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Up and Running with SpeedGrade CC
Illustration by Richard Downs

Using the Continuity Checker


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Using the Continuity Checker

In an earlier movie we took a look at using still images and the snapshot browser for comparing one image in your timeline to another for the purpose of matching shots. In this movie we're going to see how we can use live shots in the timeline playing together. We're going to again start with 06, 06, Jane end to help us demonstrate this feature. And lets start first with the manual method of doing this which is creating multiple playheads. And we're going to take this shot and I'm going to press the home button to bring it back to the first frame.
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  1. 30m 23s
    1. Welcome
      3m 40s
    2. Where does SpeedGrade fit in a post-production workflow?
      5m 7s
    3. Exploring additional equipment
      5m 28s
    4. Using the exercise files
      9m 7s
    5. What's new in 7.1
      4m 57s
    6. What's new in 7.2
      2m 4s
  2. 46m 7s
    1. Interface overview
      7m 7s
    2. Navigating to media in the Media Browser
      4m 58s
    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. 23m 14s
    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 6s
    4. Using an edit decision list (EDL) to conform a project
      6m 33s
  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. 48m 23s
    1. Colorist lingo: What is a secondary correction?
      2m 9s
    2. Colorist lingo: The vignette
      1m 42s
    3. Using masks
      9m 43s
    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. 11m 25s
    1. Tracking a face
      5m 25s
    2. Keying and grading skies
      4m 18s
    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. 19m 40s
    1. Setting up a render
      6m 42s
    2. Importing rendered media back in Premiere Pro
      2m 40s
    3. Sharing looks between SpeedGrade and Premiere Pro
      5m 35s
    4. Direct Link to Premiere Pro
      4m 43s
  12. 4m 36s
    1. Additional resources
      2m 36s
    2. Goodbye
      2m 0s

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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
Subjects:
Video Color Correction
Software:
SpeedGrade
Author:
Patrick Inhofer

Using the Continuity Checker

In an earlier movie we took a look at using still images and the snapshot browser for comparing one image in your timeline to another for the purpose of matching shots. In this movie we're going to see how we can use live shots in the timeline playing together. We're going to again start with 06, 06, Jane end to help us demonstrate this feature. And lets start first with the manual method of doing this which is creating multiple playheads. And we're going to take this shot and I'm going to press the home button to bring it back to the first frame.

And on this playhead there's this little icon here. And what I'm going to do is hold down the command key on a Mac and drag and it creates me a new play head. And you can see with the plus sign that anywhere I drag this, it will be happy to take it. And since I'm starting on the first frame of the wide shot, I'm going to bring this, and bring this back to the first frame of shot number one, which is the medium close up, and let it go. And now, just like in the Snapshot browser, we have a two-up view.

If I hit play, both of these images are moving together and now you can see the advantage of using what Speed Grade calls the Continuity Checker for comparing one shot to another. Now, let's take a look, a little closer at what Speed Grade just did. We've created two play heads, the master play head is the one that's an orange labelled 1. And because we've set it up to loop around this shot, it determines where the loop happens.

And play head number 2 is in sync to play head number 1. If I want to position and reposition play head number 2, notice how play head number 1 moves with it. If I need to break that relationship, where it got that little Play button there, I just click on that it turns into a stop button. And now I can re-position this relationship. Turn it back into the Play button and now when I press Space Bar to play, they're back in sync together.

Now notice when it loops back, it's actually taking this play head before the first shot, and so it switches me to this single-up view back to this two-up view. So we're going to redo that. It stopped here. Come to this first playhead hit home now I'm going to bring this second play head bring it back put it back into sync and we're back in sync. Now I'm not restricted just to play heads I can do up to nine play heads. So for instance I can take play head number two hold down the Command key click on that icon and bring it to the drummer here.

Bring it near the top of that shot, let go and now I've got a nice three up view. That's looking a little small, I can hide the Grading Panel. Press the Space bar and I've got three shots playing down together, looping together. A fantastic way of checking continuity of my shots. Now this was the manual way of doing it. Lets bring back the grading panel. If I want to get rid of the playhead I can just Drag that up until it's an x, and let it go. And again, I want to get rid of this playhead; I drag this little icon.

Just click and drag, come to next, I let it go, and now I'm back to my one playhead. Now, the automated way of doing this is I've got these two up and three up buttons. Now, notice where we are: we're on this wide shot here. And if I press the two up button, it's going to automatically add a new play head from the shot before the one I'm sitting on. So I'll click two up. It's automatically added another play head. And it's in stop mode. So if I hit play, it's allowing me to get these in sync the way I want.

And then I can turn that back into the play button, hit play and now they're syncing in the relationship that I want them to as I view these side by side. Of course there's a three-up button, which means I can go and now I've got three playheads. And now to adjust these play heads, they're all overlapping each other, a little tough to see and I'm going to hold down the Alt on a PC or Option on a mac and use my middle scroll wheel and that will allow me to zoom into my timeline and zoom it out.

So I can grab these different play heads, position them where I want, click on the stop icon, grab this one, put it where I want, click on the stop icon, and now these are all playing together and looping together. And now some final hot keys to share with you. If I want to get rid of the other two play heads and just get back to my one basic play head, Alt on a PC, option on a Mac 1 and they disappear.

If I press Alt or option 2, well that adds a second play head that's exactly the same as selecting the two up, and if I press Alt or option > 3, that gives me a equivalent to the three up view. If I hit play I can now get my main shot exactly where I want it to be, then compared to the other two and now I'm looking at the last frame of the preceding shot and the first frame of the next shot. And if once I'm done doing that, Alt or option + 1, they'll disappear and I'm back to normal.

There you go, this is the continuity checker feature that allows you to pull out multiple play heads, compare multiple shots, even play down multiple shots simultaneously, so you can check and make sure that previous shots are matching your current or later shots.

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 12/20/2014. 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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