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Using Adobe SpeedGrade CC, powerful professional color correction and color grading is available to anyone with a Creative Cloud membership. In this course, professional colorist Patrick Inhofer offers a project-based learning experience to get you familiar with the SpeedGrade tools. You'll work three different types of projects through the color correction and grading process, which includes getting projects and footage into SpeedGrade, color correcting and grading shots, and then rendering and outputting shots. Each step of the process is rich with lessons and anecdotes that are applicable to real-world color grading scenarios that editors, producers, and other creatives will face.
This course was created by Patrick Inhofer and produced by Robbie Carman. We are honored to host this content in our library.
In this movie we'll take a few minutes to explore direct linking out of SpeedGrade back to Premiere Pro CC for our final output. And because direct link has us working in an actual Premiere Pro project file. That means we must use Premier to handle our final renders and deliverables. If you have access to the project files open 1104 direct link to Premiere and now open up the death scene SpeedGrade cc 23976 sequence. We're back in the scene from death scenes which we used in our original exploration of direct link back in chapter three which covers direct link details I won't be repeating here.
I've also gone ahead and made a few changes in Premiere and then did an initial grade from scratch on this timeline. Back in Premiere I added two Adjustment layers. This first I designated as a shot matching layer. And the second being a top level broadcast safe filter that's over the entire timeline. Notice I put the broadcast safe layer above even the graphics and titles layer, since I want to make sure these elements are also affected by this filter. Of course, you could just incorporate the shot matching operations down here on the shot's grading layer itself but I wanted to give you an idea of how to use an Adjustment layer to isolate operations.
In this case keeping separate your initial grading decisions, so that they're not mistakenly adjusted, but whichever way you want to work. Using Adjustment layers to isolate different ideas or building up the layers all in one layer stack. Yeah, it's all good to me. One last thing before setting this sequence back to Premiere. I'm going to press Play. And notice how smoothly it plays before becoming choppy here. And it'll play choppy and then it'll play smoothly again. One of the things I discovered in preparing this movie, if I direct link out to Premiere, render out all these Lumetri effects and then come back here to SpeedGrade those render files get used for playback in SpeedGrade and since I didn't render out shots two or three they go all choppy.
But notice, everything else which was rendered out, smooth sailing. So, if you want to do a review of your work, without the choppiness of SpeedGrade while it's filling up its cache, go ahead and pre-render in Premiere. Direct link back to SpeedGrade, and then do your playback. This'll get you a nice smooth playback during a client review session. Now let's take a look at sending this back to Premier. Of course in an earlier movie we looked at this direct link to Premiere Pro button. This time let's go here to the Render tab which you notice is not dimmed down.
Let's press that. And a new dialog opens up letting us know all rendering takes place in Premiere. By selecting Yes, we're telling SpeedGrade to save this project and open it up in Premiere. And here we are, back in Premiere Pro CC, you'll notice shots two and three, not rendered. I could go up here to Sequence >Render In to Out, and that'll render those. Also noticed as we explored earlier in this title, our grades are now translated as Lumetri effects, placed shot-by-shot, precisely where they should be. Including key frames and masks.
All that's left for us to do is any final graphics, and then render, and how do we do that? File >Export >Media. This gets us to the Export Settings dialog, and since I've already set up my sequence settings to how I like them, I'll just tick this Match Sequence Settings box, and the rest of these options are greyed out due to the Match Sequence Settings being enabled. And let's find the sequence settings which are just a right-click on the sequence itself. Since I want to render this out as 4 to 2 HQ and since there are no editing mode presets for that codec.
I have dropped this into custom and gone through and set all these settings to match my final deliverable. These are settings it inherits when I tick that Match Sequence box in the export dialogue. I have one last choice to make. I'll press Q to do the render via Adobe Media Encoder which is beyond the scope of this title or press export to do an immediate export. And this is how we take our work from SpeedGrade and send it back to Premiere Pro using direct link. Just remember, this workflow requires we start here in Premiere and send that Premiere project to SpeedGrade.
Getting into this whole direct link round trip workflow.
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1. Open the Premiere Pro project in Premiere.2. During the reconnect dialog click Locate and navigate to Exercise files > Media and then to the sub-folder of media the dialog is asking for...3. Here is the trick: You MUST actually select/highlight the first file that Premiere is asking for. The easiest thing is to click the 'displayexact name' button and then *actually click on the file* that matches the name.
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