Why several ghostly images when I play the video in the timeline?

I'm new to Speedgrade and I understand how it is powerful - but I think it's completely intuitive compared to After Effects or first or even PhotoShop.

I loaded a test clip (30 p ProRes) and when I try and play and watch on the configuration of the monitor I get four ghostly images of the shooting.

I'm not using an external monitor as I am shaken upward in a hotel room working on a MacBook Pro.

In order to speed (ironic, huh) I'll probably make the colors work in After Effects, but if someone can point me in the right direction I would appreciate it.

Forgive me if this info is already posted on the forum - I tried search but he came up to the top with a white and a large number of tutorials.

Don't not seen this... but it would be good to get a few things to help you. SpeedGrade is a program unique, but it's actually quite simple to use once you begin to understand the controls and what they do, which is often a little different from what is a noob expected... as when I started with him, I have found certainly!

First of all, it is more demanding of hardware damage even... If the Sg doesn't like your platform, it will simply go crazy doing nothing. He won't give you small problems like stammering, he'll do great things that obviously does not work. So... that's just MbPro got for the video/graphics card? And how much RAM? Computers that use the graphical features embedded very rarely work well with SpeedGrade. Under 8GB RAM... don't even think on this subject. You MIGHT be able to live with 6 GB of RAM, as some people have claimed that they did... but this isn't a nice job... slowing.

Following... is this a project of SpeedGrade 'native mode', where you open SpeedGrade and a new project, and then make a timeline it in SpeedGrade, or a draft Premiere Pro sent to Sg by using the command "live from SpeedGrade?

Initially, I found Sg so impossible, that I used Ae a little myself. Now... I was not to AE for a long time, except to say fight against noise or create a sequence of reading can do a LUT of her.

First step to a colorist or the marshalling of the app is neutralize your videos... Making it NOT enough. It's a different passage home and down the road. In this step, I don't even look at the picture very much... I'll have the RGB Parade, Luma and YUV Vectorscope 'up' signal and watch, particularly the parade & wave. I select the slider controls (in color wheels) and unlock all the controls I use (the small icons of lock). I'll adjust individual controls in color on the section Offset (left set of sliders) to match the bottom of their footsteps a little over 2 or more, I will look to see if it's ok or should it perhaps a little lighter with this image. The switch for the Gain sliders (right) and set them to basically same heights for the scope of the parade, with their vivid the two lower at 100 and research appropriate for the image. It is sometimes as low as in the 1960s, sometimes as high as 99.

Next is to use the Gamma sliders (in the middle) to correspond mainly to the parade & - waveform traces... all easily identifiable 'forms' in the mid tones I will align with each other.

The foregoing leads me what... 20 seconds? May 30 at the most.

Then I switch back to the color wheels and compare the images with my eyeballs and the vectorscope... How is the saturation and... How is the balance of color/tint and the proportions compared to what I'm used to seeing on the field and the monitor? At this point, I'll do a bit of tweaking of the Gamma & Gain color wheels and luminance sliders, perhaps use contrast, temperature, magenta or rotate the cursors in the cursor above group wheels. This neutralizes things pretty well.

Can do... Nice... or better. JUST looking at a picture's contrast, luma (lamps or dark) or chroma (color)... where's the good contrast, where... not very good? You can have too little contrast color (saturation) in the midrange, but perhaps too in the brights... or your shadows can all tend to block upward around 5-20, when you need to go up a little higher. This is where the tabs above the wheels of color shine... This example:

The tab made highlights chosen... No, you have still three wheels, each with (vertical slider) luma and chroma controls (wheel)? They overlap, and in order to play a bit with a ramp is great. A "ramp" is a tonal graphic staircase from black to gray in several stages, make an and import... then play around with the settings and see what effect each has... where on the ramp.

Here, on the tab highlights... the rightmost is very bright pixels in the clip, with overlaps down the scale a little. Controlling the environment moves mainly on the third median of this, the upper third of the image around... with some effect in the poorest and brightest pixels in this part of the scale. The right control is the bottom of the upper third... usually used to help blend in the midrange. Also... See the control 'grayed out '? Set that say gray color and pixels that you change will be in color, the rest of the shaded image. You can see directly what you change.

So... as you have three basic commands, Offset, Gain and Gamma, and three controls each for shadows, average and clear tones, you have a LOT of very refined tweaking you can do. Also... Note the vertical slider to the left Luma control for the facts tab highlights? In text turned on its side, it says mph... who is the pivot of control that defines WHERE on the scale of the end of the midrange and treble begins... you can move upwards or downwards. Among the witnesses of midtones, you have sliders on both sides, one for the breakpoint of shadows/Mids, one for the breakpoint Mids/facts highlights. Shadows tab has a pivot for the shadows/shades breakpoint.

It affects all the cool things you can do with the secondary and masks and other... but it's long enough for now!

Neil

Tags: SpeedGrade

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