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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Exploring additional equipment


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Exploring additional equipment

Before we actually start color grading in SpeedGrade, in Of course, the first question is always, what OS? Now when it comes to talking about monitoring, I, we
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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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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

Exploring additional equipment

Before we actually start color grading in SpeedGrade, in this movie we're going to take a couple moments to take a look at the basic equipment you'll want to have in place for a reliable SpeedGrade setup. Of course, the first question is always, what OS? Adobe SpeedGrade CC is cross platform, runs on both Windows and Mac. On the Windows side we're talking Windows 7 service pack 1, 64 bit only, or Windows 8, on the Mac, we're talking versions 10.7, 10.8, or 10.9, but you can expect an optimized experience on OS 10.9 Mavericks.

As always, these are the recommendations at the time of this recording. If you're putting together a SpeedGrade system, I recommend you jump onto Adobe's website, and take a quick look and see if any of these recommendations have been changed or updated. Now in terms of codecs you want to have installed on your machine, for QuickTime player, you're going to want 7.6.8. And then when it comes to the codecs, the industry standards have become ProRes and DNxHD. The bummer with ProRes, so you could only render out the ProRes if you're on the Mac version.

On the PC version, you can go to Apple's website, you can download ProRes, but that will only allow you to read those files; to play them back in ProRes, not for rendering. If on the PC you want to rendering, then I strongly encourage you to adopt Avid DNxHD as your go-to codec. The codec is free and downloadable off of Avid's website. Now in terms of your actual CPU, fast processors, right? As fast a CPU processor as you can afford has been the advice on computers for media applications since I got into this business 20 years ago.

Currently SpeedGrade has a minimum recommendation of four gigs. I really, strongly suggests you move up to eight bytes, eight gigs or even more of RAM. It just make everywhere more stable especially when you start dealing with HD, and then 2K, and then 4K image sizes. Screen resolution, again, I go with the recommendation 1920 by 1080. Now the cool thing about SpeedGrade CC is that it is GPU reliant. That means all of it's color rendering is done on the GPU and that means you can swap out your GPU when new ones come out.

Leave the rest of your rig the same way and you'll see huge performance gains allowing you to eek another year or two out of your equipment before you have to kind of throw everything away and do a massive upgrade. When selecting your GPU you're going to want a minimum of 1 gig of VRAM. You can get a card that has 2 gigs of VRAM, so much better. Now SpeedGrade CC does support the NVIDIA Quadro Cards as kind of their preferred go to cards. They're kind of optimized for those cards. But this entire training series has been recorded on a GTX 670 card.

It's worked great for me. So I have no complaints and so yes, you can work on a non-quadro card when you're working on SpeedGrade. Now when it comes to talking about monitoring, I, we could go on for an hour or two on this. We're not going to obviously, but here are a couple of things you do need to know. Number one, SpeedGrade CC now implements mercury transmit and AJA and Matrox are both supporting Mercury transmit for Mac and PC, and that allows you to be absolutely sure that the 1's and 0's that are recorded on your hard drive are actually being displayed when you're looking at a calibrated monitor.

Now, as far as what makes for a good calibrated monitor, I don't have a specific recommendation here because, so much of it depends on who are your clients? How are they delivering? You know, what's your budget? What are your client expectations? But, here are the two core elements of a really high-quality monitor. The first, it can switch between several different gamma settings and several different color spaces. The other thing I look for in a professional reference display is that it's adjustable, that I can calibrate it.

I need to be able to test it over time, and if it drifts off the spec, I need to be able to make adjustments to it, to keep it within spec. Now when it comes to actually controlling the interface, there are two things you're really going to want. The first is an extended keyboard, and that's a keyboard that has an, an additional number keypad on it. And a three button mouse. Specifically on a three button mouse, one of the huge advantages comes on right clicking on a color wheel. When you right click on a color wheel, it turns it into a virtual color wheel.

It allows you to mimic the trackball action you would find on a control surface. And when you consider how often you're making these corrections, holding down that button all the time can start to induce some carpal tunnel stuff. So this virtual color wheel control, I think, is a great feature in SpeedGrade CC. And of course, if you actually do have a trackball, you can use that in place of a three button mouse. I do that all the time about have of this training which was recorded that way and it's a great way of interacting with SpeedGrade CC. If you want to upgrade, you move up to a control surface.

The picture you see here is of a tangent element. I love control surface, I'm a control surface junkie. You'll find that if your looking for ways of speeding up the time it takes to do your color corrections on your projects, a control surface will absolutely do that for you. SpeedGrade currently supports the range of tangent devices surfaces. And there you go a very quick round up of the core equipment you'll need in order to have a really successful and productive time working here in SpeedGrade CC.

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.
Q: Why am I getting the 'File Not Supported' error when reconnecting to the source files in Premiere Pro?
A: If you get the 'File Not Supported' error when reconnecting to the source files in Premiere Pro - this is a problem with the reconnect dialog in
Premiere Pro that Adobe has not yet fixed. Everything is fine with the media and the projects. To get around this 'bug':
 
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 'display
exact name' button and then *actually click on the file* that matches the name.
 
*If you don't highlight the file*--navigating to the folder and *clicking ok without selecting the file will give you the 'file not supported' error
each and every time*. You must select the file that matches - Premiere is not smart enough to just figure out the folder contains the file.
 
This is not something that is unique to this training its just a little quirk of Premiere Pro currently.
  
After you select the first file all the other files should reconnect - assuming you have 'relink others automatically' selected.
 
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