Up and Running with SpeedGrade CC
Illustration by Richard Downs

Setting up a render


Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Setting up a render

At this point in the training we have gone through primaries and secondaries and And inside the Render tab, we've got three different But that's not what I want to do in this case; I want to render out this I'm not going to enable audio because there is no audio on this file.
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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

Setting up a render

At this point in the training we have gone through primaries and secondaries and interface and luts and log and now its time to get to rendering, so how do we go about and render out all this great work that we've been doing. If you've got the exercise files, go ahead and open up 10_03_logandluts_end, and we're going to render out where we left off on Dead Man's Leg where we had used luts to create our basic grade, and there's some more tweaking to be done, but let's say we want to send this off to the client to get an initial first reaction from them, and remember, this is a .ircp project file we're working with.

In other words, we're working in native mode here in SpeedGrade, if you're working in Direct Link mode, that is a completely different workflow, and I cover that in another movie in this chapter. Well, what we're going to do is jump here into the Render tab in the top part of the interface. And inside the Render tab, we've got three different sections that deal with different parts of our render. The first of course, is the output section, and what we've gotta do is tell SpeedGrade where do we want to put our renders.

The default here is on the desktop, I can go ahead and select a hard drive, for instance, my startup drive, and then go into Users, and then go to into my User Account, and then I can jump down into my Desktop which will then take me to Exercise Files, and then in Exercise Files I can jump in to, let's say, EDLs and record it in there. That's not what I actually want to do. I'm fine with just recording it to the desktop. So I can just come back and come back and there we've got the desktop selected.

The next thing I want to do is give this a file name and the thing about SpeedGrade is there really isn't an XML output out of SpeedGrade, so for the most part what your going to be doing is a Export of a single self-contained movie that you'll then deliver back to your editor who will then import it back into its timeline and now have the collaborated version in this film. But there is an option here to individually render out shot, especially let's say if we are using SpeedGrade to handle dailys and what we wanted to do is just render out the files using their original file name.

To do that I can come over here and click the M button, and now it's got a bunch of different options in here to use as the basis for naming each shot. I'm just going to scroll down into Common and go to Source File Name. For most of us, most of the time, this is exactly what we want SpeedGrade to do. It's going to render out a movie, exactly the same name as the one that we started with. For editorial to then use in a dailys type of work flow. I'll select that and then you can see that it's giving me a little example of WS lake side one.

But that's not what I want to do in this case; I want to render out this movie as kind of an approval version, so I'm just going to come here and click on this. And select X to get rid of it and now I'm going to enter in a file name and I'm going to call this DML approval Version one. And now it's showing me exactly how this movie is going to be rendered out, what it's going to be named. Now, the next thing is to select exactly what codec I want to render out to. SpeedGrade offers me a bunch of presets here, none of these really do what I want to do.

So I'm going to come over here and click Other and in other we can create our own presets and we can go by frames, we have the Quicktime movies, native MOV's IHSS. I'm going to go over to Quicktime and I'm going to select the Avid DNX codec and the reason I'm selecting Avid DNX, Adobe's kind of settled on an on Avid DNX HD on their cross platform mezzanine codec, as they like to call it. But if you are not seeing Avid DNX, HD on your system, that means you are going to have to run over to Avid's website, download it, install that on your system, since I don't think Premiere Pro or SpeedGrade will install this automatically.

But once installed, I can read and write out to DNX HD, so I'm going to select that, I'm going to select the frame rate. Video quality, I'm going to make sure is set for maximum, now I've got some more options here. Because DNX HD has a ton of different flavors, this job is a 1080P job. It is a 24 frames per second job. So I'm going to come down here to 1080P 24. For this case, as an approval copy, I think 8 bit will be just fine. So I'm going to select 8 bit and click OK.

I'm not going to enable audio because there is no audio on this file. An now I've just got to enter a name for this preset. So I'm going to call this, DNXHD 1080p24 Approval 8-bit. Click out of that, and now it gives me the save. And now notice what's happened is it's now added a new preset into this list. If I come in here and initially select an Apple Pro res and then I can come back up here and select my DNXHD 1080p 24 approval preset.

Now I'm not going to go through every single option in here. It's fairly self-explanatory. The one thing I do want to show you. In here in framing is let's say I wanted to do this for an iPad. I can come down and select iPad and once I do that, all of these framing options pop up because there are conceivably a couple different ways this footage could be rendered. I could render it with letter-boxing if necessary. I can render it with some letter-boxing and a small center cut. I could render it with a pure center cut so that there are no black bars top and bottom.

Or I can fit the image into the aspect ratio that I'm rendering out to. I'm actually going to set this back to letter box and in fact I'm not going to do iPad. I'm going to come up here and select Same as Proxy, in which case I don't need to reformat and then finally down on render I can render as online quality or offline quality for fast. You know I'm just going to do online quality because even though its a test I do want them to see the end result and as good a quality as possible. I'm going to hit Render and as I hit render I've got these little messages telling me how long it's going to take to render out this sequence and we'll come back once it's completely done.

And now we're back. It's, SpeedGrade is showing me that the render is 100% complete. It took about a minute and a half for me to render that out. And now I'm going to come up to this Result tab. And now its showing me, on my desktop, where the image is. And if I want to, I can actually add it and pull it back into SpeedGrade or what I'm going to do in the next movie is, pull this into Premiere and show you how it integrates this back into the timeline in Premiere for us to take a look at it in context.

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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