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Importing clips directly into SpeedGrade

From: Up and Running with SpeedGrade CC

Video: Importing clips directly into SpeedGrade

In this movie, we're going to take a look at how we pull individual shots here into SpeedGrade so that we can color grade them. Now you might be asking me, hey Patrick, why do I want to pull an individual shot? Don't I just want to pull an entire sequence, an entire EDL? And the answer is yeah, that's probably the most common workflow here in SpeedGrade CC. But there are a lot of other work flows out there, and here are a couple examples. One might the onset workflows. Right? So you're working with the director and the DP. They might want you to take a shot which are going to pull off the camera, pull it into SpeedGrade, grade it and then the DP and the director can take a look and decide how's the lighting.

Importing clips directly into SpeedGrade

In this movie, we're going to take a look at how we pull individual shots here into SpeedGrade so that we can color grade them. Now you might be asking me, hey Patrick, why do I want to pull an individual shot? Don't I just want to pull an entire sequence, an entire EDL? And the answer is yeah, that's probably the most common workflow here in SpeedGrade CC. But there are a lot of other work flows out there, and here are a couple examples. One might the onset workflows. Right? So you're working with the director and the DP. They might want you to take a shot which are going to pull off the camera, pull it into SpeedGrade, grade it and then the DP and the director can take a look and decide how's the lighting.

And if they like what it is that they're looking at, you can save all of that grade to be used later on after editorial while you're doing the color correct. Another scenario that's very common and closely related to this is the daily's work flow, where you're taking entire cards of footage. Pre-processing that, adding a grade onto it, to then deliver to editorial. And this is especially common if your shooting raw formats like red. These are all different workflows, where the footage comes out of the camera looking extremely flat.

And by doing an initial pass on it, what we often call a one light you're expanding out the contrast, you're adding some saturation and you're giving editorial a nice looking starting point, that allows them to see what the footage actually looks like. So to get started here and show you how we go about this. If you have access to the exercise files, I've selected this folder here exercise files on my desk top. And then in the media browser, I've selected in the pull-down window Sequences from folder plus subtree. And now allowing SpeedGrade to see everything, not only in the exercise folder but in all the sub-folders as well.

And what I'm going to start with is exercise file 03_01_import direct, and I'm going to press the Plus button. And that loads up what is essentially an empty sequence. And that's fine because we're now going to add footage. Now, I've got in this media browser, I'm seeing all sorts of stuff. I'm seeing SpeedGrade project files, I'm seeing EDLs. I'm seeing all sorts of stuff in here. What I want to do is filter this just to my movie formats. Now, all I'm looking at are the movie files contained in these subfolders.

And we're going to be working with the death scenes footage. Which is all this interior stuff at the desk. And I'm going to come to the first shot I find, which is this CollinsMCU1.mov, and let's make this thumbnail a little larger. So right here. And there are two ways I can add shots into a sequence. The first is just the simple double-click. And there it is. It's down here in my sequence highlighted. The second way is, I'll go to the second shot here and use the Plus key.

And notice the tool tip that comes up. Insert after selected clip. I'll click on the Plus. And it's now inserted the second shot after whatever clip was highlighted. Now I could go through here and add all the rest of these. But I don't want to do that. These are all in one folder. I just want to go to that folder and boom, add every shot in that folder to this timeline. How do I do that? Well, the first thing I'm going to do is get rid of these two shots, so they don't double up on me. And I'll come to the second shot here, and notice this little con with the little backwards arrow.

Well, if I click on that and drag up and out, really anywhere else into the interface. Wherever I see the x show up, I'm going to release and it's now just deleted it off the timeline. And SpeedGrade re-frames the timeline showing me just what's in it. I'm going to go ahead and do the same thing. Grab this point here, drag down, release, it's gone. Empty timeline. Now, I'll come down here into the media folder, I'll scroll that down. And now I'm going to come down to the death scenes folder. And there we go.

SpeedGrade has found a total of 12 files. And I'm going to come down here to add all, click on that boom, done. All my clips are now added into this timeline. To see the actual clips themselves, I'll press the D key and that'll move us out of this Media tab into the Color tab, and that gives us our viewer. Now the thing is, you may want to rearrange the order of these clips, and very quickly, let me show you how to do that. All you have to do is grab that little icon, click and drag.

And as I drag, you can see it gives me a little icon, this red bar, showing me where precisely it'll drop that clip in. I'm going to drop it right here as the third clip, release. It's just moved that in and pushed everything else back. Alright. So there it is, pulling individual clips into SpeedGrade CC, and how to manipulate those clips within the timeline so you can get the shot ordering in the way that you desire.

Show transcript

This video is part of

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

55 video lessons · 9622 viewers

Patrick Inhofer
Author

 
Expand all | Collapse all
  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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