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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.
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.
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