ADOBE SpeedGrade User Manual

Adobe® SpeedgradeTM CC

Help

Legal notices

Legal notices

For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html.

Last updated 11/30/2015

Contents

Chapter 1: What's new

New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Chapter 2: Workspace

SpeedGrade workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Desktop basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Timeline basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Playback basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Compare frames with multiple playheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Work with projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Set up dual displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Direct-Link workflow between Premiere Pro and SpeedGrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Image analysis tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Adjust the display resolution for playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Crop the display frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Adjust the display aspect ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Work with keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

iii

Chapter 3: Loading footage

Supported file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Load footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Conform EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Loading and conforming material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Load audio tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Detect scene changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Using scene change detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Display burn-in information on frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chapter 4: Color grading

Quickstart: Color grade a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Quickstart: Color grade a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Adobe Premiere Pro and SpeedGrade workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Continuity Checker and Shot Matcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Snapshot View and Snapshot browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Work with masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Masking and Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Track a masked object through a shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Adjust color temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Balance blacks and whites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Adjust gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Grade a specific tonal range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Secondary color correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Last updated 11/30/2015

SPEEDGRADE

Content s

Apply filters and effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Adjust the framing of shots with pan and scan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Grade a specific color range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Stereoscopic workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Chapter 5: Managing looks

Working with Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Share and reuse looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Apply Looks with Looks Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter 6: Rendering out

Rendering out your project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Create proxy files for offline editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Save an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Chapter 7: System Requirements

iv

Last updated 11/30/2015

Chapter 1: What's new

New features summary

What's new and changed

The 2015 release of Adobe SpeedGrade CC provides Premiere Pro color workflows with direct link, optimized scopes
for better performance, and new SpeedLooks presets.

Read on for a quick introduction to the new features and links to resources offering more information.

SpeedLooks presets

This release of SpeedGrade provides you a wide variety of Look color presets to apply to your media. You can find these
looks under SpeedLooks Cine Looks in the Look tab. For more details on using Looks on your media, see

reuse looks.

Share and

1

Optimized scopes

This release of SpeedGrade comes to you with improved scope rendering performance. Scopes, the tools that let you
analyze your image, are available in the Analysis Tools panel. To display the Analysis Tools panel, use the keyboard
shortcut A, or click the arrow on the upper-left Monitor panel. For more details on using scopes, see

tools.

Last updated 11/30/2015

Image analysis

What's new

2

Premiere color workflows editable in SpeedGrade

SpeedGrade has been integrated with the new color workflows in the 2015 release of Premiere Pro CC. When you send
a project to SpeedGrade using Direct Link, SpeedGrade presents you with the Lumetri Color layer. This custom layer
reflects all the color changes that you had made to your project in one layer without any custom controls. The Lumetri
Color layer is displayed only if you have applied color changes in Premiere Pro. You can toggle on/off this feature as
needed.

For more details about color workflows in Premiere Pro, see Color workflows .

For more information on using Direct Link, see Direct-Link workflow between Premiere Pro and SpeedGrade

Last updated 11/30/2015

Chapter 2: Workspace

SpeedGrade workspace

The Adobe SpeedGrade workspace provides a more familiar screen layout for Adobe Premiere Pro users. There is a
familiar placement of user interface elements such as the media browser, a redesigned autofit monitor, Look Manager,
and integrated grading and mask panes.

The use interface contains a main toolbar and tabs on the upper right of the screen. The tabs are in the sequence of the
SpeedGrade workflow: locating your media, grading, rendering, and reviewing the final output.

3

A Main Toolbar B Tabs for each step in the workflow

Main Toolbar

Icons to open, save, redo, undo are available on the main toolbar in the workspace.

A Open B Save C Undo D Redo E Preferences

Preference settings are available from a pop-up dialog when you select the Preferences icon on the main toolbar.

Last updated 11/30/2015

Workspace

Media Tab

Click the Media tab to launch the new Media Browser. The Media Browser, formerly called the Desktop view, is the
main interface for browsing through, locating, and loading your assets. Thumbnails of the files in the Desktop view are
displayed in the Media Browser.

You can adjust the size of the thumbnails using the slider, and watch a quick preview of the video clip within the
thumbnail.

4

Color Tab

Click the Color tab to view the Monitor panel and the Analysis Tools panel.

