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.
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
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.
2013 marked the 10th anniversary of SpeedGrade. Last November in Munich, the city where SpeedGrade was born, we held a special event to make the occasion. We were joined by lots of old friends and new users at the fabulous ARRI Cinema where we watched a some great technical and artistic presentations.
SpeedGrade on the marquee at the famous ARRI Kino in Munich, Germany.
The whole SpeedGrade team was there – a feat, considering we’re spread all over Europe and North America.
A lot has changed since SpeedGrade became part of the Adobe CC family. Innovations like the Direct Link workflow with Premiere Pro, introduced at IBC 2013, have transformed the color workflow and changed the way editors and colorists collaborate to deliver unique looks and consistent color correction. With the next major update we’re introducing a number of great new features that refine the Direct Link experience. Additionally, we’re introducing new broadcast-standard scopes, answering to the fast-growing community of SpeedGrade users in broadcast and corporate production (see what’s new in this SpeedGrade overview video).
Improved Direct Link experience
Full control over all tracks in your sequence
While we remain adamant about never changing an edit in while you are in SpeedGrade, a couple of items stood out in the user feedback we collected in the last six months. It was clear that turning adjustment layers on and off in SpeedGrade is crucial to a fast and efficient workflow between Premiere Pro and SpeedGrade. In the new release, you can do that by clicking the eye icon in front of each track. In fact, you can show or hid any type of track this way. That will be handy when titling is already integrated with your sequence, but you wanted to focus on the footage instead. It will also be helpful when multiple video tracks are present but you only wanted to see one at a time.
SpeedGrade CC continues to evolve with an improved Direct Link workflow for even easier integration with Premiere Pro