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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 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.
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