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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 this movie, we are going to round out our exploration of the various ways we can pull shots and sequences back into SpeedGrade to allow us to color correct our projects. We'll do this by looking at importing an EDL, an edit decision list. Just like in the direct link workflow, using an EDL we can relink back to the camera original media. Unlike Direct Link, we lose all the other timeline metadata like resizing, filters, and multiple tracks of video.
Yes, in this non-Direct Link workflow, SpeedGrade supports only one video track, and so you'd think this EDL import workflow, you'd think it's a non-starter. Here's the thing. Almost every modern nonlinear editing system can export an EDL. If we can reduce our timelines to a single track of video, then we can export and EDL that allows SpeedGrade to integrate with almost any editing system on the market today.
Not just Premiere Pro. So let's see precisely how this works. If you have access to the exercise files and want to play along, what I want you to do is start with an empty timeline here, so if you've got a timeline already up here, come over here and press the X key, select yes to delete your timeline. And now, we've got this untitled timeline, and that's okay, it's not going to stay untitled for very long. What we're going to do is on exercise files, I've got Sequences from Folder and Subtree selected. That way, anything that's in these subfolders, and in those subfolders that they may contain, are all listed up here all at once, and I'm now going to use this pulldown menu to isolate us down to a EDL, and an EDL is really nothing more than a text file.
That's all it is, and this text file defines what our timeline looks like. Now EDLs are a very old standard and they come in many different flavors. The flavor that SpeedGrade prefers is the CMX 3600, which is pretty much the default interchange standard when we're using EDLs to move between different pieces of software. So to load up this EDL, all I have to do is highlight it, and we're going to load up dead man's lake, SpeedGrade CC 24, I'm going to double-click that, and when I double-click it, there we are, we've got our timeline loaded up.
Now notice that this timeline, all of these clips are in this kind of peachy kind of color. And what that's telling us is, yeah, I've got the in and out points. I know the names of the shots that belong here. I know what the time code is for those source shots. What I don't know is where those shots are located and I have to explicitly tell SpeedGrade where those shots are located. Now in this particular case, they're all located in one spot. All I have to do is come back up to my filter here. And now I can select Movie Formats.
I'll go back to Thumbnail View. And, all of my Dead Man's Lake footage is located throughout this view. And what I want to do is tell SpeedGrade to load from desktop. Now before I do this, I want to make clear, the desktop it's referring to here is the viewable media browser. So if I had these assets scattered throughout several hard drives, what I can do is create several bookmarks here, each with the different folders or drives containing the footage required to, to create this EDL.
Then I'll go from bookmark to bookmark and select load from desktop. Now, you'll notice these are now blue which means these are now linked back together. If one or two shots were missing, it would still be peachy. I then go to my next bookmark which contains some of where my additional footage is. Come back here and select load from desktop again. Now to see my footage of course I'm going to press the d key which gets me into this color tab which brings up my viewer. And if the area up top is gray you're not seeing an image, that means your play head is outside the range of this sequence.
So to get to the first frame just press the Home button on your extended keyboard, and that'll get you to the in point, which will be, in this case, the first frame of the EDL we just imported. Now if I had production audio on these clips, which there is no production audio on these clips. If I want any particular audio, the audio I want is the mix down of either the rough audio or the final audio, and I'll ask my client to send that to me. So what I would do in this case is, turn off the audio on the video track, so I'm not listening to any production audio.
I'll press the D key to get back into my media browser. I'm going to remove the filtering. Then I'm going to move to my list view, because I'm looking for a very specific file here that my client provided to me. And it's the mix down of the scene that we're working on. And it is DML_SpeedgradeCC_refaudio.aif. SpeedGrade will accept both .AIF and .WAV files. So I'm going to highlight that, and in order now to get this down into my timeline, I'm just going to take it, and drag it, until it turns into this little thin bar here.
I don't want this thick bar up top here. I want this little thin bar here, it's showing me a green checkmark meaning I can drop it here on the interface. I drop it, and now notice. I've got my audio track in here but it is out of sync. So what I need to do is pull this back into sync. Now I can try to click and drag it but nothing's happening. If I drag it backwards, oh look at that. It locks the audio to the picture but that's not what I want to do. I want to drag this until it lines up. So I've got a couple different ways of doing this. I can come here and click on this little icon and I can pull this and release and now its moved it but it didn't quite release right where I wanted it to release.
The way that I like to do this is to use the keyboard shortcut, and when I hold down the Cmd and drag, notice now, that it's no longer locked to my picture, and notice also, as I do this, I've got a little red bar on the beginning of this audio clip, I'm going to drag it until it lines up right there with the red bar on the video track and now they're lined up, and this will happen on any edit point. Once I get these edit points lined up, I get the two red bars. Then I know I can let go.
So I'm going to bring it up to the very beginning. Line it up. Let it go. And now I am in sync. I'll press the d button and now I'm going to press the Spacebar. >> You are aware that we could be sharing a sleeping bed right now. Painfully. >> And there we go. We now have audio sync on this project, and this is the EDL workflow in SpeedGrade CC which I find immensely useful because it allows me to go back and work off the camera originals. My client can work off of much smaller proxy files, and then when we're ready for the color grade, I can pull in their EDL and then link back to the camera originals and have full access to all the color data that's in those camera original files.
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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 'displayexact name' button and then *actually click on the file* that matches the name.
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