SpeedGrade questions

Similar Questions

• Adding lumetri third expected 2014 SpeedGrade, tutorial questions

  Anyone know how to add third-party lumetri resembles the SpeedGrade 2014 [Mac OS]?

  I found the folder that contains the default styles provided with SG, but just add the new in there? I'd rather have a new tab, but the single tab I can add is a duplicate of the settings tab / looks that I already...

  I'm pretty new to SG, after making only a few projects and still feel my way. I bet it's a beast that dumb question, but can't seem to find the answer anywhere on the web.

  Any help would be appreciated.

  More, not to be picky, but all tutorials I can find on the mode of colorwheels from the CC version and don't look anything like those of 2014. Learning resources suggestions would be greatly appreciated.

  Thank you.

  Add the LUT layer:

  

  Then click on the Select button to navigate to where your 3rd party LUTs is stored, then select the one you want to apply:

  

  MtD

• SpeedGrade eat all my 32 GB of RAM - question?

  Hello
  I have a problem with the latest version of adobe speedgrade 2015.

  When I started the rankings, speedgrade begins devouring the memory of 32 GB of ram on my smal project after two minutes of levelling of the 3 minute video.

  Any help is really appreciated.

  My comp model:
  Intel i7 3930 K 3.2 gHz
  GTX 980 strix 4 GB ram
  32 GB of ram gskill ripjaws 2400 mhz
  4 x 2 TB HARD drive

  see you soon,
  L

  

  There is a bug in the first, with the leak of memory lumetri (speedgrade) extended, causing. its probably the same code, so same bug in speedgrade cc2015. marcush2015 post also suggests that maybe it's the bug spread.

  Reduction in the number of litters of four to a (waveform) helped a little reductive of spills and accidents.

  First Pro CC2015 using too much RAM? Adobe community

• Black frame break in first / Inverted & Shifted frame SpeedGrade

  PROGRAM:

  First Pro CC (2015.3)

  Last updated: September 27, 2016

  INSTALLATION PROGRAM:

  Chronology of 1080 / RED EPIC images. R3D files.

  QUESTION:

  Black frame break in first / Inverted & Shifted frame SpeedGrade

  I have encountered this problem after changing the settings of the source (shifted the balance of whites around all clips in the timeline). While color correction through direct link to SpeedGrade. The video would play very well, but when I stopped the video that the chassis of the break would be inverted colors, shifted to off on the side. I turned back on then to first and these same clips would be just black when paused. The thing is that I changed the parameters of the source on all clips, but only some are struggling.

  SOLUTION ATTEMPTS:

  I tried to reset all the settings of source for each clip back to "as shot", but the problems remain.
  
  The only work around I could find, (after trying everything!) was a right click on the clip, by selecting "Render and replace...". "This seemed to be the solution until I exported the sequence and the project fails each time once he hit these clips of issue.

  Help, please!
  Leo

  That's what I called at the beginning of this.

  Adobe PrPro CC 2015.0/1/2 were versions of project PrPro 9.x file.

  However, rather than release the next major release as CC 2016, they did something that broke so MANY of their users and has not yet said what it was they were doing. It is... irritating?

  2015.3 and now 2015.4 are project files built on version 10.x of the software... a major version upgrade! ... and not only a minor or 'dot' upgraded because they seem to be.

  They has not not wanted to bring SpeedGrade long... and without announcement, out 2015.3 with no command 'Send to SpeedGrade' Direct Link or process. When people immediately started screaming on this subject, they finally announced they don't think their number, many people used SpeedGrade and seems not worth it to upgrade to the new version...

  And... we are all invited to back to back like Olde to ranking through export EDL SpeedGrade and two folders of the media on this EDL in Sg, or export a flattened the chronology of project to go to Speedgrade too... then of course, export of another SpeedGrade file and replace the track flattened on the timeline with the media graduated.

  Or export a XML file from PrPro and taking to say the determination, along with... still... two media files or file flattened chronology. Do a power of attorney to the export process again (not the clever internal proxy thing) could also help, by using a flat file support to proxy, then re - link that to the original in PrPro media to complete the round trip.

  That all sounds easy enough, right? ....

