Setting the Mood with Adobe Hue CC: Ko Maruyama

This post is part of a series where we challenge filmmakers to transform the atmosphere or feel of a short video clip, by using custom Looks created with Adobe Hue CC. Show us what you can do with the same footage by downloading it here.

Color and light have a huge impact on the art of filmmaking. They set the mood and tone (no pun intended!) of a scene, and guide our experience of the story. To illustrate this phenomenon, we’ve been asking a few of our favorite creatives to test drive Looks they’ve captured with Adobe Hue on video footage that we provide, and share about how each color profile alters the feel of the original piece.

When we heard that creative director Ko Maruyama (@ninjacrayon) was taking a trip to the Southwest, we couldn’t wait to see what he would capture. Grand Canyon, painted rocks, desert sunsets – the southwestern United States has a really unique climate and coloring. Ko used Adobe Hue CC to capture three custom Looks on his road trip, and for juxtaposition, we supplied him with a short video clip of the Golden Gate Bridge to alter in Adobe Premiere Clip. Of course, Ko surprised us.

Here’s the original footage we shared with Ko:

If you want to download this clip and see how your own custom Looks from Adobe Hue alter the tone of the piece, you can do so here.

 

Look #1: Fry Bread & Beans
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When & Where did you capture this Look?

The Look was created from a lunchtime photo captured as a still image during a trip through Painted Desert National Park in Arizona. The lunch, albeit delicious and served by a wonderful kitchen staff was just a simple Indian Taco: fry bread with beans, cheese, and veggies on top.

 

What inspired you to create the Look?

Although the videos of the badlands and Painted Desert and Petrified Forest National Park were amazing, I had joked and noted that so many of the same tones were in my lunch, but with more saturated values.

Sometimes I want to correct saturation in videos captured on iPhone, and with all of the muted reds and browns of the Painted Desert on an overcast day, fresh tomatoes and fry bread offer a good range of color choices.

 

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Ko’s project with some of the desert scenery he encountered in the Southwest

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Here’s how the Fry Bread & Beans Look alters the desert footage. It’s a scorcher!

 

How does the Look change the story or feeling of the video clip we shared with you?

Applying Fry Bread&Beans to the Golden Gate Bridge created a bright pinkish sky. Valentine’s Day Trip to Marin County! Pink cotton-candy wisps of fog drifted across the lanes. When the video passes one of the supports (:21), the orange color becomes super saturated and red, with more contrast than the original video offers.

 

Is that what you intended or expected when you captured the Look?

I had no idea that I’d create some kind of Valentine’s footage, and I wasn’t quite sure what would happen when I captured the look for color correcting the desert.

I’m still new to Adobe Hue, and applying a preset to my own clips is a difficult decision. Applying it to footage that I didn’t shoot is something else completely.  I didn’t intend to color correct the Golden Gate bridge with a desert look, but it’s not too bad.

Fortunately, I had some idea of what might happen, based on the original color and greyscale of the clouds. I wasn’t prepared for the amount of saturation I put into the clouds, but I expected that there would be some hue shift in the sky.

 

Look #2: Pike’s Peak

IMG_5193 Where were you when you captured this Look?

This look was captured at the top of Pike’s Peak (14,115’) (4,302m), high above Colorado Springs, Colorado in July 2015. The summer afforded a drive up the mountain to the “purple mountain majesties” that Samuel Ward wrote about in 1882.

 

What inspired you to create this one?

Oh c’mon. Once you’ve driven to the top of Pike’s Peak, any direction you look is an inspiration.

Although it’s not the tallest of the 14ers, it’s a beautiful blue sky that wraps the peak. The blue is a nice way to cool any shot, and make even foggy San Francisco days look sunny.

 

How does this Look change the Golden Gate Bridge footage?

Honestly, I’m not sure which way the camera is facing on the Golden Gate Bridge. On many days, you can tell which way you’re going by the fog that clings to the San Francisco side instead of the Sausalito side. My family used to joke that you could see the sun on the other side of the Waldo tunnel because of the rainbow. But even with this Look applied, I think I can see the sun on both sides of the bridge, despite the fog drifting through the bridge… And yes, there are many sunny days in San Francisco despite late summer days.

 

 

What did you expect when you captured this Look?

Actually, despite being fairly new to Adobe Hue, this is pretty much spot on what I expected when I captured the look.

A range of super rich blues that can cool down the image, or pump up the skies of an overcast day.

 

Look #3: Bedrock Bright

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When & Where did you capture this Look?

This was captured in BedrockCity, Williams, AZ on July 4, 2015. If you’re unfamiliar with Bedrock City, it’s worth a virtual tour. Crazy little Flintstones memorial museum.

 

What was the inspiration for this Look?

The location is a strange array of colors. I wasn’t sure what I’d be able to do with the look, but it does offer a certain neutral boost that seems work well with varied clips.

 

How do you think this one impacts the clip?

The video now looks like I’m sitting in a smoking car. Or maybe I’m entering smoggy Los Angeles of the 70s.

It’s not a standard photography tobacco filter, it’s the stained nastiness that unhealthy air produces.

Instead of a bright scene, or even foggy scene, the strange yellowing that offers some warmth to some footage doesn’t create any kind of optimism for the story that this clip might inhabit.

 

 

What did you think you’d get when you captured the Look?

This isn’t what I expected from the Look on the blue and red footage. On more evenly warmer tones, this Look creates richer skin tones and more contrast in the dusty earth of desert video.

 

So, if you were going to make this video clip into a movie, which of these Looks would you want to use?

I think I’d be tempted to use Fry Bread & Beans.

Why? Because who could pass up the chance to say they color graded their movie with fry bread and beans.

And, it could be the basis for a cartoonish short with evil little cupids camped out in Fort Point.

 

What do you think of Adobe Hue?

