Posts in Category "Tutorial"

Setting up Tangent Element panels in SpeedGrade CC

SpeedGrade CC added support for the popular Tangent Element grading panel series (SpeedGrade already supported the Tangent CP200 grading panel series and the all-in-one Tangent Wave panel). The SpeedGrade color tools and functions are mapped to different controls in the hardware providing a more tactile and immediate grading experience.

We’re really proud of our Tangent Element implementation. We did all the mapping ourselves so the panels can really take full advantage of everything SpeedGrade has to offer. It doesn’t take long to get used to working on a grading panel and if you need to deliver lots of work quickly, grading panels are the way to go.

The Tangent Element control panel series

The Tangent Element control panel series

This post explains how to set up Tangent Element panels to work with SpeedGrade CC. Continue reading…

How to set up Mercury Transmit in SpeedGrade CC

Mercury Transmit allows you to use an external broadcast monitor with SpeedGrade. This gives you reference quality image display so you can accurately view. Currently you can use Mercury Transmit in SpeedGrade with third-party video IO cards from AJA, Matrox, and Bluefish. In this post, we’ll show you how to set up Mercury Transmit using an AJA Kona 3G as an example. 

1. Install drivers
To start the setup, download and install the AJA Kona 3G driver and the Adobe plugin installer from AJA support website.

Note: Matrox offers the driver and the Adobe plugin in a single installer. You can also download the Bluefish444 driver and installer for Windows.

If you already have an older AJA/Adobe plugin installed we recommend you uninstall it and replace it with the latest version. Please do that in this order: Continue reading…

Using Direct Link with Color Presets

This week I wanted to share a video created by reTooled, showing how to work with look presets in both Premiere Pro and SpeedGrade using the new Direct Link integration.

I spoke with Josh Weiss about reTooled and the color presets they have created for Adobe Premiere Pro and SpeedGrade. Continue reading…

Learn about the whole Adobe filmmaking workflow

One week ago, on June 13, director Richard Jobson delivered a dynamic presentation on Wayland’s Song, his sixth feature film made entirely using Adobe Creative Cloud (CS6) applications. In this special Ask a Video Pro session, Richard will describe the whole process from planning through to final delivery, including scriptwriting and production scheduling with Adobe Story, ingest and logging with Prelude, video editing in Adobe Premiere Provisual effects with After Effects, audio editing in Audition, and final color grading with our special favorite, SpeedGradeWayland’s Song premiered this year at the Cannes Film Festival.

(updated June 20)

Continue reading…

How to do cross-processing in SpeedGrade

In our last post we told you about Alexis Van Hurkman’s new book, Adobe SpeedGrade: Getting Started. For this post we wanted to share a bit of the book with you. In this exercise, Alexis explains how to apply digital cross-processing to your images, including use of the fxLegalize effect. Please note: this exercise refers to footage that you can access when you buy the book. See the bottom of this post for a special offer from Peachpit Press.

 Cross-Processing –  by Alexis Van Hurkman

Cross-processing refers to the deliberate use of the wrong chemistry to develop film. For example, color negative film developed in a reversal film bath, or reversal film developed in a color negative bath. Typically, this produces strange and unexpected nonlinear color interactions for creating bizarre and exciting looks that are appropriate for editorial magazine shoots and music videos. Continue reading…

Super-Easy EDL Workflow in SpeedGrade

Update (October 31, 2013): With the release of SpeedGrade CC 7.1, you also have the option of using Direct Link to bring Premiere Pro projects into SpeedGrade. While that will be a preferred workflow for many scenarios, EDL workflows are still fully supported in SpeedGrade CC and SpeedGrade CS6.

We’ve written about how to get content into SpeedGrade, and have described the EDL Conform process in previous posts, but SpeedGrade has one more EDL trick up its sleeve that I think many of you will love. This one is about as easy as it gets.

Here’s how you do super-easy EDL export from Adobe Premiere Pro into SpeedGrade:

1. Render out your edited content in Premiere Pro as a single flat clip. You could use a format such as DNxHD in a QuickTime wrapper, or any another QuickTime format. Continue reading…

Using Look Presets in SpeedGrade

Happy New Year, everyone! Let’s start off 2013 by taking a look at Looks.

SpeedGrade CS6 ships with four collections of .Look file presets which you can use right out of the box (so to speak), or as a starting point for building your own looks. The four sets  are called Cinematic, Desaturation, Style, and Temperature. Each of the folders includes eight Looks, for a total of 32.

The SpeedGrade Look presets, along with any new Looks you create yourself, are displayed in the Look browser at the bottom of the Look panel. After loading content, close the Desktop (D) and click on the Look tab to open the Look panel. Continue reading…

How to Conform an EDL in SpeedGrade

The Send to SpeedGrade command in Adobe Premiere Pro provided a great DPX finishing workflow with SpeedGrade CS6. We covered that in an earlier post called Four ways to load footage in SpeedGrade CS6. The DPX route is great for short projects, or if you have lots of horsepower (and lots of storage for all those DPX frames), but for some scenarios an EDL workflow will make more sense.