The Monitor panel lets you quickly scale, match shots, and color-grade your footage using the intuitive user interface.
The Monitor panel automatically resizes to show the whole image. You can zoom in and out when required.

The Analysis Tool panel groups together the image analysis tools available in SpeedGrade. To view the Analysis Tool
panel, click the arrow on the upper-left corner of the Monitor panel.

Render Tab

Click the Render tab to access the Output view for rendering out the completed project.

Note: The Output view remains unchanged from the CS6 release.

Last updated 11/30/2015

Workspace

Result Tab

Click the Result tab to open the folder of the last render session.

Mask and Look panels

The Mask panel is now placed next to the Look panel. WIth the masking and grading tools placed side-by-side, you can
now work faster on the mask workflow.

Desktop basics

Use the Desktop view to find and load footage. You can navigate to folders with image sequences, movie files, or RAW
file formats. Thumbnails of the files are displayed in the Desktop view.

Show or hide the Desktop view

Press the D key.

5

Navigate to a folder

To navigate to a folder on your hard disk or network, use the breadcrumb control at the top.

You can also browse to a folder with the file browser on the left.

You can adjust the size of thumbnails by dragging the Thumbnail Size slider.

More Help topics

Load footage

Support file formats

Filter the files in the Desktop view

If you have many files, you can filter them to display only the files with a specific filename extension or files starting
with specific characters.

• To show or hide files, enter the filtering criteria in the text box in the upper right. Use the asterisk character (*) as a

wildcard character.

For example, to display only files R3D filename extensions, enter *.R3D.

Last updated 11/30/2015

Workspace

Refresh the Desktop view

Click the Refresh button. Refreshing the view is useful if you updated files while SpeedGrade was running.

Timeline basics

Playhead

The playhead displays a frame in the Monitor at any given position on the Timeline.

?

Drag the playhead to move it along the Timeline.

6

To view more than one frame at a time, create additional playheads. Multiple playheads are useful for comparing
different parts of the same shot or scene. For more information, see

Compare frames with multiple playheads.

Tracks

Add tracks to the Timeline to generate layers for grading, add audio to the project, or to adjust the framing with pan
and scan.

You can add the following tracks to the Timeline:

Footage Blue track. To add footage to the timeline, see Select a clip.

Grading Red track. To add a grading track, see Create a grading clip.

Audio Solid green track. To add an audio track, open the Desktop, locate the audio file (wav or aiff file), and drag it on

the Timeline. Repeat this procedure with additional audio files.

To change values for sound output, such as the mixing frequency, select Settings > Sound. The Settings menu is on the
upper-right corner of the SpeedGrade workspace.

Pan & scan Transparent green track. To add a pan & scan track, see Create a pan and scan track.

Manage tracks

You can manage the tracks on the Timeline with the tools on the left side of each track.

Last updated 11/30/2015

Workspace

• To show or hide the track, click the Eye icon.

• To lock or unlock the track, click the Lock icon.

• To delete the track, click the Drag icon and drag the track off the Timeline.

Play a part of the Timeline

Specify the part of the Timeline to play by repositioning in- and out-points. The two points are located above the tracks,
at either end of the clip or playlist.

7

Note: In- and out-points in SpeedGrade are not used to edit clips as in Adobe Premiere Pro. They're used to control
playback.

Do any of the following to reposition the in- and out-points:

• Drag the in- and out-points along the Timeline.

• Hold Shift to drag both points together.

• Control-click the in- or out-point to reset it to its default position.

• Double-click a clip to set the points to the start and end of the clip. Double-click again to set the points to the start

and end of the Timeline.

You can also double-click the in- or out-point icon and specify a frame number for it.

Navigate along the Timeline

If you have multiple clips or tracks on your Timeline, you can navigate from clip to clip or from track to track. Moving
from one track to another changes the selected SpeedGrade panel. For example, moving to a grading track opens the
Look panel. Moving to a pan and scan track opens the Pan & Scan panel.