I like it. It’s easy to use. It’s definitely a great way to add a color Look to Premiere Clip. As we begin to use our mobile phones and tablets more, and allow the data to bridge the gap between personal and professional work, I’m sure that it will find its way into my professional pipeline.

 

What are your suggestions for people who want to use Adobe Hue?

USE IT! The best way to understand how any tool can work for you is to use it yourself. The one thing I would recommend is to duplicate looks and create versions (with different midtones selected and intensity values) instead of editing an existing one.

And import a still image to use as a preview file. Although you can import a movie clip as well, I find that a still image can provide similar color results without having the looping footage in the preview.

If you’re using Adobe Hue to color correct personal video clips (videos of the family), make sure you get a person in one of your test images. You don’t want to turn your niece the color of an Oompa Loompa even if the background looks great.

 

Thanks, Ko!

 

Want to see what you can do with the same footage?  Download the same video file we shared with Ko and alter it Premiere Clip using one of your custom Looks from Adobe Hue. Publish & Share your video on social media with #AdobeHue and #MadeWithClip for a chance to have your workflow featured!

Watch this quick tutorial to learn how to apply one of your custom Looks in Premiere Clip:

It’s easy to use your custom Looks into Premiere Pro and After Effects, too. Head over here to see how you can #MakeIt with Adobe Hue.

 


 

About Adobe Hue: Adobe Hue CC is a new kind of app that allows you to capture color and light dynamics from real-world experiences, either live with your device’s camera, or from an image you have saved in your camera roll or Creative Cloud account. Looks you capture with Adobe Hue can be brought into Premiere ClipPremiere Pro, and After Effects to immediately transform your video footage, whether you’re a color grading specialist or new to the process.

 

Color Science, Explained (Part 2)

The Importance of Color Science for Video 

In a previous post, we interviewed Lars Borg, Principal Color Scientist at Adobe, about the intriguing field of color science. In this post, Lars shares a few things that everyone working in video ought to know about color science.  

We learned from Lars that “color” is actually an interplay of available light, colors, and the context in which we see them – all of which makes color subjective to a lot of different variables. We wanted to know, with such a deep topic, what ground rules can filmmakers and video enthusiasts derive from color science when it comes to basic color correction and color grading?

 

Looks are essential in cinematic storytelling

In the past, the film stock played an integral role in creating the “look” or character of a film. In the transition from film-based movie making to digital video, our relationship to color has shifted too. “The concept of the look is integral to film-based photography. You’d pick your film stock, say Fuji Velvia or Kodachrome, because the resulting look was pleasing to you. Some of the ‘look’ stems from the fact that the film’s spectral sensitivities don’t match the eye’s.” For example, some film stocks are overly sensitive to red, resulting in richer skin tones. Now, digital systems can emulate the look of film stocks.

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Look preferences vary by region and change over time. “It seems like there has been a slow shift towards more accurate colors in reproductions, partly enabled by highly color-accurate digital cameras.” Lars muses, “I recently flipped through a cookbook from the 60’s. Some images looked awful against my current preferences – too much contrast, unnatural colors. Not something I longed to eat. Contemporary food pictures seem to be much closer to the actual food colors.”

“A Look can change a day-time scene to a night scene, or turn back time by applying a sepia tone. The color palette could change as the main character goes through different phases of life, from hardship to happiness and back. You can tell the intended mood of a scene from its Look alone. The villain’s lair is dark, gritty, contrasty, de-saturated, while his unsuspecting victims live in a bright, colorful, low-contrast, Disney-esque world. A grim Look is used for the kill.” This concept of storytelling through motifs isn’t confined to visuals or cinema – think of the musical cues of an opera, or the soundtrack leitmotifs in a TV series.

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How far back does this concept go, Lars wonders? “Did the cave painters use Looks? Needs further study. Looking for sponsors.”

Want to capture custom Looks easily? Try the all-new app, Adobe Hue CC!

 

Contrast and saturation matter

Viewers have come to expect Looks or image enhancements. In today’s world of RAW media, images with no color correction often look flat, and viewers almost always prefer a bit of a contrast boost. “This might simply be because it’s easier to see the details when the contrast is higher,” Lars says. So if you do nothing else, don’t be afraid to tweak the contrast.

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Manage your editing space…

“We know that if you take an image or an object, and make the surrounding brighter, you perceive the object as being more colorful.” Even if you have a perfect calibration, and are working under color management, if you are working on a video at home under inconsistent lighting conditions, contrast will appear radically different from day to night, “So aim for a consistent viewing environment, where the lights are controlled and low.”

 

… and adapt your media to the viewing environment

“To some extent, a filmmaker creates an environment and a context.” But the filmmaker also needs to consider the conditions under which their media will be viewed, and try to optimize for that experience. Will your target audience be watching on the big screen, or on a mobile device?

Back in the ‘50s, TV studio cameras were pretty insensitive to light, and television screens themselves were fairly dim. “For people viewing in the living room, the colors appeared desaturated—they were not the same bright, compelling colors that were actually present in the studio. So the TV system included a Gamma adjustment to increase the contrast, making the images more compelling, as well as boosting the saturation slightly, so in the living room, they looked more like what you would expect and prefer.”

 

Color management is important.

“You can give someone three RGB values, which you might think is a well-defined color, but it’s actually specific to the video standard that you are using,” Lars says. If you switch from HDR (high dynamic range) to digital cinema for example, the meaning of that RGB triplet changes, even if the proportion of reds, greens, and blues remains constant. “Colors are like a currency exchange rate. Say I have $50 in my pocket, but is it Australian or Canadian dollars? You need to know which to evaluate the true value. Your color management system is the currency exchange for RGB values. And if your display drifts, its ‘exchange rate’ drifts, too.” Not surprisingly, when it comes to color, it’s all about context: “With Ultra High Definition TV, colors can be more saturated. With HDR, they can be much brighter. If you go to digital cinema, it’s something different again.”

