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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Manipulating the Timeline


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Manipulating the Timeline

If you really want to master Speed Grade, one of the things you're going to have to do is master how to navigate the timeline efficiently, and that's what we're going to take a look at here in this movie. If you have access to the exercise files, go ahead and load up 02, 04 timeline, and this is a colour graded timeline. We do the shot matching much later on this training title. And I'm using it here as an example, because it has all the elements we might need to manipulate while we're working our way through a color grid.
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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

Manipulating the Timeline

If you really want to master Speed Grade, one of the things you're going to have to do is master how to navigate the timeline efficiently, and that's what we're going to take a look at here in this movie. If you have access to the exercise files, go ahead and load up 02, 04 timeline, and this is a colour graded timeline. We do the shot matching much later on this training title. And I'm using it here as an example, because it has all the elements we might need to manipulate while we're working our way through a color grid.

The first thing we're going to do is figure out how to navigate from shot to, shot to shot and we're going to do that by using the Ctrl+right and left arrows. So if I select Ctrl+right arrow, it moves me to the next shot. And I control left arrow and it moves me to the previous shot. One thing I want you to notice is what happens to these in and out points, as I use this keyboard command. As I control right, the in and out points get framed up with that shot. So SpeedGrade is already setting me up to do a loop.

So I hit play and I'm set up here with a loop so that I can loop through my footage and figure out. What frame it is I want to start on when I start the colour grade. Now what if I want t look at a previous shot, leave the in and out point there because I still want to go back to there and handle the loop there. But what I can do is modify this with the shift key so I hold down shift control left arrow. And now I'm moving through the timeline without changing my in and out points.

And then if I release the Shift key and go back to the Ctrl left and right there we go our out points are moving with us. Through the timeline, and I'm going to come over here to the first shot in the timeline. I can also move up and down through these grading layers. Now, these pink clips are grading layers, that augment the grading we've already done on the base clip here so I can build up my grades. If I want to move up and down through my grading layers, we'll of course I can click on them, and they highlight. Or, I can just control shift up arrow, and that will move me up through my grading tracks, and shift control down, down through my grading tracks.

And then I'll jump forward one clip. Now that we know how to navigate the time line, let's take a look at some of the zoom controls we have here in Speed Grade CC. Right now we're framed up with this all button up here, and that means it's going to show us the entire time line from first frame to last frame. If I click the all button. Speed grid is going to zoom into the last remembered zoom state. And how do I zoom in and out of the time line? Well I can hover over the graying tracks, I have not over this little section over here buy the graying tracks themselves.

I'll hold down the option or Alt key, and use the scroll wheel to zoom in or out of the time line. I click all and it frames back up. And by the way when I mean all I can just hover over here, hold down the Option key and automatically zoom in right off the bat. Without unchecking or unclicking the All button. I also have this nifty little six second button. So if I click the six s, now it's going to frame up six seconds before the playhead and then three seconds after the playhead. Now here's the thing when you're not in the all state.

When you hit play, the play head stays right in the center of the interface, and it's the entire timeline that moves. I'll pause that. Now I'm going to zoom out again, and I'm going to set my custom in and out points. So I'll just click here randomly and notice when I click, and I'll do it again. So i'm going to click over here. Notice what happens when I click here, this point in the timeline is now going to jump to where the play head is and my mouse is going to jump with it. So I'm going to click over here on the 0.3 second mark.

(LAUGH) It's a little confusing because your mouse moves with you. Something to be aware of. Once you understand what this behaviour is, it makes a lot of sense. It's much easier to understand. I'm going to place an end point, and then I'm going to come here to the eight second mark, click, press the o key for an out point. And now I've got this custom in and out point set and what I can do is click this button, which will frame the timeline between the in and out. One of the things it did is it set the play head at the centre point of the in out. But now, here's the thing again, because we're not in the all mode, when I hit play, the timeline's going to scroll.

And then at the loop point it jumps back and the timeline continues to scroll with me. I'm going to option scroll wheel, to zoom out hit play, and it maintains that state. And then, finally, if I want to get back to all, I just press the All button and everything's framed up just the way I expect it. And now my play head is moving and the timeline stays stationary. That's the essentials of navigating and using the timeline. As you get more and more experienced here in Speedgrade CC, you'll find that making these little decisions and using these little modifier keys.

To decide how these in and out points act, will help save you time, as you work through your project.

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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