Result Windows Mac OS

Go the next clip Ctrl+Shift+Right Arrow Cmd+Shift+Right Arrow

Go to previous clip Ctrl+Shift+Left Arrow Cmd+Shift+Left Arrow

Go to track above Ctrl+Shift+Up Arrow Cmd+Shift+Up Arrow

Go to track below Ctrl+Shift+Down Arrow Cmd+Shift+Down Arrow

Last updated 11/30/2015

Workspace

More Help topics

Keyboard shortcuts

Zoom the Timeline

1 Select the Master Timeline view from the view menu on the upper-left side of the Timeline.

2 Press Ctrl+Scrollwheel.

Note: Zooming works only in the Master or Playhead view of the Timeline. See Change the Timeline view .

Delete the Timeline

Click the Delete (X) icon on the right side of the Timeline and confirm that you want to delete the Timeline.

Playback basics

8

Playback shortcuts

Note: Close the Desktop before playback (press D).

Result Keyboard shortcut

Play forward L

Play backward J

Stop playback K

Play/pause Spacebar

Step forward or backward Right or Left Arrow

Increase or decrease frame rate by 1 fps Page Up or Page Down

Change playback mode F6

Playback controls

Playback controls from left to right:

• Go to in point

• Frame step backwards

• Play backwards

• Pause

• Play forward

• Frame step forward

• Go to out point

Last updated 11/30/2015

Workspace

Playback indicators

The playback indicators on the left side of the Timeline provide the following information, from left to right:

• The current base frame rate

• The playback frame rate

• The disk performance indicator

• The monitor performance indicator

The disk performance indicator turns red when one of the disks or the CPU cannot deliver real-time decoding at the
desired playback speed.

The monitor performance indicator turns red when one of the following issues is detected:

• An issue with the real-time performance of the grading operations you apply to the clip

• A sync issue with your display device.

Change the base frame rate

1 Select Settings > Playback.

2 Enter a new base frame rate.

9

Note: The Timeline timecode values reflect your base frame rate setting.

Change the playback frame rate

Press the Page Up or Page Down key to increase or decrease the frame rate by 1 frame per second.

Change the playback mode

SpeedGrade has three playback modes:

• Single run

• Ping pong

• Loop (default)

To switch modes, press F6 or use the Playback Mode button next to the playback controls.

Compare frames with multiple playheads

Use multiple playheads to compare two or more frames for color matching.

Last updated 11/30/2015

Workspace

Create an additional playhead

?

Hold the Control (Windows) or Command (Macintosh) key down and drag the Move Playhead icon anywhere in
the Timeline.

The Move Playhead icon is the arrow icon on the right side of the playhead controller.

10

Make sure a green Plus (+) icon appears on the left side of the playhead controller before dropping the playhead.

Select a master playhead

When working with multiple playheads, select a master playhead to make grading and other adjustments.

?

Click the playhead number to make it the master playhead.

The playhead number turns orange to indicate it is active.

Adjust the interval between playheads

• Click the Move Playhead icon and position the playhead anywherei on the Timeline.

Delete a playhead

• Click the Move Playhead icon and drag the playhead off the Timeline.

Note: Make sure the playhead is not the master one. If the number on the left of the playhead controller is orange,
then it's the master playhead. Select another master playhead by clicking the playhead's number, and then delete the
inactive playhead.

Work in split-screen mode

Arrange the screen layout by clicking the View button in the Timeline tab and dragging the icons in the Screen Layout
panel.

Up to nine playheads can be viewed at once. When using more than nine playheads, click a number in one of the
channels and select a desired playhead to view.

Last updated 11/30/2015

Workspace

Keyboard shortcuts

Result Windows Mac OS

Change the current split-screen mode F9 Cmd+F9

11

Change the horizontal or vertical orientation
of split-screen mode.

Flip the channel position of the split-screen
mode.

F10 Cmd+F10

F11 Cmd+F11

Note: The default F key assignments must be disabled on Mac OS systems. In System Preferences, select Keyboard, then the
Keyboard Shortcuts panel. Select Expose & Spaces and deselect the default key assignments.

Work with projects

A SpeedGrade project is stored in XML file with an ircp filename extension. The file contains information about
sequences, assets, and editing decisions.

The file stores references to the name and location of asset files in your project. If you move, rename, or delete an asset,
SpeedGrade prompts you to locate the missing file the next time you open the project.

Create your first project

1 When creating a project from Welcome screen, save the project first.

2 Add one or more assets to the Timeline.

3 To rename the project or save it to another location, press Ctrl+S (Windows) or Cmd+S (Macintosh).

If this is not your first SpeedGrade project, see Start a new project.