 

What do you think of these key takeaways? Let us know in the comments below!

 

 

 

 

Color Science, Explained (Part 1)

 

The theme of the 2015 release of Creative Cloud pro video tools is “Creativity just got a lot more colorful.” With color being such a hot topic at Adobe and beyond, we interviewed Lars Borg, Adobe’s resident color expert, to tell us more about color science and (in Part 2) what filmmakers and video enthusiasts can take away from such a deep field.

 

Colors are a lot more than wavelengths on a spectrum. There’s a whole scientific field dedicated to the understanding of color, light, and ultimately, human perception: “Color science is based on how the eye reacts to color and light stimuli. It also includes how we ‘fool the eye’ – like that dress – based on what we are expecting to see, as well as how the eye adapts to different conditions, such as sunlight versus dark night,” says Lars Borg, Principal Color Scientist at Adobe. Color science is a cross-disciplinary field involving chemistry, physics, biology, mathematics, and psychology. It plays a key role in the design and production of most man-made materials—everything from textiles to digital imaging – as well as in defining properties of natural materials.

LarsBorgHeadshotLars Borg has been with Adobe since 1989, and has been an important contributor in the fields of graphics, color, video, and image processing. He’s responsible for the algorithm powering the all-new Adobe Hue CC app, which allows you to capture color and light information from the world around you (or from reference images) to transform video. While Lars says that his field of work is better called “color engineering” since he isn’t a researcher, he certainly knows a lot about the subject. “Not surprisingly, good image reproduction needs good color management. To create better tools, I had to learn about color science on the job.”

When asked what he likes about the field, Lars notes that applied color science is fun. “It’s intellectually challenging, pragmatic, social.” Social?! “People understand color, even if they don’t understand color engineering or science. Compared to other technical fields – for example, computer security– you can talk about color with lots of people, because everyone says ‘That’s red’ or, ‘That’s reddish-orange.’ Everyone is very engaged when it comes to color. You can ask people ‘What’s your favorite color?’ No one asks ‘What is your favorite computer security?’ People are willing to discuss color and color associations even when they don’t know anything technical.” Indeed, having a technical background in color doesn’t automatically translate to good taste: “They are frighteningly unrelated,” Lars admits.

Color is a complex topic, and while it’s universally experienced, highly contentious, and has an entire field of science devoted to it, it can’t be easily explained. “Color” is actually an interplay of available light, colors, and the context in which we see them – all of which makes color subjective to a lot of different variables. “For example, you are in the house, the lights are on, and the walls in the house look white. Then you go outside, it’s evening, it’s not totally dark yet, and you look back to the house, and the lights in the window are yellowish. The eye is great at adapting to different situations.”

When you factor in human biology, it gets even more nuanced. In humans, the X chromosome carries the gene for color vision. Women have two X chromosomes, giving them an extra color gene. But men have one X chromosome and one Y chromosome, making them much more likely to experience color blindness. “You also have visual artists who are color blind, and what they see when they make the art and what their audience sees are different. It’s all very interesting and complicated.” Back in 2007, Lars was involved in implementing a mechanism in Photoshop CS3 to simulate the two common types of color blindness. If you turned it on, you could see what someone with color blindness would see. Lars continues, “That said, even ‘normal color vision’ varies, which means that we don’t necessarily all see color the same.” This phenomenon is called observer metamerism.

Color vision varies among individuals, but color perception also changes over the course of a lifetime. As the eyes age, the ability to perceive certain colors change: “If you are a baby, you can actually see ultraviolet light. If you are a teenager, you can see very bluish light, but as you get older, your eye lens turns yellow, blocking the blue light. In a dimly lit closet, grandpa can’t tell dark blue socks from black socks.” Lars pauses. “So, Martin Scorsese, now at 73, is making movies seen by people who are 17. How can he possibly see what they see? I don’t think he can.”

Outside of biology and genetics, the colors we see are also affected by technology. Some colors that are perceptible to the human eye cannot be reproduced on a digital projector – rich blues or cyans, for instance. These cyans can be captured on film stock, but film doesn’t handle reds as well as digital projectors do. Laser-driven projectors enable us to reproduce more colors digitally than ever before, but colors like neon blues still fall outside the capabilities of even the most expensive displays.

One more thing to consider: our understanding of color is uniquely human. “Color is not something that is definable outside of the human visual system,” Lars says. So if you’ve ever watched an Animal Planet special on how animals see, take it with a grain of salt: “We don’t really know what colors other animals would see. We know something, but it is based on human perception.”

 

Stay tuned for Part 2, where we’ll share some key color science takeaways for working with video!

 

Setting the Mood with Adobe Hue CC: Jason Levine

This post is part of a series where we challenge filmmakers to transform the atmosphere or feel of a short video clip, by using custom Looks created with Adobe Hue CC. Show us what you can do with the same footage by downloading it here.

Color and light have a huge impact on the art of filmmaking. They set the mood and tone (no pun intended!) of a scene, and guide our experience of the story. To illustrate this phenomenon, we caught up with Jason Levine (@Beatlejase) and asked him to use the all-new Adobe Hue CC to capture three custom Looks and apply them to the same set of video clips using Adobe Premiere Clip to see how creative looks alter the feel of a piece.

Here’s the original montage:

Look #1: Desert Sunrise

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When & Where did you capture this Look?

This look was captured in Las Vegas, Nevada at approximately 6:15am, in April 2015.

What inspired you to create the Look?

There’s simply nothing like a desert sunrise, a true feeling of rebirth and resurgence, particularly during spring. On this particular day, amidst beautiful reflections from the adjacent hotel, I stood in awe… and then snapped the shot.

How does the Look change the story or feeling of the video clip?

Naturally, there’s a sense of ‘warmth’ that is immediately added to the video…but it’s more. It feels like ‘a beginning’, and this is where the ‘time of day’ essence (and brilliance) of Hue CC really shines. It not only makes the scene ‘feel’ warmer, brighter…but it feels like morning.

