface, and setting up a project so you can start to play.
An overview of the process of a typical project. We start in Premiere Pro CS6, send a sequence to SpeedGrade, do our Primary Grade, touch the Secondary add some vignetting to taste and then export the result back to Premiere Pro.
Getting images in and out. SpeedGrade supports importing footage manually, using edit detection and via an EDL. We discuss best practices for round-tripping between SpeedGrade and Premiere Pro, FCP and Avid. Additionally we discuss the pro’s and con’s of working native or using an intermediate codec like DPX or ProRes, as well as the do’s and don’t’s when working with anamorphic or interlaced footage.
The Primary adjustment is the SpeedGrade control you will use the most. Getting a basic balance is the base for successful (creative) grading. We’ll discuss the basics of color theory and look at the Primary controls and the analysis tools like the waveforms, vector-scope, and the histogram, and the difference between 8, 10, 12, 16 and 32 bit color.
The Secondary adjustment differs from the Primary only because of the keyer. SpeedGrade’s extreme precision keyer is used to isolate colors, allowing discreet selections to apply your grade to.
The main reason to use grading in your production is to make the subject, be it an actor or an object, stand out because it is what your viewers will look at. Using a mask is the tool for this job. The mask can be animated over your object or even tracked automatically. Masks can be used on Primary or Secondary layers, even on both. SpeedGrade can also crop your project different aspect ratios, such as CinemaScope.
SpeedGrade’s adjustments are non destructive. You can even export a look you created as a LUT or .look file and apply it as an effect/setting in other applications like After Effects for example. This allows for very creative workflows; using each application’s strongest toolset. In this class we’ll Create a look in SpeedGrade and see how to use it in Photoshop and After Effects.
Digital filming is often done in a format that requires a LUT (Look-up Table) to translate the wide color rage to a ‘normal’ monitor. The tools in SpeedGrade can be used to use and create LUTs. Formats such as ProRes, R3D, Arri etc. benefit form using LUTs in your workflow, but all these formats have their own specifics. After this we discuss SpeedGrade’s advanced export and render options, getting your work out of SpeedGrade.
SpeedGrade was one of the first applications to support S3D footage. And it is no secret that SpeedGrade is used in many Hollywood Blockbusters because of the easy auto matching tools for fixing both the color and geometry differences between eyes. There is also the the difference view to manually judge and change convergence, determining what comes out of the screen plane or sits behind it, and dealing with questions as to how stereo grading makes you feel physically.
The surfaces supported by SpeedGrade range from a single trackball to a three-piece console. Different situations have for different needs. Try before you buy to find the one that suits you. Without a doubt grading with a control surface doesn’t only make your kit look very professional, it is far more fun and efficient than grading with a mouse. A brief introduction on what the control surface options are. This course uses the popular Tangent Wave to show the concept of what the buttons and controls do.