Start a new project

1 Delete the Timeline of an existing project.

Deleting the Timeline unloads the current project from SpeedGrade. It does not delete the project itself.

Note: Make sure to save your changes to the current project before unloading it. See Save a project.

2 Press Ctrl+S (Windows) or Cmd+S (Macintosh) to save the new blank project.

Open a project

?

Press Ctrl+O (Windows) or Cmd+O (Macintosh).

You can also click the Open SpeedGrade Project button in the toolbar on the upper-left corner of the workspace.

Last updated 11/30/2015

Workspace

You can also open the Desktop view, navigate to the folder that contains the ircp file that you want to load, and
double-click the file thumbnail.

Save a project

SpeedGrade saves the status of your work every 5 seconds. However, saving the current project from time to time is
recommended. Multiple saves are useful for reverting to a previous version you liked better.

?

Press Ctrl+S (Windows) or Cmd+S (Macintosh).

You can also click the Save SpeedGrade Project button in the toolbar on the upper-left corner of the workspace.

You can also click the Save IRCP button on the Timeline panel.

12

Autosave option is now available, both in Direct Link and in native SpeedGrade mode. This option is available
under References. Maximum number of versions allowed is 10.

Work on multiple projects at the same time

1 Press Ctrl+O (Windows) or Cmd+O (Macintosh) and open the first project.

2 Use the Media browser view to navigate to the folder that contains the ircp file of the second project that you want

to open at the same time.

3 Click the Plus (+) icon on the file's thumbnail.

SpeedGrade opens the second project on a second Timeline. Opening multiple timelines enables split-screen playback.

Last updated 11/30/2015

Workspace

Rename a project

1 Use the Desktop view to navigate to the folder that contains the ircp file that you want to remane.

2 Right-click the ircp file, select Rename from the context menu, and rename the file.

Delete a project

1 Use the Desktop view to navigate to the folder that contains the ircp file that you want to delete.

2 Right-click the ircp file and select Delete from the context menu.

Move a project to another computer

To move a project to another computer, move copies of all the project assets as well as the project file (ircp). Make sure
that the assets retain their filenames and folder locations so that SpeedGrade can find and associate them to the project
automatically.

Set up dual displays

13

You can use a dual-monitor setup to work with SpeedGrade. The SpeedGrade workspace is displayed on one monitor
and the footage is displayed on the other.

Standard dual-monitor setup

A standard dual-monitor setup uses two monitors connected with two DVI or two DP outputs from your graphics card.

1 Connect the DVI or DP outputs to the two monitors.

Ti p: Use a calibrated monitor or projector for the footage monitor.

2 In SpeedGrade, click Settings > Display and adjust the settings under Window Size.

The default values work for two displays with 1920x1080 resolution. SpeedGrade is displayed to the left of the
display with the footage.

3 Select the Enable option.

Advanced dual-monitor setup

The advanced dual monitor setup uses nVidia Quadro SDI technology to allow for real-time 10- and 12-bit output over
Single Link or Dual Link SDI. The nVidia Quadro SDI setup requires a 64-bit Windows 7 system.

1 Connect the DVI or DisplayPort output to the display you want to use for the SpeedGrade workspace.

2 Use either a Single Link or Dual Link SDI output from the NVIDIA SDI card to connect with external waveform

and other monitoring devices, and your reference monitor or projector.

3 In SpeedGrade, select Settings > Display.

4 In the SDI Output section, change signal and format settings according to your desired output format settings.

5 Select the Enable option.

FAQ : How many outputs on the nVidia GPU can be used in parallel?

Last updated 11/30/2015

Workspace

Only two outputs at a time can be used in parallel. The SDI card is routed through the Quadro GPU and thus takes one
DVI or DP output. The other output can be used for the workspace display. The additional DisplayPort is not active in
parallel.

Ti p: Combining local footage display with a projection setup

To give the operator an accurate local display in parallel to another display or projection system, a signal split on the
SDI output is recommended. This is the recommended way to monitor a signal through external waveform and
vectorscope devices.

Direct-Link workflow between Premiere Pro and SpeedGrade

About Direct Link

The Direct-Link workflow is an integrated edit-and-grade workflow between Premiere Pro CC and SpeedGrade CC.