Is that what you intended or expected when you captured the Look?

It produced the result I expected, however, I was equally impressed to see that it really carries the essence of that original time and place, regardless of what footage it’s applied to (sometimes with subtle tweaks, but often, as-is).

 

Look #2: Sandstorm

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When & Where did you capture this Look?

This look was captured in Las Vegas, Nevada at approximately 5:15pm, April 2015 (and curiously, it was later in the same day as the previous look, ‘Desert Sunrise’).

What inspired you to create this one?

Living in the desert myself, I’m no stranger to sand storms and dust storms. This particular one, however, came about very quickly and almost immediately darkened and clouded the entire city. There was so much wind that I wasn’t able to grab a clear shot whilst on the ground, so this image was once again captured from my window inside my hotel room.

How does this Look change the video clip?

In the case of this Look, it really adds more drama and dimension to the video in question. It feels darker, more mysterious. It creates a moodiness and atmosphere that is totally opposite of the previous example. And by tweaking the shadows/highlights and exposure in Clip (on the original footage), I was able to give it a little more contrast and dimension.

What did you expect when you captured this Look?

I was curious how this Look would perform on the Seashore clip. One of the benefits of Adobe Hue CC is that the Looks created will never completely de-saturate, so while the primary tones of the Look were nearly monochromatic, it leaves behind enough essence of color to just add to this creepy, moody feeling. And again, because you can always go back into the Look itself and alter the intensity and primary hue angle, I was able to achieve a cinematic ‘darkness’ instantly, with footage that was shot in a bright, clear environment.

Look #3: Spring SouthwestLook3_0190

When & Where did you capture this Look?

This Look was captured in Phoenix, Arizona at approximately 12:00pm, late March 2015.

What was the inspiration for this Look?

While people are accustomed to the earthy red and brown tones of the desert, some are unaware that there’s also a lot of green…and blue sky is almost a daily occurrence. This particular day seemed to have the perfect combination incredibly vivid blues and greens (with a hint of desert brown).

How do you think this one impacts the clip?

Based on the midtone shift that I selected when I was creating this Look, once applied to the video clip, it really emphasizes the blues and greens at the beach; the water sparkles, the plant life thrives, and you can definitely sense that this isn’t early morning nor late in the day…it once again, ‘feels’ like a mid-day shot, clear and vibrant.

What did you think you’d get when you captured the Look?

I was concerned that the blues might be accentuated too much; this is again where the Intensity slider came into play (along with auditioning this on the footage in question, right inside the app, to find a good balance). It definitely ‘cools’ the image (without feeling too blue) but more importantly (and shockingly) is that this particular example Look really carries that ‘time of day’ stamp with it. As mentioned above, you know it’s not morning. And it feels like Spring, somehow…

 

So, if you were going to make this video clip into a movie, which of these Looks would you want to use?

For a long form piece, I’d probably go with the Sandstorm Look; it has a very cinematic, dark feel…and with the ocean sounds behind it (and some slow, building underscore) it effortlessly creates a sense of drama and interest.

What do you think of Adobe Hue?

Adobe Hue CC is a fantastic way to apply your own visual memories of color and light, time and day, directly to your video content. It’s a great way to get started with color and grading, and the simple implementation of the app itself gives the user a truly infinite palette of color presets, right from their camera phone.

What are your suggestions for people who want to use Adobe Hue?

Try it for yourself; it can amaze you. The fact that we’re actually creating 3D LUT files gives the power user a lot of flexibility; and for new users, it is once again a unique way to have color presets ‘built’ for your video, based on places and images of color and light that you’ve personally experienced. And that’s what we try to do with our stories…share our personal experience, our connections to place in time, the look of feel of that place in time, and this is precisely what Adobe Hue CC delivers.

Thanks for chatting, Jason!

 

Want to accept Jason’s challenge? Download the same video file Jason used and alter it using a Look from Adobe Hue and Premiere Clip. Publish & Share your video with #AdobeHue and #MadeWithClip for a chance to have your workflow featured!

See Jason take this video to the next level by bringing his #MadeWithClip project and Looks from Adobe Hue into Adobe Premiere CC 2015:

 


About Adobe Hue: Adobe Hue CC is a new kind of app that allows you to capture color and light dynamics from real-world experiences, either live with your device’s camera, or from an image you have saved in your camera roll or Creative Cloud account. Looks you capture with Adobe Hue can be brought into Premiere Clip, Premiere Pro, and After Effects to immediately transform your video footage, whether you’re a color grading specialist or new to the process.

2015 release of SpeedGrade CC available now

The Adobe SpeedGrade CC (2015) update is available as part of your Creative Cloud membership. This update includes a number of new features and enhancements.

As described in our NAB Reveal blog post, the focus in this release was on color workflows, including the new Lumetri Color in Adobe Premiere Pro and our new mobile Look capture app, Adobe Hue CC. With SpeedGrade itself, the priorities for this release were on performance and compatibility with the new Lumetri color tools in Premiere Pro.

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New Features
Continue reading…

New Color Workflows in CC 2015

Introducing Adobe Hue CC

We’re pleased to announce that “Project Candy” is not just a project anymore. Today, Adobe Hue CC, our new Look capture app, is available on the Apple App Store. We were thrilled with response to Adobe Hue when we first revealed the technology at NAB and we’re even thrilled-er now that it’s available to everyone! We hope it opens new doors to color for you and we truly can’t wait to see what you do with it.AdobeHueCC_logotype[1]

What is Adobe Hue CC?

Let’s be clear right up front: Adobe Hue CC isn’t just a new app; it’s a new kind of app. Similar to other Adobe “capture apps” like Shape and Brush, it allows you to grab elements from the real world in a format you can use right away in your creative work. Where Shape captures the outlines of things, and Brush captures textures, Adobe Hue captures color and light which it saves as Looks– files you can use to enhance the appearance of video content.

