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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.
Let's take a few minutes to talk about the new SpeedGrade CC 7.1 update. First, to see what version of SpeedGrade CC you're running, press S for the preferences and click on the About tab. If you see SpeedGrade 7.1, then you're working on this updated version. Now the 7.1 update has two new features and these are the biggies. The first, and the one making a huge splash, is direct link. Direct link allows SpeedGrade to open Preimiere Pro project files directly in SpeedGrade.
This is not a translated version of the Premiere timeline, it is the actual Premiere timeline in the actual Premiere project file, opening up inside of SpeedGrade with text, graphics, multiple video tracks, adjustment layers, even filters. Now beyond your color corrections, you can't modify any of these in SpeedGrade. But most of these do show up in context while you're working. Now, you can color correct each shot individually using SpeedGrade's famously streamlined, but extremely powerful interface.
After you save it off, SpeedGrade's color corrections will be seen inside of Premiere Pro as the Lumetri effect. And when the Lumetri effect is rendered inside a Premiere it's using SpeedGrade's render engine, meaning things like tracking data and mask shapes are preserved within the Lumetri effect. And if you want to tweak settings later, just send the timeline back to SpeedGrade and that Lumetri effect is again a full blown SpeedGrade color grade where you'll have full access to SpeedGrade's color correction tool set.
This is a truly integrated round trip. Now, it's important to understand that Direct Link is a new mode of operation within SpeedGrade and many of SpeedGrade's tabs and sub-tabs are greyed out. As you can see here, SpeedGrade now has two modes of operations. It can work either using its own native IRCP project format, or it can open an existing Premiere Pro project format. When working in its native IRCP format, you'll have full access to every tool within SpeedGrade including these timeline and clip tools.
When working from within a Premiere Pro project like this one and I'll select out one of these timelines in this Premier Pro project file. All of these tabs are grayed out. That's because you set all of these in Premier Pro, not SpeedGrade and this includes the raw controls. As this workflow gets refined in later software updates, I do expect a few of these tabs will become avaialble here in SpeedGrade, especially these clip controls that will give us access to raw settings. But for now, if you want to tweak those settings, you'll need to do so back in Premiere.
And a later movie we'll walk through all of this in much more detail. It's important to understand that this is essentially version 1.0 of direct link between SpeedGrade and Premiere. It will change. You can expect to find some hidden traps that none of us have discovered yet. And these will eventually get ironed out. So, be sure to back up your Premiere project before sending it to SpeedGrade using direct link. In a later movie I'll be talking specifically about direct link and the Mac.
This version of direct link isn't quite as polished off on the Mac as it is on the PC, and so you want to be sure, if you're on the Mac OS, to watch that movie so you understand its current limitations. And we hope this will be fixed in upcoming update of SpeedGrade, but, you know, in the end, we'll just have to wait and see. The second major feature of SpeedGrade 7.1 is the new behavior of masks. Now if you have already gone through our training, you will want to re-visit the movies on mask since most of them have been re-recorded.
I mean the behavior has changed that much. Now the first big change, we can unlimited masks shapes per layer stack. In other words, every single layer can have it's own mask shape attached to it. Just as important, a layer can inherit the shape of the layer below it. Allowing us to color correct inside a mask shape in one layer and then outside that very same shape in a layer directly above it. Like I said, if you work through this training in version 7.0, you will want to revisit these movies in 7.1 to see precisely how this new feature works.
So, there it is. An overview of what's new in 7.1. In the movies on direct link and masking, I dig into many more details that weren't covered here. But other than masking, there's almost no other color grading controls that have been changed between SpeedGrade 7 and SpeedGrade 7.1. So if you knew the earlier version of SpeedGrade, SpeedGrade 7, just about everything else that you know, it works precisely the same in this update.
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