14

Earlier, to use SpeedGrade to color grade your footage from Premiere Pro, you rendered and exported your sequences
to SpeedGrade either as DPX still image sequences or edit decision lists (EDLs). After completing color grading in
SpeedGrade, you exported the projects as stand-alone video files back into Premiere Pro for more editing.

Direct Link offers a fast and efficient alternative to this workflow. Leveraging the power of the Mercury Playback
Engine, Direct Link lets you send or open Premiere Pro projects directly in SpeedGrade. You can color grade Premiere
Pro sequences in SpeedGrade and send it back to Premiere Pro in a few clicks.

To achieve optimal performance when using Direct Link, use a NVIDIA CUDA graphics card with GPU acceleration
on Windows. For more information about Adobe-certified NVIDIA graphics cards, see the Tech s p e c s .

Edit and grade Premiere Pro sequences with Direct Link

The Direct-Link workflow lets you roundtrip Premiere Pro projects between editing and grading without time­consuming or complex tasks like rendering and conforming.

When you send a project, which you had color-corrected using Premiere Pro, to Speedgrade using Direct Link,
Speedgrade presents you with the custom Lumetri Color layer. This layer reflects all the color changes that you had
made to your project in one layer without any custom controls. You can toggle on/off this feature as needed.

Last updated 11/30/2015

Workspace

15

Step 1: Select Premiere Pro sequence

Select the Premiere Pro sequence that you want to color grade.

Note: Ensure that you have selected the sequence in the Timeline or Project panel.

Step 2: Send sequence to SpeedGrade using Direct Link

Using Direct Link, you can send a sequence from an open Premiere Pro project directly to SpeedGrade without
exporting the project.

To use Direct Link, select File > Direct Link To Adobe SpeedGrade.

Step 3: Choose to open sequence in SpeedGrade

When you select the Direct-Link workflow, Premiere Pro prompts you to save changes to the project in Premiere Pro
and open it in SpeedGrade. Click Yes.

Step 4: Selected sequence opens in SpeedGrade

Premiere Pro closes, and SpeedGrade opens the sequence in its Timeline, which uses the same familiar track layout as
Premiere Pro.

In the SpeedGrade Timeline, you can see all the clip edit points, transitions, and layers.

Last updated 11/30/2015

Workspace

Step 5: Color grade the sequence using grading and mask tools

Within SpeedGrade, you can color grade the sequence using Looks and Masks. The Looks that you apply in SpeedGrade
appear as Lumetri presets when you reopen the sequence in Premiere Pro.

If a Lumetri Look has already been applied in Premiere Pro, it's available in the SpeedGrade Timeline, where you can
adjust its parameters.

16

A Premiere Pro project sequence B Premiere Pro sequence color graded in SpeedGrade

The Direct-Link workflow has been designed to let you focus on the color correction and grading tasks when you are
in SpeedGrade. Because of this focus, only the Color and Look tabs in SpeedGrade are available in the Direct-Link
mode. For more details, see

Direct-Link workflow limitations .

Step 6: Send the color graded sequence to Premiere Pro for editing

When you finish color grading your sequence in SpeedGrade, save and reopen the sequence in Premiere Pro for final
output or further editing.

Click the Direct Link to Adobe Premiere Pro icon in the upper left of the SpeedGrade user interface.

Last updated 11/30/2015

Workspace

The color graded sequence opens in Premiere Pro with all color grading fully intact.

Color grading and masks applied in SpeedGrade are visible in Premiere Pro as Lumetri effects. In Premiere Pro, you
can turn these Lumetri effects on or off for each clip and for each adjustment layer individually using the Effects
Controls panel.

You continue editing or export your sequence for final output in Premiere Pro.

Open Premiere Pro projects directly in SpeedGrade

You can open native Premiere Pro projects directly in SpeedGrade, apply color grading changes, and reopen the project
in Premiere Pro.

The SpeedGrade Welcome screen lets you:

• Open a recently accessed Premiere Pro project (.pproj)

• Open a Premiere Pro project (.pproj)

• Create a SpeedGrade project (.IRCP)

17

When you open a Premiere Pro project, the Sequence Importer dialog opens showing all the sequences contained in
the project. Select a sequence to open.

Note: SpeedGrade cannot open more than one Premiere Pro sequence at the same time.

Within SpeedGrade, you can apply primary and secondary color correction, apply Looks and Masks, and do all the
required color grading.

