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Share looks between SpeedGrade and Premiere Pro SpeedGrade CC

Sharing looks between SpeedGrade and Premiere Pro provides you with in-depth training on Video. Taug… Show More

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Share looks between SpeedGrade and Premiere Pro SpeedGrade CC

Sharing looks between SpeedGrade and Premiere Pro provides you with in-depth training on Video. Taught by Patrick Inhofer as part of the Up and Running with SpeedGrade CC
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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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Sharing looks between SpeedGrade and Premiere Pro
Video Duration: 5m 38s 4h 54m Beginner Updated Jan 24, 2014


Sharing looks between SpeedGrade and Premiere Pro provides you with in-depth training on Video. Taught by Patrick Inhofer as part of the Up and Running with SpeedGrade CC

View Course Description

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

Sharing looks between SpeedGrade and Premiere Pro

In this movie, we're going to talk about a brand new feature that starts to integrate Premier Pro CC and Speed Grade CC. It's called the lumetri effect, and it starts by creating a .look file here in Speed Grade. We're starting with Exercise File 11_03_lumetri and, if you find your system acting sluggish all of a sudden, that's because this is a red shot. Open up your preferences, I'm pressing the" S" button, come down here to dynamic quality, and set these to either one-quarter or one-eighth, and then I'm going to escape out and that'll save and close these preferences.

And, as I suggested you do in the movie on raw workflows, I've gone ahead and set the R3D decoder settings to red log film and red space, which are one of my normal starting points for red footage. Back here in the look panel, I've already defined an initial look, as I've been doing, I do different tasks in different layers. I'll turn on the base layer. This is a primary for the initial contrast expansion. The next primary is where I do a color balance,since the image was feeling kind of monochromatic. The next primary, I'm grading for more emotion, by working with contrast and bringing in more of that yellowish mustard feel that the DP gelled for.

Now in this next primary, I've gone ahead and turn this into an outside vignette to help focus the eye. And then I have added a secondary where I am keying out the darker shadows and de-saturating them, because I want to keep the blacks nice and rich not touched by color. Then, finally, a legalizer, just so we always know what the final image looks like once I clamp it down to prep for my deliverables. Here's the before, here's the after. Now I do notice this green fringe here, around the light, but the camera's moving so I'll have to track it.

This is an issue I'll deal with in the final grading. For now, I'm ignoring it. Now that we have our look, I'm going to save off this layer stack as a .look file. And, for our purposes, I'll open up the look manager, navigate to the desktop, and I'll save it there. Also, I'm going to turn off this vignette and save that, and you're going to see why in a moment, and now I'm going to rename them lumetri. And lumetri no vignette.

Okay, our work here is done, I'll quit out of speed grade. Notice, on my desktop, the .look files. Now, I already have open the premier pro project file 11_03_lumetri. If you have access to the exercise files, and need to figure out how to relink this footage, I cover that at the end of the exercise files movie at the beginning of this training. Now, here in Premiere, I've made sure that our red decoder settings match the settings and speed grade by selecting Source Settings, and then I matched up ISO, gamma curve, color space and Kelvin.

So now, when we take a look at this clip in the timeline, it looks like our original starting point. Next, I'll come in to the effects tab and start typing lumetri. Here it is. It's a premier effect. I'll drag it onto the clip and, immediately, a window pops up. Premier wants me to select a .look file. I'll select the lumetri look we saved and, boom, our grade, here inside premier. If I want to change it, I'll come up here, press this button, and I'm about to select lumetri no vignette, but before I do that, keep an eye on the left side of this image.

Now I'll select it. The vignette disappears. Here is the really cool thing about all of this. The lumetri effect isn't just an effect. It's speed grade running inside premier pro. Think about it. Not only can shapes be processed, but I have a secondary doing a live key that's desaturating the shadows, and then the NTSC legalizer applied on top of the whole thing. The lumetri effect is Speed Grade's 32 bit flow rendering engine, running here Inside Premier Pro CC.

Now, notice, I don't have any controls here in premier. The effect is either on or off. If I want to change something in this grade, I've got to go back to speed grade, make the change, save a new .look file, and reapply it here in premier. But this isn't the only way to apply the lumetri effect. Rather then applying this .look to the shot itself, let's turn off this effect. Now we're going to create an adjustment layer, and drag it onto the time line. Now, I'll apply the lumetri effect to the adjustment layer, I'll select the lumetri.look file, boom, a quick and easy way to add this to an entire timeline without touching any of the individual clips below it.

One last thing. Premier also ships with this folder of lumetri looks. These are the exact default .look files that ship with speed grade. So you can apply them here in premier pro, render them using the speed grade render engine, without having to go back to the lumetri effect. And that is the lumetri effect, the first step in integration between Premier Pro and Speed Grade. And in the next movie, we're going to see not only how the lumetri effect is taken to it's logical conclusion in the direct link work flow, but we're also going to see how the lumetri effect embedded by speed grade is different from the lumetri effect we apply by hand here, in Premier Pro.

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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