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With Adobe SpeedGrade, editors working with the Creative Suite now have a professional-level color correction and grading application in their hands for the first time. In this course, professional colorist Robbie Carman guides colorists and video editors through this new dedicated color correction application. The course walks through the interface, and then shows how to import footage and start making primary and secondary color corrections. Discover how to use masking and create and apply looks for maximum impact. The final chapters show how to make sure your corrections match shot to shot, and how to render your final output.
Earlier this chapter we talked about three different ways to get footage and projects into Adobe SpeedGrade. The first was by directly importing clips into SpeedGrade. Next, we talked about automatic scene or automatic cut detection, and we also talked about conforming shots by using EDL. Well, in this movie I want to show you a fourth way to get clips and projects over to Adobe SpeedGrade. And that fourth way actually starts here in Adobe Premier Pro by selecting a sequence and then coming up to the File menu and choosing Send to Adobe SpeedGrade. Now for this movie I'm assuming that you have access to Adobe Premiere Pro.
If you're using a standalone version of the Adobe SpeedGrade and don't have access to Premiere Pro, then you will just need to follow along with the steps that we do in this movie. However, if you do have access to Premiere Pro and you're following along with exercise files, you should open this project called O2 _04_premieretospeedgrade, and there is only one sequences in this project called O2_04_ premieretospeedgrade and that's the open sequence right here. Now before we actually send this sequence over to Adobe SpeedGrade, I want to point out a few really important things. First down here on the sequences, let me scrub through it, you'll notice that there are couple of cool looking guitar shots here, but also notice that the sequence is really short and this is actually a really important thing to keep in mind.
When you send to Adobe SpeedGrade, what you're actually doing is you are creating DPX image sequences for each and every shot on your sequence, and this can take quite a bit of time. So I've found that the Sent to Adobe SpeedGrade command is best often used in short form work, things like spots and other short pieces. It's not particularly suited for long form work. I find that the EDL workflow, which we've discussed earlier in this chapter, works best for long form work. But if you on a pinch and you're doing a short form piece, sending to Adobe SpeedGrade from Adobe Premiere Pro is a perfectly valid workflow.
There are couple other things I want you to understand about DPX image sequences. First, DPX image sequences are really, really, really, big. In 1920x1080 there are approximately 8 megabytes per frame. So you are going to need a lot of hard drive space to store all those frames, especially when you consider that you have DPX sequences in probably your original media as well. So you will need a lot of storage space. Because DPX image sequences are so big and there are so many separate frames, you will also need very fast hard drives to support playback.
If you notice that you're dropping frames when you send a sequence over to Adobe SpeedGrade, it's probably because your drives are not fast enough to support the throughput needed to playback DPX image sequences. The other thing I want to point out about creating a DPX image sequence and using the Send to Adobe SpeedGrade command is that when you do that you lose access to the original codecs that you have here in Adobe Premiere Pro. For example, maybe you are working with Red raw files here in Adobe Premiere Pro. Well, when you create a DPX image sequence, you lose access to that raw metadata.
Likewise, any effect that you have placed on a clip here inside of Adobe Premiere Pro is baked into the DPX image sequence. So just keep those things in mind, but the actual process of sending to Adobe SpeedGrade is pretty easy. So with the sequence selected what I am going to do is back up to the File menu and choose Send to Adobe SpeedGrade, and then here in the dialog box, I can choose where I want to save this new .ircp project. That's an Adobe SpeedGrade project. Now it defaults to the same location that your Adobe Premiere Pro project is located in, and I am fine with that for this particular movie, and it also defaults to the same name as your sequence in Adobe Premiere Pro which I am fine with.
In this movie, we're simply going to be saving things back out to the Exercise Files folders. Let me go a head and click Save, but before I do just remember that this is going to take some time. So what I am going to do is start rendering and we'll come back right before the project is about to be sent over to Adobe SpeedGrade. Okay, so the project is done rendering all those DPX image sequences. Let me actually go out to my Exercise Files folder here and then look at this folder right here 02_04premierestospeedgrade Media. If I go ahead and open that up, you'll notice that there is a folder for each and every shot that we had in my Adobe Premiere Pro timeline, and if I open up one of the folders for one of these clips, you'll notice that there are ton of DPX files inside, one for each frame.
And notice because this was 1920x1080 each one is about 8 megabytes per frame, and just remember that really adds up, especially if you're doing longer sequences. Let's switch over to Adobe SpeedGrade. Here in SpeedGrade, you can see that I now have my project. Let me press D on the keyboard to switch over to my monitor. Because I'm on a Mac I'll use the keyboard shortcut Command+Home to fit the clip into the viewable area of the monitor here. If you are on PC you just use Ctrl+Home. Let me go ahead and scrub through this, and everything looks pretty good.
Also notice that we have an audio file right here 02_04_premieretospeedgrade.wav. Now back inside of Adobe Premiere Pro I didn't actually have any audio, but this is a pretty important thing to keep in mind, is that your audio from the sequence will also be sent over to SpeedGrade, and in this case, the audio track here inside of Adobe SpeedGrade is actually empty. It's just representative of the fact that we had audio tracks back in our sequence in Adobe Premiere Pro. Finally, we'll discuss in the last chapter in this title the idea of getting back to Premiere Pro but I do I want to put it in your head that this is not a true round-trip workflow.
There is a reason that the command is Send to Adobe SpeedGrade, because it's a one-way trip. What we're going to do is get our footage into Adobe SpeedGrade and then grade it of course, and then we will render it out. But we actually need to manually import that footage back into Adobe Premiere Pro at the end of the process, and again, we'll talk about that in the last chapter in this title. So there you go, a pretty straightforward workflow. You just have to keep in mind some gotchas about working with DPX image sequences in the new Send to Adobe SpeedGrade command from Adobe Premiere Pro. But for short form work and other small projects this is a great workflow that easily gets projects and footage from Adobe Premiere Pro over to Adobe SpeedGrade.
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