Adobe Creative Cloud

Digital Video & Audio

What’s coming next to SpeedGrade and Creative Cloud? (Hint: it’s going to be colorful)

This year at NAB 2015 we’re taking the wraps off some really exciting new tools and workflows for video pros, including a new mobile Look capture technology, a brand new Color workspace in Adobe Premiere Pro, and Creative Cloud Library support for Looks, so you can share Looks between Premiere Pro, After Effects, and Premiere Clip. And we haven’t forgotten SpeedGrade: the next release of our professional color grading application includes support for Lumetri Looks created in Premiere Pro – meaning that every color manipulation made in Premiere Pro is rendered identically in SpeedGrade. You will also get more responsive scopes, new SpeedLooks, and general performance and stability improvements.

Our team of color geniuses has done some amazing work. When you see the release you’ll see their attention has been focused above all on Premiere Pro and incorporating the Creative Cloud and mobile workflows into the creative color process. This is all about re-inventing the ways we work with color – and making color tools more accessible, and more flexible than they have ever been. Let’s take a closer look at what’s coming.


The Lumetri Color panel in Premiere Pro

The new color tools in Premiere Pro extend Lumetri support in a really big way, combining the power of SpeedGrade color science with the easy accessibility of Lightroom. The Lumetri Color panel is found in a new Color Workspace, one the new customizable workspaces that allow editors and video pros to organize their tools around different postproduction tasks inside Premiere Pro.



Notice the familiar SpeedGrade scopes? SpeedGrade users will feel right at home with accurate image information as they apply adjustments.

The Lumetri Color panel reflects the basic layout used in Lightroom. Users can start at the top with Basic Correction for quick adjustments. If you’ve used Lightroom the learning curve in this panel will be zero.



The next panel down is called Creative. It looks simple but you may be surprised at how much even experienced colorists can accomplish here in terms of creating really great Looks for your video content. You can add Look presets as a starting point and then input additional adjustments to get the aesthetic you want with just a few tweaks. You can add masks, as well in the Effects section, which is lower in the Lumtri Color panel. Like what you’ve done? You can save the results as a Look, or even as a .cube files for use in other applications.

People who are less familiar with color grading will have a blast here: it’s easy to play (remember, SpeedGrade technology is non-destructive) and easy to get fantastic results fast.


Curves, Hue and Saturation, and a new 3-way color corrector

People who love curves also get some great new toys in the Lumetri Color panel. Along with a familiar curve tool, we’re introducing a new Hue Saturation control which makes it easy to boost or dial down specific colors.


Finally, the Lumetri Color panel includes a new, incredibly easy-to-use 3-way color corrector.


Taking it into SpeedGrade

Of course, everything you do in the Lumetri Color panel can be moved over to SpeedGrade for additional work within a professional color grading environment. Any Lumetri adjustments done in Premiere Pro appear as a grading layer in SpeedGrade. Since all adjustments are concatenated in SpeedGrade, all you need to do is place additional layers above the Lumetri Color layer.



Introducing Project “Candy”

Project Candy is a new mobile technology currently in development. If you know SpeedGrade then think of Project Candy as a kind of “Shot Matcher on your phone”: just point the camera at something and the app will grab a Look. Candy displays the Look for you as bubbles that show color and light in 3D space.


You can select a bubble to shift the midtone for the Look and adjust the overall intensity with a slider. As you tweak it, the Look is previewed in a reference image. You can also choose images and video from your camera roll for previewing the Look.

Once you like the Look, you hit the checkmark to save it. The Look is saved to your Creative Cloud Libraries. From there you will be able to access it in Premiere Clip (for on-the-go video editing), Premiere Pro, or After Effects. Again, if you want to bring your project (with that Look) into SpeedGrade, just use Direct Link and you’re in business.

Candy Looks workflow_640px[1]

Creative Cloud Libraries does another cool thing: it lets you create shared Libraries so you can make Looks available to others.


Re-inventing Color workflows

We’re really excited about the new possibilities that these workflows open up: easy access to powerful color tools right inside your NLE, mobile technologies for capturing inspiring Looks – or reference Looks – wherever you see them, and Creative Cloud Library integration between tools and users. Creativity really did just get a whole lot more colourful!

Learn more about the next Creative Cloud release for video pros in this video.

Read the blog post for information on what’s coming to all of the Adobe video tools:


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Join the discussion

  • By Jeffrey Fish - 8:06 AM on April 9, 2015  

    Are you reading the list of Speedgrade features? It looks suspiciously like a like of Premiere features. more startling is its features that help take away the need for Speedgrade.

    I was truly hoping for an overhaul overhaul of Speedgrade to a more Adobe interface with contextual menus, basic copy, cut and paste features and dare I dream truly basic OS integration which dispenses with the annoying trees structures and lack of OS menus in favour of an interface more like Adobe Photoshop/Illustrator/InDesign/After Effects…etc.

    Instead what we got is a sales pitch for Premiere.

    Very disappointing.


    • By Bronwyn Lewis - 3:39 PM on April 9, 2015  

      Hi Jeffrey,
      Thanks for sharing your concerns. You are right that the next SpeedGrade release is more modest in and of itself, but it’s not as if we’re ignoring color. On the contrary, the next release is all about color – extending and improving the tools and workflows. The goal is not just to make color tools more accessible (although we’re doing that), but to recognize the fact that color work is no longer just for finishing. In digital workflow color can and should be a part of every stage of postproduction. Adobe has a long history of integrating tools in ways that change creative workflows. If you prefer a traditional color grading environment, then that’s the route you should go, but I sincerely hope you’ll give the new Lumetri Color tools in Premiere Pro a try – and I hope you’ll let us know what you think when you do.


      • By Brandon Freeman - 10:49 AM on April 14, 2015  

        I for one am very thankful that it appears SpeedGrade itself has been more integrated with Premiere. I’d say the correct priorities have been made.

    • By Wallard - 8:28 PM on April 9, 2015  

      Color grading tools aren’t supposed to be mouse driven, but using panels designed for color work. Making Speedgrade more like the other Adobe apps like won’t benefit a colorist who’s really going to be using panels instead of a mouse and keyboard.
      Not every tools needs to behave the same way.

    • By Jeffrey Fish - 3:33 PM on April 16, 2015  

      Folks, I’m not looking to change the software’s behaviour per se. It is more about how it talks with the Mac OS. And, I see nothing wrong with learning some tricks from AE, PS, AI, ID, etc. in terms of file saving, file management and contextual menus. Never assume that because they offer options in a contextual menu that they take them away from somewhere else. I’ve been running software in post for over 25 years and there’s always enough room in code for multiple preferences and interfaces.

      SG seems entirely too out of the ecosphere of other Adobe products. I think it would be a big win for Adobe to make it more accessible to others users more accustomed to AE, PS, AI, etc..

      We actually edit in Avid MC suites but all our other work is posted with Adobe. I gave Premiere a run and was very impressed, but lost a client over the bugginess and slowness of the export process because it couldn’t handle my Sony F5 footage (Speedgrade still can’t and it will only handle 4K as DPX files).

      But most importantly SG doesn’t act alone from Premiere. In our shop the colorist is in a separate suite. She has grown accustomed to SG (and it’s quirks) but handing off files from PR only works if the editor and the colourist are the same person. There’s no fluid mechanism for separate systems.

      My beef with the SG post above is that it’s mainly about PR.

      All that said, I love Adobe products. Really I do. Speedgrade just isn’t one of them.