Note: You cannot send SpeedGrade (.IRCP) projects back to Premiere Pro. To use Direct Link, start with a Premiere Pro
project (.pproj).

Some important points:

• From within SpeedGrade, you can view and adjust Premiere Pro adjustment layers, and also view any transitions

applied to the sequence.

• All the color grading that you apply in SpeedGrade is available automatically in Premiere Pro. There is no need to

export the .look files.

Last updated 11/30/2015

Workspace

Working with offline media

When you open a Premiere Pro project with missing media files in SpeedGrade, you cannot link and locate the offline
media like you would in Premiere Pro.

To relink the offline media, you must bring the project back to Premiere Pro.

Working with After Effects Compositions

There are several ways to use After Effects Compositions in your Premiere Pro project:

• Replace a clip in Premiere Pro with an After Effects Composition

• Link to an After Effects Composition using Adobe Dynamic Link

• Import an After Effects Composition (AEP file) into a Premiere Pro project

Irrespective of which method you use, you can open a Premiere Pro sequence containing After Effects Compositions
directly in SpeedGrade. SpeedGrade opens the sequence in Direct-Link mode, from where you can color grade the
compositions just as you would color grade any Premiere Pro sequence.

Limitations in Direct-Link mode

The Direct-Link workflow has been designed such that you focus only on the color correction and grading workflows
within SpeedGrade.

18

Given this focus, there are specific things to consider while using SpeedGrade in the Direct-Link mode:

• The auto-save feature is turned off while using the Direct-Link mode.

• To use Direct Link, you start with a Premiere Pro project (.pproj). You cannot send SpeedGrade projects (.IRCP) to

Premiere Pro in the Direct-Link mode.

• In the Direct-Link mode, you cannot render your Premiere Pro projects within SpeedGrade. You send the projects

back to Premiere Pro for rendering. So, the Render and Results tabs are unavailable when using Direct Link.

• SpeedGrade can open only one Premiere Pro sequence at a time, and not multiple sequences at once. To open a

different sequence in the project, open the Sequence Importer dialog by clicking

in the SpeedGrade Timeline.

• You cannot launch the Media Browser to browse through media, so the Media tab is unavailable when using Direct

Link.

• You cannot add clips to the Premiere Pro sequence within SpeedGrade. Bring the project back to Premiere Pro to

edit the sequence.

• You cannot adjust audio or use the Pan & Scan functions. So, Stereo 3D, Audio, and Pan And Scan tabs are

unavailable when using Direct Link.

• If you apply the Warp Stabilizer effect on a Premiere Pro sequence, ensure that the analysis is complete before

sending the sequence to SpeedGrade using Direct Link. Otherwise, an error message appears.

Video tutorial

How to make your video look like film

Learn how to use Direct Link to roundtrip your projects to SpeedGrade for comprehensive color grading and applying
preset film stock and camera looks.

Last updated 11/30/2015

Workspace

Image analysis tools

SpeedGrade provides various tools, like the following, to analyze your image:

• Histogram

• Vectorscope

• RGB Parade

• Luma Waveform

These tools are now grouped together and available from the Analysis Tools panel.

To display the Analysis Tools panel, use the keyboard shortcut A, or click the arrow on the upper-left Monitor panel.
You can adjust the size of the Analysis Tools panel using the drag handles.

Use the context menu to choose which video scope you want to view.

19

Histogram

Histogram shows RGB values. The minimum Luma values per channel are displayed as numerical feedback at the
bottom. Maximum values are displayed at the top. Two horizontal lines indicate the output range. The default range is
set to CIN code values (95 - 685).

Last updated 11/30/2015

Workspace

20

Vectorscope

The Vectorscope displays the video’s chrominance information in a a circular chart. Saturation is measured from the
center of the chart outward.

Vectorscopes work in YUV and HLS (Hue, Lightness, Saturation) modes. The YUV Vectorscope uses the more familiar
YUV color space including color targets to display the pixel distribution in your images more intuitively. The YUV
vectorscope is the default option.

RGB Parade

RGB Parade scope displays separate waveforms for the red, green, and blue components of an image. The waveforms
are displayed side by side, making it easy to compare the relative levels of reds, greens, and blues in an image, and make
adjustments as required. The RGB Parade scope also makes it easy to spot color casts in your image.

Last updated 11/30/2015