Join Robbie Carman for a free Ask a Video Pro webinar this Thursday, May 28th to learn how you can bring creative color into your editing and postproduction workflow: REGISTER
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.
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 register for free for this week’s Ask a Video Pro session – Thursday, May 28th – at http://bit.ly/1QBZ9yL
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.
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.
We’re big fans of Alexis Van Hurkman and his fantastic introduction to the art of color grading – The Color Correction Handbook – has a special place on our bookshelf. So we were thrilled when we heard that Alexis would be writing a new SpeedGrade book for our favorite publisher, Peachpit Press.
The power of SpeedGrade lies in the way it allows you to build up color corrections and creative looks as grading layers. Because grading layers are non-destructively applied in SpeedGrade, you can play around to your heart’s content until you get your footage looking just right.
It gets even more interesting when you add grading tracks on the Timeline. Grading tracks allow you to add a new set of grades on top of your clip-based color corrections – and they allow you to do this across multiple clips, or a whole project.
Vignettes are a great tool for visual storytelling. They add a depth to shots and they help give digital content a more filmic feel – and Adobe SpeedGrade CS6 offers powerful tools for creating them.
Psychologically, vignettes allow you to focus the viewer’s attention on the subject and subtly mimic the human eye, where color perception drops off around the periphery of our field of vision.
You create vignettes for an individual shot, by adding a mask to a grading layer, within a clip, or by adding a separate grading track on the timeline, for example to go across multiple clips. Colorists sometimes combine vignettes, adding atmosphere and a greater sense of space to their shots. In this post we’re going to look at how to add a single vignette to a shot in SpeedGrade. Continue reading…
Thanks to everyone who joined us for the SpeedGrade webinar with Jeff August last week! In case you missed it, we’ll have a recording of the webinar available in a few days. In this post we’re taking a look at how to apply secondaries in Adobe SpeedGrade CS6.
Secondary color corrections are applied to specific colors within your images – as opposed to primary color corrections which affect the whole image.
For each secondary, you select a color range, and then apply adjustments to just those pixels. Secondary adjustments allow you to accent, modify, or tone down parts of your image. With SpeedGrade, secondary color corrections are added as individual grading layers within the overall grade. Continue reading…
If you are an editor, and you want to learn about color grading, this course if for you. The session will start with a review of the color tools in Adobe Premiere Pro and then move on to provide a primer in the powerful color correction and look design capabilities of Adobe SpeedGrade CS6. Continue reading…
SpeedGrade CS6 has been out for a few months now and we’re already seeing some great third-party additions. SpeedLooks, created by LookLabs, are a great example, and help to illustrate the power of color grading to dramatically transform your images.
I chatted with colorist Jeff August of LookLabs recently to learn more – quick plug: Jeff will be giving an online seminar on color grading for video editors on August 16
Most color grading workflows include two types of tasks: color correction and look design. Look design is what you do to give your story its individual character: it’s the visual style that communicates mood and place.
For example an action film might have a gritty, de-saturated look; a horror story might have a cold blue otherworldly look, a period piece might have vibrant colors, like a painting or an old color photograph. Different scenes within a film usually use slightly different palettes. In short, look design is a part of storytelling Look design is a very exciting aspect of the new digital filmmaking tools: we never had as much freedom as we do now to define how we want our productions to look.
Before you get to detailed look design, you will usually want to begin by color correcting your shots. Continue reading…
The origin of SpeedGrade can be traced back to a playback application called FrameCycler, which was first release by IRIDAS in 2001. FrameCycler provided uncompressed playback of frame sequences and was widely adopted in the visual effects community where artists needed an easy way to check their work.
In a recent interview on Animotion (great site, by the way), Lin Kayser, the founder of IRIDAS tells the story. As Lin points out in that interview FrameCycler employed the pixel shader technology in GPUs to provide LUT support in FrameCycler. Pixel shader technology is widely used in gaming to provide really fast screen refresh rates, but is not commonly used professional color applications. Continue reading…
There are four ways to get your footage into SpeedGrade. The most automated way to do this is to use the Send to SpeedGrade command in Premiere Pro. The most flexible way is to load an Edit Decision List (EDL) and conform your clips. This allows you to update, or swap out, individual clips, for example. You can also load an existing SpeedGrade project ( an .ircp file). The most manual way, is to add individual clips to the Timeline one-by-one. Continue reading…
Over the next couple of months on this blog, we’re going to walk through the basic areas and features in Adobe SpeedGrade CS6. Today we’re taking a look at the Desktop.
Before we dive into the Desktop, I just want to mention a really cool story by DP and colorist Jerome Sabourin called Why I Use SpeedGrade. Jerome shares a bit of his own journey as a cinematographer, and describes how he uses SpeedGrade in his work. It’s a great read.