With IBC around the corner, we are pleased to announce the key features in the next release of Adobe’s pro video & audio tools. Find out what’s coming: www.adobe.com/go/video
Update 10/5/15: Adobe Hue CC, mentioned in this post, is now part of Adobe Capture CC, a mobile app that combines the power of Hue, Brush, Shape, and Color. Capture CC is available for iOS and Android.
This past spring we brought powerful new color workflows into Adobe Premiere Pro with the Lumetri Color panel, and extended your desktop workflow with Adobe Hue, a new type of mobile app that allows you to translate color and light information from a real-life scene into a Look. Today, we are pleased to announce that this control panel is now available in Adobe After Effects, allowing you to bring your color-graded footage into After Effects with complete fidelity, and the ability to continue to tweak the color until you have exactly the look you want.
The Lumetri Color panel combines Speedgrade technologies with Lightroom-style controls, bringing color correction and grading directly into your editorial workflow. Here, we’ll take a closer look (pun intended) at the Lumetri panel to show how you can build a Look, starting with a real-life inspiration, all the way through professional color grading in Premiere Pro, and seamlessly continue your work in After Effects.
Here’s the clip from a travel show that we’re going to work with:
It’s a nice shot with great dynamic range – but rather neutral and emotionally not evocative. It’s already linear, but still rather flat looking. Let’s start by using inspiration from the real world to produce a look for this shot.
In our last post we told you about Alexis Van Hurkman’s new book, Adobe SpeedGrade: Getting Started. For this post we wanted to share a bit of the book with you. In this exercise, Alexis explains how to apply digital cross-processing to your images, including use of the fxLegalize effect. Please note: this exercise refers to footage that you can access when you buy the book. See the bottom of this post for a special offer from Peachpit Press.
Cross-Processing – by Alexis Van Hurkman
Cross-processing refers to the deliberate use of the wrong chemistry to develop film. For example, color negative film developed in a reversal film bath, or reversal film developed in a color negative bath. Typically, this produces strange and unexpected nonlinear color interactions for creating bizarre and exciting looks that are appropriate for editorial magazine shoots and music videos. Continue reading…
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.
In this post, I’m going to show you how to add a grading track. Continue reading…
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…
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
The Look panel is where all the fun happens in SpeedGrade. This is where you apply color corrections and design your look: the two parts of most color grading workflows.
Color correction, sometimes called the “technical grade,” is about making your shots look good and matched.
The creative part of grading is where you give your project its distinctive visual style. Here in SpeedGrade-Land we usually refer to this as “look design.”
To open the Look panel, make sure you have a clip selected on the Timeline (see Four Ways to Load Footage in SpeedGrade for more info). If a clip is not selected, the Look panel tab will remain inactive and you can’t open it. 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…
Last time we looked at the SpeedGrade Desktop. This week, let’s look at how to get your content onto the Timeline where you can work on it.
Patrick Palmer, Product Manager for SpeedGrade has created a video which shows how this is done.
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…
Welcome to Moving Colors, the new SpeedGrade blog! SpeedGrade CS6 is a new addition to Adobe CS6 Production Premium and Creative Cloud Membership and gives you professional color grading tools to take your visual storytelling to the next level.
Color grading used to be the domain of a select few, in part because of the high costs of the technology. But that has changed. Now you can do sophisticated color correction and look design on a laptop if you want to.
The purpose of this blog is to help you bring high-end color grading into your production workflow. SpeedGrade CS6 allows you to do that.
The SpeedGrade UI may seem unfamiliar at first glance: Welcome to the new world of color grading! Actually SpeedGrade CS6 is pretty easy and fun to use once you get comfortable with it.
UPDATED (October 19, 2012): This article has been updated with new links to more recent posts.