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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.
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.
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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 'displayexact name' button and then *actually click on the file* that matches the name.
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