  Of course, the other option is to simply use the new workspace of color, with the Group of workspace Lumetri clever UI. Which is really very good and very capable, especially if you are using a control box remote as the tangent of ripple or small Palette blocks. Or... a tangent Panel Elements, really nice but rather in the cost. It is quite achievable through the mouse, but a lot spiffier... more intuitive and able to work more fine, with a control surface.

  Now he's advantages and disadvantages. For works of single clip or a few clips that need really not correspondence of accurate shooting, it is very easy, convenient & fast enough. If you really tight & decently fast shot correspondence between a couple hundred shots, or several secondary, uh... it's... possible... but rather slow, shall we say, than SpeedGrade. In addition to not having a button/process corresponding to the shooting as SpeedGrade, you don't have a real 2-top monitor situation either. You can make sort of a up-2 workspace by using a new job - the separate Panel and plopping monitors reference and reading about it, using the chronology of reading in the reference monitor to define who discovers and main sequence to set the monitor of the program to the item you try to classify and to match that in the reference monitor... or... not.

  For MANY more small, simple projects, the Lumetri Panel is very very good. In pretty rough tests today, I would say the secondary Panel in the Panel of PrPro Lumetri is actually better to pull a tight key than SpeedGrade 2015.1, the latest release of SpeedGrade. Not a lot, but... a little better.

  And you can "stack" Lumetri as of the 'effects' on a clip, to get more secondary or make different parts of the process in different stages... However, the full workspace not Lumetri works with the latest projection (bottom) Lumetri in the effect controls panel, so for instances "earlier" on a clip, you go in the PCE, spin to the bottom of Lumetri effects and use these settings. And... your surface outdoor spiffy won't work with everything, but the last of them either. Huh.

  To move, you can use adjustment layers stacked above the clip, simply go to the color workspace, use the controls there and always Lumetri not use your surface. And Lumetri Panel with your mouse or pentab.

  Order of procession always things, so don't forget... in the effect controls panel, things are top of the process down. Among the witnesses of Lumetri, which also means descendant. Treatment of tips in the Basic tab, then stuff in the Design tab and down.

  Now... also as mentioned in a previous post... There is a nice 3rd party tool/applet a user of SpeedGrade Austrian colleague, Patrick something or other, for about 9 Euro... open, navigate to a project file PrPro, as records and converts the file into changing a (one) character... you use this file in 2015.1 SpeedGrade who thinks it's a file link Direct 2015.2 and therefore correct... and after completing , the application may then re - convert the file 'up' by changing this 1 a character return if 2015.4 sees it as its own file again once and not an earlier version which has need to upgrade.

  Fast... easy.... and seems to work well, with a caveat... AfterEffects "comps" do not always, so if you have those who, rather than to make a model of dynamic links in PrPro, make a direct export of the AE and use the clip exported on the timeline in Prpro.

  I haven't handled files r3d via this of course, but... others have probably, like hundreds of downloads of that file would probably include some red media users. Then I guess it would work, and you are welcome to try a trial download and see if it works for you. I just worked on a project today using this process, btw.

  It is mentioned in this link... and there is a LOT of information about this and other things of the recent changes in the nets of ten or higher in this forum.

  Project of creation/Speedgrade conversion tool

  Neil

• The color adjustment: Speedgrade or creation?

  Hello!

  I am sure that this discussion has already been discussed, so please direct me to the good discussion if it exists.

  But I'm curious to know if there is a bigger difference in the colors quality when using Speedgrade lavis Lumetri in first?

  I starts to enter the color adjustment, since I upgraded my equipment and started firing on the D - Log 4 k images.

  I am currently using Premiere Pro CC 2015 and have used the LUTs OSIRIS what color ranking my films.

  I did not export any to Speedgrade again, since the first has the ability to apply LUTS/effects through Lumetri.

  Is there a significant increase in quality if I have everything on send to Speedgrade and finish my grading color there?

  Also, after the application of any type of LUTS, you apply other effects or corrector color to make your Cinematic sequence more?

  Thank you! I hope you guys can help out me!

  -Marty

  With the change of version of the project which was the 2015.3 version, the team of Adobe Pro/SpeedGrade first deleted the option 'Direct link' within the PrPro send a draft of 'direct' to SpeedGrade. To use Sg now, he must either use only the PrPro 2015.2 version over the version Sg 2015.1, or have PrPro create an EDL from the project from a flattened chronology and which opens in Sg, restoring links to media. Or export a full resolution/quality of the PrPro project, then import this file into Sg for the classification.