Adobe Hue CC is a fantastic entry-point into the new color 2015 workflows. The Looks you create with Adobe Hue are automatically added to your Creative Cloud libraries and, thanks to Adobe CreativeSync, available to use within Adobe Premiere Pro CC (2015), After Effects CC (2015), and Premiere Clip.

 

How does Adobe Hue work?

Rather than snapping a picture, Adobe Hue creates a snapshot of just the color and light in a scene. As soon as you point it at something (or load an image from your Camera Roll or Creative Cloud folders), you will see a slowly rotating array of colored balls. This shows you the distribution of color and light available in that scene (or photo).

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Horizontally, the colors are arranged around the rotating axis in the same positions you would find them on a traditional color wheel. The vertical axis shows the amount of light: Darker tones are lower down in the image, the lighter ones higher up. If you are familiar with a 3D Histogram, you will see the similarities with the Adobe Hue capture screen.

After you tap the capture button, a simple edit screen opens where you can make two decisions.

  • Accept (or change) the midtone-shift for your Look
  • Accept (or adjust) the intensity of the Look

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The reference image in the top half of the screen shows how the Look impacts the image. You can tap and hold the reference image to see the “before” (without the Look) and compare that to the image with the Look applied.

Tap any color ball to make it the midtone (a small highlight ring shows you which one is selected). Changing the midtone shifts the whole Look, so the impact can be pretty significant, especially on neutral tones in the target image. The slider lets you make the whole Look stronger or more subtle.

Once you like it, tap Save and the Look is saved to your library where the magic of Adobe CreativeSync makes it available to use in Premiere Pro, After Effects, and Premiere Clip.

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How do Looks work?

A Look is not a filter: it does not subtract colors from your target image. Nor is it an overlay of any kind. A Look is actually a complex set of saturation adjustments that shift color and light across the whole picture. The results are richer video images with a distinctive visual style.

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Whether you are new to working with color, or an old hand at grading, Adobe Hue CC gives you a great place to start: capture experiences from the world around you and bring those emotional qualities right into your video projects. The impact is immediate. And you don’t have to stop there: open up the new Lumetri Color panel in Premiere Pro to make additional adjustments until you have exactly the Look you want. Want to bring the whole thing into a dedicated color grading environment? You can use Direct Link to open your Premiere Pro project in SpeedGrade.

Like the other color tools being introduced in the 2015 Creative Cloud releases, Adobe Hue CC is all about opening the doors to new ways of working with color.

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Ready to get started with Adobe Hue?

DOWNLOAD Adobe Hue CC from the App Store

LEARN how to capture custom Looks and apply them to your video projects

CHECK OUT the mobile and desktop workflows available with Adobe Hue CC

VISIT the Adobe Hue Help pages and Community Forum if you have questions

 

Adobe Hue CC is a free app that syncs with your Creative Profile through your Adobe ID. It is currently available for iPhone and iPad devices running iOS 8 and later.

 

Thinking Like a Colorist

Watch a replay of Robbie Carman’s Ask a Video Pro webinar to learn how you can bring creative color into your editing and postproduction workflow: bit.ly/1FFTy5R

Colorist Robbie Carman began his career as an editor, so he knows both sides of the traditional divide between cutting and finishing. But he’ll be the first to tell you that the traditional divide is a thing of the past. With today’s digital workflows, powerful hardware and production tools creative work with color is much more accessible.

At NAB this year, Robbie presented a session that would have been inconceivable even just a few short years ago: “Work Like an Editor, Think Like a Colorist,” where he highlighted the new color workflows between Premiere Pro, SpeedGrade, and Project Candy. Most importantly for many filmmakers and production professionals, he showed how color can be a incorporated into everyone’s workflow – especially with the new color tools coming soon to the Creative Cloud.

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Robbie kicked off his NAB presentation with a quote from Expressionist artist Vassily Kandinksy: “Color is a power which directly influences the soul.” Robbie continued, “Everything I do as a colorist, I try to live by this guiding principle.” As a speaker, he has a knack to making complex content easy and engaging.

Watch the presentation below and get inspired by Robbie’s passion – as well as a nice overview of some of the great things coming to Adobe pro video.

And if you want more Robbie (and really, who wouldn’t?) you can watch a replay of Robbie’s Ask a Video Pro session – at bit.ly/1FFTy5R

What’s coming next to SpeedGrade and Creative Cloud? (Hint: it’s going to be colorful)

This year at NAB 2015 we’re taking the wraps off some really exciting new tools and workflows for video pros, including a new mobile Look capture technology, a brand new Color workspace in Adobe Premiere Pro, and Creative Cloud Library support for Looks, so you can share Looks between Premiere Pro, After Effects, and Premiere Clip. And we haven’t forgotten SpeedGrade: the next release of our professional color grading application includes support for Lumetri Looks created in Premiere Pro – meaning that every color manipulation made in Premiere Pro is rendered identically in SpeedGrade. You will also get more responsive scopes, new SpeedLooks, and general performance and stability improvements.

Our team of color geniuses has done some amazing work. When you see the release you’ll see their attention has been focused above all on Premiere Pro and incorporating the Creative Cloud and mobile workflows into the creative color process. This is all about re-inventing the ways we work with color – and making color tools more accessible, and more flexible than they have ever been. Let’s take a closer look at what’s coming.

 

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The Brave New World of Corporate Video

Meet Phanta Media

Corporate video has changed dramatically in the past years with the explosion of web-based communications and the switch to modern digital production. Based near Toronto, Phanta Media uses an all-Creative Cloud production pipeline, including Premiere Pro, After Effects, SpeedGrade, Audition, Media Encoder, Illustrator, Photoshop, and more.