In this post we’re going to look at how to get an Edit Decision List (EDL) out of Premiere Pro and into SpeedGrade. Rather than creating a whole new set of files, this approach allows you to load your cuts and “conform” your source material on the SpeedGrade timeline. This is often the fastest way to get a project into SpeedGrade CS6 or SpeedGrade CC.

Update (October 31, 2013): With the release of SpeedGrade CC 7.1, you also have the option of using Direct Link to bring Premiere Pro projects into SpeedGrade. While that will be a preferred workflow for many scenarios, EDL workflows are still fully supported in SpeedGrade CC and SpeedGrade CS6.

Continue reading…

Applying Creative Looks across Multiple Clips

The power of SpeedGrade lies in the way it allows you to build up color corrections and creative looks as grading layers. Because grading layers are non-destructively applied in SpeedGrade, you can play around to your heart’s content until you get your footage looking just right.

It gets even more interesting when you add grading tracks on the Timeline. Grading tracks allow you to add a new set of grades on top of your clip-based color corrections – and they allow you to do this across multiple clips, or a whole project.

In this post, I’m going to show you how to add a grading track. Continue reading…

Back to School with SpeedGrade

It’s back to school for lots of people today, and you can just as easily go “back to school” for SpeedGrade, thanks to a growing list of learning resources. The recording of of our recent “SpeedGrade for Aspiring Colorists” webinar just became available.

That webinar was aimed at editors who are interested in adding color grading to their workflow – and we know that there are a lot of you out there! Our presenter, editor and colorist Jeff August, started off by taking us through the color correction tools in Adobe Premiere Pro, and then moved on to see how much you can do with color and look design in SpeedGrade. Continue reading…

Adding Atmosphere with Vignettes

Vignettes are a great tool for visual storytelling. They add a depth to shots and they help give digital content a more filmic feel – and Adobe SpeedGrade CS6 offers powerful tools for creating them.

Psychologically, vignettes allow you to focus the viewer’s attention on the subject and subtly mimic the human eye, where color perception drops off around the periphery of our field of vision.

You create vignettes for an individual shot, by adding a mask to a grading layer, within a clip, or by adding a separate grading track on the timeline, for example to go across multiple clips. Colorists sometimes combine vignettes, adding atmosphere and a greater sense of space to their shots. In this post we’re going to look at how to add a single vignette to a shot in SpeedGrade. Continue reading…

Grading Secondaries in SpeedGrade

Thanks to everyone who joined us for the SpeedGrade webinar with Jeff August last week! In case you missed it, we’ll have a recording of the webinar available in a few days. In this post we’re taking a look at how to apply secondaries in Adobe SpeedGrade CS6.

Secondary color corrections are applied to specific colors within your images – as opposed to primary color corrections which affect the whole image.

For each secondary, you select a color range, and then apply adjustments to just those pixels. Secondary adjustments allow you to accent, modify, or tone down parts of your image. With SpeedGrade, secondary color corrections are added as individual grading layers within the overall grade. Continue reading…

Color Correction Basics – Working with the Waveform

Most color grading workflows include two types of tasks: color correction and look design. Look design is what you do to give your story its individual character: it’s the visual style that communicates mood and place.

For example an action film might have a gritty, de-saturated look; a horror story might have a cold blue otherworldly look, a period piece might have vibrant colors, like a painting or an old color photograph. Different scenes within a film usually use slightly different palettes. In short, look design is a part of storytelling Look design is a very exciting aspect of the new digital filmmaking tools: we never had as much freedom as we do now to define how we want our productions to look.

Before you get to detailed look design, you will usually want to begin by color correcting your shots. Continue reading…

A Quick Look at the SpeedGrade Look Panel

The Look panel is where all the fun happens in SpeedGrade. This is where you apply color corrections and design your look: the two parts of most color grading workflows.

Color correction, sometimes called the “technical grade,” is about making your shots look good and matched.

The creative part of grading is where you give your project its distinctive visual style. Here in SpeedGrade-Land we usually refer to this as “look design.”

To open the Look panel, make sure you have a clip selected on the Timeline (see Four Ways to Load Footage in SpeedGrade for more info). If a clip is not selected, the Look panel tab will remain inactive and you can’t open it. Continue reading…

Four Ways to Load Footage in SpeedGrade

Last time we looked at the SpeedGrade Desktop. This week, let’s look at how to get your content onto the Timeline where you can work on it.

Patrick Palmer, Product Manager for SpeedGrade has created a video which shows how this is done.

There are four ways to get your footage into SpeedGrade. The most automated way to do this is to use the Send to SpeedGrade command in Premiere Pro. The most flexible way is to load an Edit Decision List (EDL) and conform your clips. This allows you to update, or swap out, individual clips, for example. You can also load an existing SpeedGrade project ( an .ircp file). The most manual way, is to add individual clips to the Timeline one-by-one. Continue reading…

Meet the SpeedGrade CS6 Desktop

Over the next couple of months on this blog, we’re going to walk through the basic areas and features in Adobe SpeedGrade CS6. Today we’re taking a look at the Desktop.

Before we dive into the Desktop, I just want to mention a really cool story by DP and colorist Jerome Sabourin called Why I Use SpeedGrade. Jerome shares a bit of his own journey as a cinematographer, and describes how he uses SpeedGrade in his work. It’s a great read.

Now, back to the Desktop… Continue reading…