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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Direct Link vs. Native


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Direct Link vs. Native

One of the first choices you'll need to make when color correcting in Speed And I'll select the first of the Premiere Pro projects files that I see.
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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 NEW
      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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Up and Running with SpeedGrade CC
4h 54m Beginner Aug 15, 2013 Updated Jan 24, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding the interface and reading scopes
  • Getting clips and projects into SpeedGrade
  • Understanding the 3-way controls
  • Making contrast and color corrections
  • Pulling HSL keys
  • Making secondary corrections and using custom look layers
  • Tracking masks to objects
  • Matching shots
  • Rendering footage
  • Moving timelines between Premiere Pro and SpeedGrade
Subjects:
Video Color Correction
Software:
SpeedGrade
Author:
Patrick Inhofer

Direct Link vs. Native

One of the first choices you'll need to make when color correcting in Speed Grade CC, should you work in its Native mode or in Direct Link mode. Once you make the decision to work one way or the other, that's it, there is no going back. A project cannot be converted from Direct Link to Native, or vice versa. They're quite literally two different file formats. This movie will show you the differences between these two modes, and help you decide which is appropriate for your jobs.

In practice, making the choice is as simple as closing any open timelines, which opens this dialog box, and if I create a new .IRCP project, then I'm working in SpeedGrade's Native mode. And if I go ahead and randomly add a shot to this timeline and other movies in this chapter go through this process. Notice how the sub-panels are accessible to me and allow to me to make a ton of tweaks to my timeline, individual clips in the timeline. This includes reconnecting to offline media here in the Reels sub tab.

Now, I've got an existing IRCP project that I want to show you. So I'll close out the timeline I just created. No, I don't want to save it. I'll create a new empty project. Then I'll double click on this IRCP project. Notice I'm again in SpeedGrade's Native mode, with all these options still accessible to me. That's because it's a .IRCP file format, the native file format for SpeedGrade. So now, let's close this timeline out, again, I won't save, and now I use this Open Project command to navigate to the Exercise folder, then the Projects sub folder.

And I'll select the first of the Premiere Pro projects files that I see. Select Open. And notice how the open routine is different. SpeedGrade can see inside this Premiere project file and can open any timeline that's been created in there. I can only open one timeline at a time, so I'll select death scenes. Voila, the Premiere Pro timeline is opened here in SpeedGrade. But notice, all these tabs are grayed out. Also notice this icon up top. It wasn't there in Native mode, that's the direct link to Adobe Premiere Pro button, plus this media's offline, and I've got no way of reconnecting the media here in SpeedGrade, because that tab, the timeline tab where I do the reconnect, it's grayed out.

When you open a Premiere Pro project directly in SpeedGrade, you are in Direct Link mode. In Direct Link mode, all these grayed out options, they're handled in Premiere, not SpeedGrade. So to relink these files, I'll either open this project first in Premiere, or I can Direct Link back into Premiere by pressing this button. Now, I'll do all my relinking. And now I'm going to save. Then I'll select this timeline, and direct link back to SpeedGrade, and those changes will be reflected in SpeedGrade.

Keep in mind if you're working with raw camera formats in Native mode, we have full access to these raw controls here in SpeedGrade in the Clips sub tab but if we work in Direct Link. Not accessible not here in SpeedGrade. If we want to tweak those settings on a shot we need to direct link back into Premiere then come back to SpeedGrade to work with those updated settings. Some another pointers about Direct Link mode. When we direct link back and forth, both apps stay open as they are here.

If you're going to spend an extended period in either app, close out the other one. This will free up your limited RAM and help improve performance and reduce the chance for unexpected problems. Also you may find that working in Native mode. There are camera formats that SpeedGrade just doesn't recognize and you can't work with. The solution is to use Premiere Pro. If you start a project in Premiere and add those shots to a timeline and then direct link into SpeedGrade.

SpeedGrade will be able to support every single codec that Premiere supports. And Premiere, it supports a ton more codecs than SpeedGrade. Another big difference between the two modes, Native mode only supports a single video track. It can't handle multi-track timelines. Direct Link mode, no such restriction. Direct Link mode is literally Premiere and the Premiere timeline running in SpeedGrade. The timeline looks the same in both apps it's just SpeedGrade can only make color decisions and it can send those color decisions back to Premiere.

But if you actually want to edit the timeline, you've got to do that in Premiere, which makes sense. You use the right tool for the right job. As time goes on, and software updates get released, I believe the downsides to working in Direct Link, mainly the lack of access to some critical tabs and sub tabs here in SpeedGrade, those downsides will disappear. Now for you Mac users out there who are really excited about this direct link between Premiere Pro Cc and SpeedGrade Cc. Yeah, you're going to want to take two minutes and watch the movie in this chapter about direct link on the Mac.

There is some additional considerations you want to understand when choosing between working in Native mode versus Direct Link mode.

Find answers to the most frequently asked questions about Up and Running with SpeedGrade CC.


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Q: This course was updated on 12/20/2014. What changed?
A: This update covers the new features added to SpeedGrade 7.1. There are new movies covering the Direct Link workflow, which allows you to open Premiere Pro projects in SpeedGrade. Also covered are improvements to mask and layer linking, grading layers, and grading clips. We also revised several movies to reflect the impact Direct Link has on managing media, tracking, rendering, etc.
Q: This course was updated on 1/24/2014. What changed?
A: We added one new movie to address the changes in the 12/12/2013 update to Creative Cloud.
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