“It’s one thing to produce something amazing when you have hundreds of hours to put into it, but we don’t have that luxury… We want to push the envelope and produce work that is more and more creative, and looks more and more stunning, that’s put together under faster and faster timelines, and Adobe Creative Cloud helps us do that,” says Mark Drager, founder of Phanta Media.

In this video, Mark Drager, Rolland Echavarria, and Kyle Wilson of Phanta Media explain how the Adobe Creative Cloud tools tools allow them to create great work and deliver on time in fast-paced world of corporate communications.

Adobe SpeedGrade CC (2014.2) Update

The Adobe SpeedGrade CC (2014.2) update will be available today as part of your Creative Cloud membership. This update includes a number of changes and fixes. See below for details.

Downloading SpeedGrade CC (2014.2)

The 2014.2 update is expected to be available to Creative Cloud members by the end of the day. Download SpeedGrade CC (2014.2) via Creative Cloud on your desktop, or online through your Creative Cloud account.

Changes

Changed: Master Clip remain selected when the Playhead moves onto a new clip

Added: Warning now alerts users when a GPU with insufficient capacity (1GB of VRAM or less) is used for high resolution footage

Changed: Improve usability of Color Wheels.

Bug Fixes

Fixed: UI issue where Media Browser tree failed to display icons

Fixed: SpeedGrade will now recall which scopes were toggled after restarting application

Fixed: SpeedGrade will now correctly render a group with variable opacity (Native Mode)

Fixed: SpeedGrade no longer crashes when a GPU with insufficient capacity is used in Direct Link

Fixed: Image no longer compromised when “No LUT” layer used (Direct Link mode)

Fixed: When a Look is applied to a Master Clip, the Master Clip tab remains selected.

Fixed: Colors no longer inverted when using an insufficient GPU with with 5K or 6K footage (Direct Link mode)

Fixed: (Windows only) Direct Link to SpeedGrade no longer fails with the project name containing double byte characters (Chinese, Japanese, Korean)

Fixed: File names were truncated in the restore Autosaved Project dialog box (affected German, French, Brazilian Portuguese, Spanish, Russian, Italian)

Fixed: Tooltip message when hovering over In/Out point on Mac corrected

Fixed: Tooltip for color swatches now appear in localized languages for non-English versions of SpeedGrade

Fixed: Direct Link issue where white screen displayed when importing a project with many sequences (Retina Display)

Fixed: Auto-keyframes are now displayed as soon as they are applied

Fixed: A rare issue with a Drag&Drop area inside the scopes (aka Analysis Tools)

Fixed: An issue with importing single sequences in Direct Link

Fixed: Undo now works correctly when modifying a mask (Direct Link)

Fixed: Bug where Trash icon remained highlighted

Fixed: Playheads sometimes disappeared when playing multiple Timelines at the same time

Fixed: The category names for custom Look layers now appear in localized languages (German, French , Brazilian Portuguese, Spanish, Russian, Italian)

Fixed: Fullscreen background color is now consistent with UI in normal mode

Pricing and availability

Today’s updates will be available to Creative Cloud members as part of their membership at no additional cost. For new customers interested in trying them out, free trials of all of the Creative Cloud applications are available, including Adobe SpeedGrade CC (2014.2).

To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later. Membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises. For pricing details, visit: https://www.adobe.com/creativecloud.html#buy.

 

 

 

 

 

SpeedGrade CC Learning Resources

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Here’s a round-up of useful SpeedGrade CC learning resources.
 
Creative Cloud Learn
 
hands-on tutorial with downloadable assets
Presented by Colin Smith
How to correct color and create stylized looks with SpeedGrade CC is an excellent free tutorial and includes downloadable files so you can follow the short tutorial videos exactly: a great place to start for the beginner.
video tutorial by Robbie Carman
The SpeedGrade scopes are essential for accurate color grading. Here’s an introduction to the Luma Waveform to get you started working with scopes, or “Analysis Tools” as they are called in SpeedGrade-speak.
video tutorial by Jeff Sengstack
Jeff is a very knowledgeable colorist and this short tutorial is packed with interesting observations.
video tutorial by Patrick Inhofer
This piece is a little dated, but it’s a great primer (is that a pun?) in using the 12-way color corrector and Pat Inhofer is another great SpeedGrade trainer.
video tutorial by Patrick Inhofer
Again, this shows an earlier version of SpeedGrade, but it’s a great introduction to basic color correction in SpeedGrade
video tutorial by Patrick Inhofer
SpedGrade now allows you to apply global corrections to Master Clips, but you may still need to copy grades from one clip to another. This tutorial shows you how to do that quickly and easily.
video tutorial by Patrick Inhofer
Learn to use this feature to ensure visual continuity between different clips on your timeline with a handy side-by-side view.
SpeedGrade Help Docs
 
This Help doc provides an easy overview of all the new features in SpeedGrade CC (October 2014.1 release)
This handy guide includes a downloadable PDF, making it even handier. Sometimes keyboard shortcuts are the fastest way to learn a new piece of software.
Third-party resources
This is a great overview article with lots of great embedded video resources by Jonny Elwyn in Premium Beat
Lynda.com course by Robbie Carman
Here’s the latest SpeedGrade CC course taught by the great Robbie Carman. Definitely worth joining Lynda.com for this!
By Alexis Van Hurkman
This book does not include Direct Link or any of the 2014 features, BUT it is packed with brilliant grading advice from one of the gurus of color grading, Alexis Van Hurkman.
Download SpeedGrade CC and get started today!

SpeedGrade CC update (2014.1) available today

SpeedGrade CC update (2014.1) available today

We’re delighted to announce that the Adobe SpeedGrade CC (2014.1) update will be released today. This update includes new features, enhancements, and a number of fixes. The new features, including Curve adjustments, Hover Preview Looks, Grading Layer Grouping, and more, are detailed in our IBC 2014 preview post, which you can read here http://adobe.ly/1BjpeuV.

