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What's new in 7.1 SpeedGrade CC

What's new in 7.1 provides you with in-depth training on Video. Taught by Patrick Inhofer as par… Show More

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: What's new in 7.1 SpeedGrade CC

What's new in 7.1 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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What's new in 7.1
Video Duration: 4m 57s 4h 54m Beginner Updated Jan 24, 2014


What's new in 7.1 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

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.

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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