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Up and Running with SpeedGrade CC
Illustration by Richard Downs
Watching:

Where does SpeedGrade fit in a post-production workflow?


From:

Up and Running with SpeedGrade CC

with Patrick Inhofer

Video: Where does SpeedGrade fit in a post-production workflow?

Chances are if your watching this right now you at So to wrap up I just want to let you know that Adobe is listening, use the speed
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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

Where does SpeedGrade fit in a post-production workflow?

Chances are if your watching this right now you at least have some idea of what Adobe SpeedGrade CC does. In this movie I'm going to present you with what I think are some of the more interesting aspects of Adobe SpeedGrade CC. It is a standalone app and it is part of Adobe's Creative Cloud subscription service, and SpeedGrade CC is in fact, dedicated to the craft of color correction, and in this update, I think it's fair to say that the focus of the team on SpeedGrade CC was to one, streamline the UI, reduce the number of clicks that a colorist has to do in order to access the tools he needs to access.

Second is, a whole new bevy of shot matching tools to take really what is one of the fundamental tasks of any color correction workflow, and that's to help maintain the seamlessness of shots across edits. And finally the third major focus, I think on this update, was the Premiere Pro CC integration. And we'll be talking more about that in a couple of minutes. Now, this app can be used both on set as part of kind of an on set looks creation type of tool. It can be used near set as a dailies generation tool, or it can be used after the editorial process when we've got locked picture and now it's time to take all those shots and turn them into a visual, seamless whole.

SpeedGrade is also a tool that focuses quite a bit on real time performance, it doesn't want you to have to do a lot of rendering. And it also features a very precise color science. The lead developers on this app are very, very dedicated to providing you tools that minimize or eliminate any kind of damage that you might reveal during the color correction process. Now as I said, this is a task-specific tool. It's designed to do one thing and one thing only, color correcting, color grade. Yeah, there's a little bit of like, timeline editing that you can do in here, but it is not an NLE.

It is a dedicated color correction app. I like to think of it as a color correction plugin on steroids. And includes things like primary controls which are on themselves are actually very very powerful. We've got detailed secondary controls in here both keying and using masks and then there's this concept here in SpeedGrade called custom look layers which are themselves customized effects to do a single job. Sometimes, it's a creative effect to create a very specific kind of look.

Other times, it's a utilitarian effect designed to solve a specific problem. And SpeedGrade is also pretty well known for it's ability to accept a wide variety of frame rates, frame sizes, and codecs to plug into just about any work flow you want. And along those lines it's also cross platform. It's both a Mac and PC app. Again allowing you to plug it into whatever kind of pipeline you're working with. Now, SpeedGrade is a layer based color correction app.

That's means if you're used to working with layers say in Photoshop, After Effects, Premiere Pro, you'll be very comfortable with the layer based approach here in SpeedGrade. It features some very extensive grade management tools, some look management tools. It also supports raw camera formats such as ARRI RAW, Red R3D files, as well as log recorded image workflows that you might get out of, say a flat image setting on your DSLR or log images coming off of an ARRI or a Sony camera.

And 32-bit flow processing, well that's kind of like part of the genetic makeup of this app. It is built in from the ground up. Now SpeedGrade itself creates .look files, but what Adobe has done is allowed other creative cloud apps to read those .look files, so you can hand them off. And brand new to SpeedGrade is Lumetri effect. The Lumetri effect is SpeedGrade inside Premier Pro CC. It allows Premiere to read SpeedGrade's .look files and render them using SpeedGrade's render engine from within Premiere.

As we'll see in later chapters, Lumetri is also instrumental in the direct link workflow. What is direct link? SpeedGrade CC in version 7.1 and later, it's able to open up Premiere Pro project files, the actual project files, and pull up any Premiere timeline in those projects, and color correct the shots on those timelines, sending them back to Premiere. Adobe calls that workflow direct link. The key to direct link, it's the Lumetri effect. SpeedGrade's color decisions are embedded inside the Lumetri effect, for Premiere to read and render out.

This is one of a kind timeline integration between an NLE and a color correction app, and it's very, very exciting for creative cloud users. So to wrap up I just want to let you know that Adobe is listening, use the speed grade forums, this is where you can go in and give your product critiques criticisms, ideas about future improvements, you go post in the speed grade forums on Adobe's website and you are absolutely talking to the product development team. This version of SpeedGrade CC we're already starting to see some of the fruits of the SpeedGrade team working within Adobe in order to integrate all this great color signs and bring it to the rest of the creative cloud.

And if you find yourself working in new and diifferent workflows, emerging workflows with different cameras and different codecs. Again let the SpeedGrade development team know. So there it is, my take on some of the most important aspects of Adobe SpeedGrade CC and why I think it's an extremely powerful and very promising app for anyone who's concerned about the quality of their images and the amount of production value up there on the screen for their projects.

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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