This film is shows how I graded raw footage from an old Panasonic GS500 camcorder and used various techniques all available either native in Adobe Premiere CS5 or via two plugins I added to the system, namely "Neat Video" noise reduction and ProDAD's Mercalli V2 64bit stabilisation plugin.
I havent yet graduated to After Effects or Magic Bullet Looks (to name a few that I would like to experiment with) so this is all done native in Premiere.
It is a combination of:
1. additional masks using the Circle function
2. additional masks using the 8 point garbage matt+edge blur functions
3. Use of the Fast Colour Corrector for primary colour and level correction
4. Use of the "Three Way Colour Corrector" in secondary correction mode often going to work on the blown out highlights that seem to be the hallmark of this camera.
5. Extensive use of the Mercalli V2 plugin (I normally dont use it much - but wanted to push it this time to see how noticable the artifacts are)
6. Occasional use of the Neat Video noise reduction plugin
These are all tools and techniques that I have learned from watching others on Vimeo and elsewhere on the net give their demonstrations of these capabilities. One series in particular that makes very good watching if you are wanting to learn more is: library.creativecow.net/articles/devis_andrew/
While I have now graded several of my films using these techniques, I still consider I am very much a novice at this. If you can spot glarring errors in what I am doing, please let me know!
If you would like to watch the full screen version of this film, you can see it here: vimeo.com/12129760
http://library.creativecow.net/devis_andrew/Premiere-Pro-CS6-Basics_47 In this tutorial, Andrew Devis starts by explaining the difference between Color Correction and Color Grading, and then goes on to show the reference monitor, the Color Correction workspace and how to find the various scopes available in Premiere Pro CS6.
Peter Salvia and Steve Crouch bring you an introductory tutorial to Adobe SpeedGrade CS6. In this episode, Peter and Steve start with an offline edit of .R3D footage acquired from a Red Scarlet at 4K, transcoded to ProRes LT in RedCine-X Pro, and cut in FCP 7. Through the wonders of XML and EDL manipulation, you will get an introduction to migrating your timeline from FCP 7 to Adobe Premiere CS 6, then conforming to the native RAW .R3D material inside of Adobe SpeedGrade CS6 and positioning yourself for a full 4K DI finish.
We are excited to share this tutorial and workflow concept with the independent filmmaking community. Your feedback is welcomed.