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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 explore the media browser which is where SpeedGrade automatically starts every time you launch the app. Now the media browser, you can think of it as kind of the central nervous system of SpeedGrade, it's what allows us access to our various attached hard drives. Or any folders that might be on our boot drive. And, we always start out here on this desktop folder. This desktop folder isn't necessarily just the stuff on the user desktop. It also shows you any attached hard drives you've got, so then you can navigate down through those to find any assets you need.
So from this desktop folder I could of course just click on this exercise file, which is on my user desktop or I could use my arrow keys to navigate up and down through my folder directory. And I'm not seeing anything in here but there are some sub folders. So if I use the right arrow it's now going to reveal all of my sub folders. Now if I want to see everything that's in each of the sub-folders all at once and come up to this little pull down menu, Select folder and subtree, and now SpeedGrade's rummaging through all of these folders and all of their subfolders, and showing me all the assets that I have available to me.
And I can press the P key, and that'll make the grading panel disappear, the grading panel being the lower third part of the interface, and now most of this interface is given over to the browser, and then I've got my timeline still down here. Now one of the cool things I can do is the size of these thumbnails you see here on these movie files, let me just highlight the first one that I see. I can increase or decrease the size of them. So I can really large on these. Literally full screen. And now it's showing me the thumbnail full screen and if I hover my mouse over it, I have got a scrubber.
And I can scrub through this clip very, very quickly. I want to get it back to the default size, I'm just going to double click where this little tick mark is, and now it's gotten me back to the default size. Notice on a lot of these project files it's tough to read the full project file or could be tough to read the full name of a particular clip. So what I can do is switch this into list view and in list view, now it's very easy for me to see full file names as well as some additional details like time code, resolution and date modified.
All of these, I can sort them by clicking on the heading. So if I click on the time code ridge heading, it's sorting and I click it again to reverse the sort order and then I'll come out here to the thumbnails and notice it's honoring the sort order from the list view. So I can come back here and say, yeah, I don't like that sort, let's sort by file name and now if you have access to the exercise file why don't you go ahead and click on 0202 media browser.IRCP. And we've just done that. We've loaded up this project file. There is no shots in here, because I want to show you how, how we can go ahead and add shots from the media browser.
I'm going to switch this back into our thumbnail view. I'm going to come down here to the Chris Jane CU1 music video, and I've got two different ways I could add this into the timeline. I can double-click on the clip. Or if you like using interface widgets, you can click on the plus. Notice when I click on the plus, it's going to add it after whatever clip is highlighted in the timeline. In this case, it's only one clip so it gets added to the end of the timeline, which you just did. Now I know I have an R3D file in here and so if I want to find that R3D file very quickly, I can come up here and filter and now I can filter by R3D and show me the one R3D clip I've got.
I plus that into the timeline and then I know I just want to take a look at my quick time movies, so I'll come down here and select quick time movies and I'll double click this gradient. And so now I've got all four of these clips down here in the timeline. I'm getting ready to actually start working so I'll press the P button again to bring back up the lower third panel here and now, to get into my viewer, I'm going to use the D shortcut. That will swap me between my media browser and my viewer and if I want to go back to my media browser, I can click the D button again.
The interesting think about this is it always brings you back to whichever tab you have active. In other words, I have got three tabs up here. So far, we have only looked here at the exercise file tab. But let's say I wanted to set up a tab here for my EDLs for quick access to my EDLs. So I can come down here and highlight my EDL folder, now its showing me my EDLs and then let's say I just want one sub tab here that just, just has the project files associated with this training title, I'll click here on projects.
And there you go. I have got them. And so now if I click on EDL, press the D button, we are in the viewer. Press the D button again and I'm back where I left off on EDLs. So there you go. A pretty in-depth look at how this media browser works and you need to understand because it is essential to getting footage into speed grade. Additionally, when you're loading up footage for an EDL workflow, you're going to need to have that footage up here, viewable in the media browser for SpeedGrade to link back to it. And we'll be covering that later in this chapter.
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