  Those are the "officially approved" ways of moving PrPro Sg at the present time.

  For a good... fuller... discussion of the options, I suggest go during the Forum of SpeedGrade.

  SpeedGrade

  There are several wires he and a couple that include manually "hack" around the issue and a small application (with supplement) that a user has created and made available. Those who are NOT officially approved tactics, of course. But as you mention using media 4 k and D - log, I'll give you the... more... large photo.

  As for the notation between PrPro and SpeedGrade... a layer of primer.

  SpeedGrade is a ranking program, pure and simple. It is not nearly as "broad and deep" in total tools know 12.5 to solve, but it's still a beautiful app ranking. There are some things like saying followed by masking that aren't always what we prefer, of course.

  Premiere Pro is a software for editing , with panels or 'modules' to do certain things and the Lumetri Panel is a really wonderful creation... as it goes. To take a single element or a series of clips with similar "must" and apply a LUT tech, do some basic fixes and a secondary (1) to the, with perhaps a second READ/look, we do quite a bit and this quite quickly.

  When I acquired a Ripple tangent Control Panel, I was amazed how my... appreciation... for the Lumetri Panel has progressed. I can not stress how much more intuitive and faster, is to work with such a group with the help of the mouse or trackball or Wacom pen - tab. With the ability to move several things at the same time, you can get 'for' places moving something at once just is not... go.

  That all said... and I enjoyed the Lumetri Panel... it has some serious limitations for the complete rankings. Complete rankings, I mean if you really need to get and your work supports. Several secondary, corresponding to the shooting and heavy grading without bringing your machine to stop.

  As only a secondary by 'cases' of Lumetri. As you become more experienced in assessment, using secondary as a tool to affect a certain range of tones, either color or brightness or saturation or a combination of the three, is rather Basic. Most of the shots that I work in my simple studio, interviews, the occasional wedding or event, will have at least a secondary school. Sometimes, I might have three or four. One to soften the sharpness of skin tone while slightly warming color, one to cool down a back wall and one to shoot the sky to the land values more "I think it should be", for example.

  Or after the warming or cooling of the shadow using a secondary antibody to desaturate most dark tones such as can still be seen deeper shades will be devoted to charcoal and black, without a visually unusual color tint in the shadows. While working with the other secondary skin tones. And making dirt look less magenta in a third. All the things I've done. On a regular basis.

  In a comprehensive program of ranking, also used several... "primary"... combined with the secondary as well as with the LUT/glance application layers. The Lumetri Panel can kind of imitate a few different, but no layers... completely. And to the techno-parler, the location of the LUT/Look of Lumetri slots is not quite... good. For your D - log, for example... you need a READ 'above' of your media slot and use the primary that your support is to neutralize the whites, blacks and contrast/gamma general (including white base balancing here) for the media BEFORE the application of the LUT, but doing everything by watching the media through the conversion READ. In Lumetri, the LUT slot is the first, neutralize you the balance of color & tone after.

  You can get around these "stacking" Lumetri effects on a clip. First of all, just use the Lumetri sign '' integrated '' for what you can accomplish in a 'pass '. Go into the effect controls panel, and then drag and drop an Lumetri effect on the clip, which appears in the Panel below (so after application) effects the first Lumetri and you can then use the Panel 'ordinary' to Lumetri to change your media. And... more secondary drop LUTs/eyes on clips... and drag and drop an another Lumetri...

  The problem with this stream of work, is double: first, add Lumetri effects in multiple batteries may start slowing down a machine... the third or the fourth on a clip, you can easily get a bar of red warning above him. Second, the ONLY way to change everything, but the last effect in Lumetri (at the bottom of the effects Panel) is via the effect controls panel, twirling in various sections of the tools and commands and their setting via mouse, because no 'external control' works within the ECP and... only the last Lumetri are "seen" by the Lumetri Panel.

  There is another process that gets around the second question above, but not the first... If you put a layer of setting above your clip, and then select and use the color Lumetri workspace Panel, these corrections will be applied after those on the clip, as on the effect of the bass track chronology is processed first... so you can do your work based on the timeline, additional work on one or more A - l above the clip.

