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What's new in 7.1

From: Up and Running with SpeedGrade CC

Video: What's new in 7.1

Let's take a few minutes to talk about the new SpeedGrade CC 7.1 update. When working from within a Premiere Pro project like this one and All of these tabs are grayed out.

What's new in 7.1

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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This video is part of

Image for Up and Running with SpeedGrade CC
Up and Running with SpeedGrade CC

55 video lessons · 8813 viewers

Patrick Inhofer

Expand all | Collapse all
  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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