The 2014.1 update is expected to be available to to Creative Cloud members by the end of the day. Download SpeedGrade CC (2014.1) via Creative Cloud for desktop, or online through your Creative Cloud account.

 

Adobe MAX 2014 announcements

This SpeedGrade CC update is part of a series of new releases across all of the Creative Cloud desktop applications, as well as new and updated mobile apps, including Adobe Premiere Clip, a brand new iOS app which makes it easy to turn footage on an iPhone or iPad into great-looking videos clip.adobe.com. Details of the wider release will be presented today at Adobe MAX 2014, the world’s leading creativity conference www.adobe.com/go/MAXblog.

Below is a list of new features and bug fixes included with the 2014.1 update to SpeedGrade CC

 

New and improved features in SpeedGrade CC (2014.1)

  • Improved Mask render performance in Direct Link
  • Improved Autosave workflow for Direct Link and SG native projects
  • NEW Mercury Transmit support for external monitoring via Blackmagic video I/O devices
  • NEW support for 4K video output via Mercury Transmit
  • NEW Hue & Saturation Curve adjustment controls
    NEW RGB Curve adjustment controls
  • NEW HiDPI-support for Windows 8.1
    NEW enhanced UI for improved visibility and easier control of color tools
  • NEW Grading Layer Grouping functionality, including drag and drop for Look presets
    Added a global mute button to video monitor
  • NEW support for audio playback in Direct Link
  • NEW support for Blackmagic Pocket cDNG RAW
    Added Intel AVX2 codepath for better performance on latest CPUs
  • New SpeedLooks grading presets including 3562 – Retro (New), 3562 – Retro (EV), 3560 – Neutral Start (EV), 3562 – Gold Sport (EV)
  • NEW Hover Preview Looks
  • Improved – GoPro .MP4 files can now be opened in SpeedGrade “native mode” without renaming the file to .MOV
  • Improved support for Alexa Open-Gate format
  • Improved – Inverted Inside/Outside icons to match other DVA apps + PS
    Improved – Secondaries now include gamma control
  • Improved Changed playback behavior to match PR: Playback stops when dragging/moving playhead
    Improved memory management by sharing memory between SpeedGrade, After Effects, Premiere Pro, and Adobe Media Encoder
  • Changed default to display supported media only in SpeedGrade Media Browser

 

Bug Fixes in SpeedGrade CC (2014.1)

  • Fixed a crash on application start on Intel Iris platforms (latest MacBook Pro)
  • Fixed: Project was broken if the layer name contained quotation marks
  • Fixed: UI bug when scene-detection was cancelled
  • Fixed: Secondary color picker did not work correctly with Master Clip Effect
  • Fixed: PAR issue in Direct Link projects
  • Fixed a crash when drag and drop used with Look preset to Direct Link project
  • Fixed: Color picker did not work when mask panel was open
  • Fixed: Disabled non-supported “Copy to reconform” function in Direct Link
  • Fixed: SpeedGrade crashes when undoing creation of a new project
  • Fixed: Some PNG file stopped working in SpeedGrade “native mode”
  • Fixed: UI freeze when loading settings dialog while applying grading adjustments
  • Fixed: Loading a SpeedGrade project via double-click in OS level didn’t load the project properly
  • Fixed: issue with scrolling layer stack
  • Fixed: Welcome screen pops up when undoing actions in Direct Link projects
  • Fixed: Occasionally keyframe-UI disappeared from timeline when applying a Look preset
  • Fixed a occasional crash when holding down “*” key while playback
  • Fixed a random bug where SpeedGrade process wasn’t killed successfully after quitting the application
  • Fixed non- localized strings from OS in Open/Save dialogs on Mac (German, French, Italian, Spanish
  • Fixed a bug when welcome screen was not centered on Mac HiDPI screen

Pricing and Availability

Today’s updates to Creative Cloud are expected to be available to Creative Cloud members by the end of the day as part of their membership at no additional cost. The new and updated mobile apps are free to everyone. More information will be available later today at: http://www.adobe.com/creativecloud/catalog/mobile.html. To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later. Membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises. For pricing details, visit: https://www.adobe.com/creativecloud.html#buy.

What’s coming in the 2014.1 release of SpeedGrade CC

We’re really proud of the development of SpeedGrade since the launch of Creative Cloud. A lot of engineering muscle went into creating the industry’s first integrated editing and color-grading pipeline with Direct Link, which allows users to move Premiere Pro projects in and out of SpeedGrade without the hassles of transcoding or XML translations. This kind of seamless integration is revolutionizing how color work is done and brings professional color grading into easy reach of everyone who edits video.

Now that the hard work is done, we’ve turned our attention back to the creative tools, which are the heart and soul of SpeedGrade. This includes, new Curve adjustments, awesome new Grading Layer Grouping, hover previews for Looks, and a whole bunch of enhancements. For those of you with Blackmagic video I/O cards, such as the Decklink line, we’re delighted to announce that the wait is over. SpeedGrade now offers enhanced Mercury Transmit with support for 4K output and, let me repeat it, Blackmagic cards.

Altogether the new features and enhancements add up to really smooth workflows, whether you are  a seasoned pro or just starting out with color grading. Let’s dive in and learn more about the 2014.1 release – coming soon to Creative Cloud on your desktop.

 

Refreshed UI

Like all of the Creative Cloud video applications, the new release of SpeedGrade offers a refined new user interface with support for HiDPI displays, including Windows 8.1 systems.

SpeedGrade2014.1_NewUI_640px

The color scheme is more subtle and UI elements have been simplified. For example the Effects menu has been organized to make it easier to find what you are looking for. Click the “+” icon at the bottom of the Grading Layer panel to see it.

Curve adjustments

The first thing you see in the new Effects pop-up menu is “Curves.” Click it to reveal two new color tool options: RGB Curves and Hue & Saturation Curves. Click either one to add a new grading layer – the Curve controls open in the grading panel. In both cases you can drag the curve line, adding (or removing) control points until you get the result you want in your image.