  Each of these... If you use only the Lumetri Panel... will be achievable from the main panel of Lumetri and any control surface, you can have. Who even once, work around this limitation. However... put Lumetri three or more on a clip can still bring your computer to its knees.

  Shooting-correspondent... uh, sort of... not... really. Well, sort of... If... sigh.

  Shooting match aligns clips to one or the other, to obtain the sequence of shots in a scene at the search as they came from the same "eyeball" and not 3 different cameras of 3 different manufacturers with different settings on cameras. In general you rank turned a 'Hero', and then match other shots at him using several playheads on the timeline, with your monitor look a split in mode "2 - up" or "3 - up. You are both watching the same scene on your monitor calibrated reading two or three cameras, or maybe you still have a shot as a reference in one or two playheads showing. While you are the ranking.

  In general, there is even a control to 'match' the two places in the read head. Who, in the last "ish" of SpeedGrade, sometimes did a pretty decent job. At least you got a quick ways to correspondent.

  PrPro, you must use the Source, reference and reading monitors to do a stills & "reading head 1, head 2" sort of look. If you have two monitors, you can deselect by using the second monitor reading dedicated and drag the panels & monitors autour to create a new custom workspace and... basically... especially the kind of correspondence shot. It feels a little awkward, but... it can work.

  You do not have to "match the master read head" available, of course.

  What it is is that you can do many things based Speedgrade crushed just do in Lumetri in PrPro. And some he will wonder, no doubt.

  But the way the situation of orders works within PrPro, and also... the way enough Lumetri to begin to match what we're doing in stacking SpeedGrade slows a computer are low, both a bit of a drag IF you are regulars, or need, main work classification.

  In the good old days of yore, you could work a project PrPro, visit Sg in few seconds in the lead a few minutes hand five primaries, several secondary, and a couple of LUTs/looks back on PrPro and most of the time I never had any kind of reading 'touched' by the work of the color. Within the PrPro well... There may be.

  Then... Choose your poison, I guess!

  Neil

• Pipeline of color SpeedGrade, need help

  I am currently stationed at the color grade a short film using a system composed of HW and SW following:

  HP Z820, nVidia Quadro 4000, Windows 7 x 64 Adobe Speedgrade CS6 and a Dell U3011 10-bit display connected via Displayport (made not have LUT HW capacity)

  I have trouble understanding my color pipeline and how to manage it. In particular, Speedgrade CS6 is run not a color app (although Premiere Pro CS6, is) and therefore does not use the ICC profiles loaded on my system. I can create a LUT of my ICC profiles and load in Speedgrade as "calibration" LUTs, but I'm still not clear where this fits in the pipeline. I want to understand how ICC profiles created by i1Profiler xrite are used in this particular situation, that is, in my Nikon D810 (flat) H.264 in Pr acquisition, cut and exit like DPX (or not), interfere in Sg as DPX (or native MOV), classified, exit to create FADS for festivals.

  I know that my particular monitor and use of ICC profiles is not the preferred option, I have already said on the various forums of d-cinema, but unfortunately, this is what I have and what I need to use for this project. I'm trying to understand the pipeline of color in THIS particular system to make the best decisions possible obtain the best possible result.

  Specifically, is there any part of the ICC (monitor calibration/profiling) profile that can / will serve as Speedgrade? For example, I think that there is a matrix (for example, vcgt) or READ any loaded in the HW of the Quadro 4000 at startup by the loader profile xRite (or windows, whatever the case may be), but is then affect all applications, both managed and unmanaged color? Or is - it too, managed by the Windows CMS? If the first, then what part of the ICC will be used by Speedgrade and whose part won't (regarding the adaptation of the color, transform, gamma, etc., i.e., what did the LUT in the Quadro do for me and no color y managed apps)?

  My goal is to import video data from Rec709 (which I guess now my Nikon product) in Speedgrade (which I believe works natively in XYZ space) and be able to see a representation of Rec709 on my monitor, but also to be able to vary the gamma of my screen (e.g., 2, 3(2), 6) to see what my video would look like DCI 3 p in a theater. I understand there are MANY other considerations as surround it, the ambient light levels, etc., but I'll try to manage those better I can too. In addition, this short film is a horror of day and night, so it will be overall dark and mono-chrome (ish), but I don't want to do a theater and see nothing else that black with a small movement here or there. I don't mean to the reproduction of color perfect; I'm more concerned with good reproduction of gamma and black levels.

