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Direct Link to Premiere Pro

From: Up and Running with SpeedGrade CC

Video: Direct Link to Premiere Pro

In this movie we'll take a few minutes to explore direct linking And a new dialog opens up letting us know all rendering takes place in Premiere.

Direct Link to Premiere Pro

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.

Show transcript

This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 10126 viewers

Patrick Inhofer
Author

 
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  1. 30m 23s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 7s
    3. Exploring additional equipment
      5m 28s
    4. Using the exercise files
      9m 7s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 7s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      4m 58s
    3. Direct Link vs. Native
      5m 39s
    4. Direct Link on the Mac
      2m 54s
    5. Manipulating the viewer
      5m 44s
    6. Manipulating the Timeline
      5m 3s
    7. Using analysis tools to evaluate contrast and exposure
      6m 42s
    8. Using analysis to evaluate color
      8m 0s
  3. 23m 14s
    1. Importing clips directly into SpeedGrade
      4m 42s
    2. Using automatic scene detection
      5m 53s
    3. Sending a sequence from Premiere Pro to SpeedGrade
      6m 6s
    4. Using an edit decision list (EDL) to conform a project
      6m 33s
  4. 35m 30s
    1. Colorist lingo: What is a primary correction?
      4m 11s
    2. Understanding the 3-Way controls: Contrast
      4m 59s
    3. Understanding the 3-Way controls: Shadows, Midtones, and Highlights
      5m 26s
    4. Understanding the 3-Way controls: Hue and Saturation
      5m 16s
    5. Using the slider controls
      6m 39s
    6. Adding, deleting, and working with primary layers
      8m 59s
  5. 17m 9s
    1. Making initial contrast and color adjustments
      6m 59s
    2. Balancing your shots by removing color casts
      6m 6s
    3. Grading in passes
      4m 4s
  6. 48m 23s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      9m 43s
    4. Mask linking
      5m 41s
    5. Maks and layer linking
      2m 30s
    6. Grading layers and grading clips
      5m 29s
    7. Tracking masks and using the keyframing controls
      8m 15s
    8. Understanding the secondary layer
      8m 16s
    9. Pulling HSL keys and limiting with masks
      4m 38s
  7. 11m 25s
    1. Tracking a face
      5m 25s
    2. Keying and grading skies
      4m 18s
    3. Using a mask with a sky correction
      1m 42s
  8. 27m 10s
    1. Copying corrections from one shot to another
      4m 59s
    2. Using the Snapshot Browser
      7m 19s
    3. Using the Continuity Checker
      5m 47s
    4. Using the Shot Matcher
      4m 14s
    5. Saving and recalling grades
      4m 51s
  9. 14m 8s
    1. Understanding the Look layer
      7m 55s
    2. Saving and applying looks using the Look Manager and Look presets
      6m 13s
  10. 17m 8s
    1. Colorist lingo: RAW, LOG, and look-up tables (LUTs)
      5m 5s
    2. Controls for RAW footage
      5m 46s
    3. Understanding LOG (flat) footage and LUTs
      6m 17s
  11. 19m 40s
    1. Setting up a render
      6m 42s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 35s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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