Up and Running with SpeedGrade CC
Illustration by Richard Downs

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Sending a sequence from Premiere Pro to SpeedGrade

In other movies in this chapter, we've looked at And if I decide that, you know what, number one this text Now the title is still here, but the eyeball has been This adjustment layer, yep, it's still there.
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  1. 31m 43s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 52s
    3. Exploring additional equipment
      5m 34s
    4. Using the exercise files
      9m 36s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 13s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      5m 4s
    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. 24m 44s
    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 58s
    4. Using an edit decision list (EDL) to conform a project
      7m 11s
  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. 44m 3s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      5m 23s
    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. 13m 13s
    1. Tracking a face
      6m 44s
    2. Keying and grading skies
      4m 47s
    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. 20m 1s
    1. Setting up a render
      7m 0s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 38s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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Watch the Online Video Course 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
Patrick Inhofer

Sending a sequence from Premiere Pro to SpeedGrade

In other movies in this chapter, we've looked at a couple different ways we can bring projects into SpeedGrade. In this movie, we're going to take a look at the direct link workflow, getting from Premiere Pro into SpeedGrade. And yes, right now, we are in Premier Pro. If you have access to the project files go ahead and open up 03_03_premieretospeedgrade-DirectLinkTEST. Yes, that's correct, this is a Premier Pro project file because we're about to go through and demonstrate the direct link functionality between premier and SpeedGrade.

And for this to happen, you're going to want, on Premier Pro, version 7.1, otherwise this doesn't work, and if you are a Creative Cloud member you have access to this version of Premier Pro CC. And you can see I've come in here and I've modified the death scenes timeline. I've added two additional tracks of video, on track three we make believe this is our title track, so I've added a test title in here that runs out before the shot does. Then I've got an adjustment layer and if I put on this adjustment layer, it's on track two, I open this up, you'll see I've added a three way color corrector if I turn this on and off.

You can see what this three way color corrector's doing, that's added on an adjustment layer. I've got another adjustment layer here that's doing a bit more than the previous one and that's a Lumetri effect. So if I come down here into Effects, the Lumetri looks, I come down of Lumetri looks, this one is the Dreams Lumetri look. I have applied that again to an adjustment layer. So I can turn this layer on and off. I can disable it and you can see the base grade underneath. Or I can re-enable it and you can see it with this Lumetri look applied and then finally this last shot here, notice this adjustment layer runs a little long.

And then right here I've got another effect. It's the channel mixer. So I am pushing, I am boosting the red channel heavily back into itself and again I turn this on and off and you can see what's going on. So we've got filters applied both to shots themselves and on adjustment layers. We have also got a title on track three. And so now what I want to do is send this into SpeedGrade. And let's see what the heck happens inside of SpeedGrade. And we're going to use this File > Direct Link to Adobe SpeedGrade. Notice how it's grayed out? Why is that? Well, for this to become enabled, I have to have a timeline highlighted and active, either here in the timeline browser or up here in the program window. And now it's activated.

I'll click it, it's going to say, do you want to save it? Normally what I would do first is say, no no no no, I want to save a backup of this, but we go ahead, this is a test project file, so I'm just going to say yes, save it on here, and now everything you just saw happened automatically. I didn't do a single thing after I clicked OK. It just popped up and opened up in here. And notice now I've got three video tracks, I've got a just adjustment layers, I've got all my clips laid out here, right, this is completely unlike what we would do in a native workflow using a .irc key which does not support multiple tracks of video.

Right, so I've got this title and I can see it in context, it ends early, I see that in context. I've got an adjustment layer, we can see the color grade on the two adjustment layers and then apply to the shot itself. We can see that color grade with that color effect applied there. Now if I come to this first adjustment layer, this had the three way color corrector applied to it. Can I hide it if I don't like what's going on here? And I certainly don't. If I is the colorist got this in, how would I get rid of that? Well you'd think I could turn off the visibility.

But no. The timeline is completely locked down in this direct link workflow. All timeline changes happen in Premiere Pro. Therefore I can't make this change here and if I come down here into my layer stack, try to turn off my primary. Yeah, nothing's happening. So, this is burned into this adjustment layer. I have no access to it. I need to jump into Premier Pro to make a change, but first before I do that, let's come to this second adjustment layer. And notice, look at this, all of these effects, all of these layer stacks, are here.

They're completely interactive, I can change all of these. So if I want to come to this primary, come into the shadows, and just drop my offset to lower my blacks, I can come in here and absolutely do that, and make this change directly here within this layer stack, why is that? Because look at this. This is a SpeedGrade.look file, this was the dreams look that we just applied, it's in preview mode right now, so I can press delete on my keyboard to reject that preview and keep what I previously did.

But let's say I didn't like that and I wanted the client suddenly said hey let's go Dreams Two. So I can come in here click on Dreams Two and all of this is explained in later chapters in this training on dealing with .look files and. Let's say I accept this, I want this to be the new look, I can press Return, it accepts the look. Now I'm going to come into my primary layer, I'll come into my shadows here, and maybe I will drop my blacks again, just as I did on the blue version. All right, and now let's say I like this. All right, that's fantastic, and so now what I'm going to do is go ahead and direct link back into Premiere.

Now all of this happened automatically, here we are again. Let's come back to the adjustment layer, now it's got the green look. All right, so now my Lumetri effect has been updated. Now I can come into this first adjustment layer, come up to Effect controls, I can delete my three-way color corrector, I can come up to this adjustment layer, I can keep that. I come to this shot here, I can delete the channel mixer. And if I decide that, you know what, number one this text really needs to come full length, but number two, I can't grade with this title on top of this image.

And let's imagine for a second, v three is my title track, I'll just go ahead, hide that out, now I'll come up to File >Direct Link to Adobe SpeedGrade, yes, I want to save this. Now the title is still here, but the eyeball has been turned off for track three, so we no longer see it. Now, the grade is no longer applied on this adjustment layer. This adjustment layer, yep, it's still there. And then on photo one, that grade is all gone. And now I can go through and start grading this. So there it is. Sending from Premier in to SpeedGrade with a little bit of explanation as to what happens, what effects come across from Premiere to SpeedGrade.

Other stuff that gets burned in. And if it's burned in, you don't have, and by burned in, I mean you don't have access to those filters. You can't turn them on and off. You can't turn tracks on and off. I have shown you now how you have to jump back into Premiere. To make those changes, save it, send it back to SpeedGrade, and now we can keep on working.

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 12/20/2013. 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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