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With RGB Curves, the leftmost curve controls the Luma, which is like a ganged adjustment of all three (R, G, and B) channels.

SpeedGradeCC2014.1_HS-Curves_detail_360px

 

 

 

The Hue and Saturation curves allow you to boost or mute any part of the color spectrum. Add control points and drag the line to apply your adjustments.

You can use Curve adjustments on their own, or combine them with any other grading layers, Looks, or LUTs. This brings us to the next awesome feature …

Grading Layer Grouping

From the very earliest days, SpeedGrade has used layers (rather than nodes) for adding and combining grading adjustments. With the 2014.1 release we’re taking layer-based grading to the next, um, “level.”

SpeedGradeCC_GradingLayerGrouping_480px

With Layer Grouping, you can now collect parts of your grade (or “Look,” as we call it) and collect them together. Not only does this allow you to organize complex Looks better, it also means you can adjust the opacity of a group of grades at once. This makes it easy to combine multiple Looks and effects and create a kind of “Look remix” out of them.

You can now multi-select individual grading layers, for example to save as a new Look, or to copy, just those parts of the grade. And then there’s drag and drop with Look presets – which brings us to the next feature …

Hover preview Looks

Now when you hover over a Look thumbnail, you see how that Look will impact your image, right in the Monitor. This makes it incredibly easy to test out Looks. To apply the Look, all you have to do is click on it (no more forgetting to press Enter and wondering later what happened to your Look …). Alternatively, you can drag the Look thumbnail into the grading layer stack, where it will appear as a new Group, and is automatically applied to the image.

Words don’t do this justice: you have to try it out yourself to see how smooth this really is. We think you will love the new Look workflow.

Better Direct Link

We have added audio support for Premiere Pro projects inside SpeedGrade, so now you have sound with your color. This is great since soundtracks or dialog often provide cues for transitions in lighting.

Performance with masks is now also improved, making it easier to work with masks in general, and multiple masks in particular. Related to this, SpeedGrade’s tracking, which is actually a pretty slick piece of engineering under the hood, is now significantly faster.

We also improved Autosave, both in Direct Link and in native SpeedGrade mode, so you can work with confidence.

As noted above, we have enhanced Mercury Transmit to support output to 4K monitors and adding support for Blackmagic cards.

New SpeedLooks

Last but not least, SpeedGrade sports four new SpeedLooks, giving you even more options for sophisticated color grading presets that perform really well across different types of footage and lighting conditions. Did I mention that you can group this with grading layers to instantly create new custom Looks?

Summing up

SpeedGrade is about three things: precision color science, efficient and flexible workflows, and the freedom to play with light and color. We’re excited about this release and we can’t what to see where you take it in your own work.

SpeedGradeCC2014.1_Curve-adjustments_640px

 

Availability

The new updates to the Creative Cloud video apps and Adobe Anywhere for video are expected to ship in the coming weeks.

Adobe will host MAX, The Creativity Conference,  Oct. 4-8 in Los Angeles, to share even more amazing innovations coming to Creative Cloud across desktop, mobile, services and community. To be among the first to know when these and other Creative Cloud updates are available, follow us on Twitter @creativecloud or join us on Facebook.

Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12 – 17

If you can’t make it to IBC, please join us for a special Ask a Video Pro session on Friday, September 12 at 10 am PT (7 pm CEST). Live from Amsterdam, Jason Levine will demo the new features coming to the CC video apps, including SpeedGrade

 

2014 release of Adobe SpeedGrade CC now available

2014 release of Adobe SpeedGrade CC now available

At last we’re delighted to announce that the 2014 release of SpeedGrade CC is now available. The new version offers a more flexible Direct Link workflow with Premiere Pro, Master Clip effect, broadcast standard scopes, including a brand new YUV Vectorscope (much requested), an improved Look Manager, and more.

You can read more about the new features in our earlier blog post from NAB 2014. This SpeedGrade CC release is part of a much larger Adobe Creative Cloud release, including new 2014 versions of all of the desktop apps, new mobile apps, expanded integration, and more. Read more about the Creative Cloud release here.

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Creative Cloud members can install the new 2014 release of SpeedGrade through Creative Cloud for desktop. You can also log in to your Creative Cloud account and download SpeedGrade CC from there.

Not yet a Creative Cloud member? You can still test drive the 2014 release of SpeedGrade CC with a free Creative Cloud membership. For information about Creative Cloud memberships, visit this page.

SpeedGrade CC Release Notes (2014.0)

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Behind the scenes with colorist Thomas Bergman

Recently Adobe TV posted a beautiful video created by Thomas Bergman of Silbersalz Film, a production company located in Stuttgart, Germany. The film is one of my all-time favorites: their production quality is stunning. Their work illustrates the impact of  “creative looks” on moving images, and shows the range of a professional color grading application for shaping narrative visually.

Needless to say, I am proud that the company is an all-Creative Cloud, all-SpeedGrade post house.

This interview was recorded on set at the Silbersalz facility during production on their SpeedGrade film.

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Interview with cinematographer and colorist Will Read

I spoke last November with Will Read, a brilliant filmmaker based in London and a keen Creative Cloud and SpeedGrade user. Will was one of the presenters at the SpeedGrade 10th anniversary event we held in Munich in November 2013.

UK-based filmmaker Will Read

UK-based filmmaker Will Read

In the interview, Will speaks about his integrated approach to filmmaking. His workflow was born from a bad experience with his first film project. Although he had taken great care to shoot that film well, the final result was spoiled by bad telecine work and even worse color grading. He vowed then and there never again to let someone else ruin his images. Will then set out to learn color grading on his own, so that he could marry that expertise with his love of cinematography. The ultimate result was an end-to-end pipeline which gives the maximum amount of artistic control to the minimum number of people.

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