Iridas Speedgrade

Started by andlas, August 29, 2012, 01:14:08 AM

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andlas

Hello

I have a great experience work the t2i raw files in Iridas - Speedgrade, this program is great for color correction, whitout previos conversion or transcode, and have include pullremoval funtions.

The exit files can be made in avid dnxhd 10 bit ready for Sony Vegas.

Anyone have experience in this program?

bart

I think that is now part of Adobe Production Premium cs6
Haven't tried that yet. I only use Premiere cs6.

weldroid

For some reason it couldn't handle my .mov files straight from the camera, but looked like a very capable package. The GUI I have found a bit quirky though, somehow I have felt the screen estate was wasted unnecesarily...
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DFM

/ disclaimer - I work on this stuff, but I'm not paid to talk about it  :) /

Adobe bought Iridas so SpeedGrade is indeed now part of CS6 - it's available as a standalone product and is bundled in Production Premium, Master Collection and Creative Cloud.

To ingest Quicktime files you need QT 7.6.6 or later installed. I've tested with files from EOS cameras and they behave fine (with and without audio, from native and ML firmware, etc - if QT can play it, SG can eat it). If you send footage from After Effects or Premiere Pro to SpeedGrade, all the footage (whatever it was originally) is converted to an image sequence.

You can export from SG to KONA-AJA 10-bit MOV files (R10g log or R10k linear), or to Cineon/DPX/TGA image sequences. Personally I'd advise sending to DPX, especially if you're on Windows. AJA R10 is really there to support users who have KONA hardware, and their latest Quicktime playback codec is only available for OS X. Bear in mind that R10g is not actually logarithmic, it's simply the version of R10 which uses bits 0-1023. You can put log-graded data inside or not, it doesn't care.


@weldroid: I agree the UI is strange to say the least, though that will change in time. Right now it's the same as it was when Iridas sold it, and their customers were all professional colorists who use dual cards (with the control panels and waveforms on one screen and the video output on a calibrated monitor). Putting it all one one screen, things don't fit very well. The concept of how you work (with grading layers) is also strange to people coming from an NLE background who think of 'effects' applied to the video layer itself, but it's familiar to colorists. Often they won't even use the on-screen controls, they'll have hardware color wheels on the editing table.

Grading-wise if you really have the time to learn it SG is powerful, but for quick fixes I'd not bother - the luma curve, fast and 3-way color correctors in FCP, AE or PP are adequate for most people most of the time. The one thing I use SG for a lot is the auto-calibration tool; if you show a Macbeth card at the start of your footage, SG will automatically work out a 3D LUT to pull every chip into calibration, so you can shoot any combination of hardware or image settings and get back to 'reality' in one click. Comes in handy for the many flat/log profiles for EOS that don't come with an inverse LUT, and to match footage from two different cameras when someone forgot to select the right profile!  ::)

Malcolm Debono

Haven't used it much, but it's a pretty powerful tool, although I must admit that Resolve is hard to beat especially after the latest update. I believe it will get much better in the future, especially when it's fully integrated with Premiere (like AE is) with features such as dynamic linking.
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DFM

Further to my comment about dual-screen setups and hardware color wheels, you can see a typical colorist's setup in the first minute of this wonderfully-Dutch video:

http://tv.adobe.com/watch/learn-speedgrade-cs6/fxphd-fastforward-speedgrade-cs6-fundamentals/