  No indication on how the monitor profile ICC I create with spectro i1Profiler and i1Pro is used by Speedgrade (and Pr) in my work flow would be greatly appreciated. In addition, all understand how (and when / if) to use the calibration of Speedgrade lut to facilitate this process would be useful. I can also use Photoshop to check the Sg TIFFs with different profiles for final check - anyone done this before?

  Thank you

  Shane

  Patrick J. Palmer

  Shane Taylor wrote:

  I intend to calibrate my screen using xRite i1Profiler and i1Pro spectrometer to Rec709. In this case, the operating system must load the lut in the Quadro 4000 and, if I understand what you said above, as long as Sg and Pr display RGB 709 data, I should be fine, right? But then, I have the following question:

  You will be ok with respect to the list Rec.709 data correctly on a screen that conform to this standard. Indeed, it does not cover your data management.

  1. given that Pr and Sg are not aware, color if I bring in a file in a different color space, it will be not displayed correctly, right (as Sg will not be using Windows CMM color space transformation)? However, if I have a LUT to transform different Rec709 color space, I could load a LUT of calibration in the Assembly / installation / calibration and display correct, correct?

  They are aware of coloor - both are designed to bring in pipelines Rec.709 (true for the CS6 version). SpeedGrade can also be used in other scenarios, but for simplicity of your facility, consider two applications being colour managed - it's 709 through and through (with the exception of internal transformation in SG color - making using a much wider RGB 32-bit floating point pipeline to avoid any artifacts).

  What I have is pretty simple, but there are a few pieces that I did not yet understand to manage at best. Initially, I brought all my images in my Nikon D810 Pr, cut it and locked the picture. In this scenario of Pr, I have images of evoke, others to 23.976 and some to 59.97 (for slow-mo) use. I have also several comps Ae included natively in the form of title sequences, a model of VFX Ae where I composed a photo in a clip, an element above the same clip but slightly shifted a couple of images to create a feeling of dizziness and a model of EI where I sped up a clip that was shot too slowly and finally a credit rolling Pr generated at the end. In addition, I have a couple of fades in/out/from black, hold the few images created by using the key on the original film frames. I have a temporary rank in adjustment layers in Pr currently as a quick overview of temp. After the locking of the photo, I coded the image and it imported in AU, where I just finished a synchronization of soundtrack in 5.1 surround to the image. I'm now trying to take the final step, rank in the Official Journal and export and convert to the STC.

  There are several issues I have been struggling with, for which you might be able to offer the future. They are:

  2. What is the best way to get the images in Sg? I tested both export to the option of Sg in Pr using DPX and an EDL export and load native images of MOV among camera options (though, as I have explained above, not all my images on a single video track in Pr, which complicates an EDL export). The h.262 native seems to be a bit slower on the first run in the Official Journal, but once rendered/updated cache, it is real time on my machine. I like the idea of using the original footage, but do not know which option is preferable. A question I have is that the model of EI where I sped up the images, even if it plays properly as a model of Ae on the chronology of the Pr, includes artifacts (i.e., flashing) when exporting of Pr in this way. If I encode in Ae and import that new second gen footage in the Pr, it encodes without the artifacts of PR. would prefer to avoid second gen images if possible, since I'm already starting with h.264 4:2:0.

  Some general thoughts:

  convert your videos for a better standard such as RGB DPX 444 is not really diminish your quality and has little to do with generational loss (I personally would only talk about generational issues when using any type of compression or reduce the color gamut or bit depth).

  In this perspective, will DPX completely once you have run the creative tasks base in various applications makes most things - except for storage needs. I would like to do the math for how much storage you need for the entire project and I would check also this performance of reading on DPX is here - HD, looking to 170 MB/s in trhoughput, and at 24 fps your system will have to endure a time of access by file as ms 42/chassis. On any SSD that will deliver you (but capacity could be a problem), most hard drives will have enough capacity to 90 minutes these days, but performance may be a problem (a small RAID could be the solution here).

  2B. also, I know people do not bring titles, rolling credits, etc. in note final and this in their application of finishing (for example, Pr), but is always the best approach? Are there benefits to be? Would it not preferable (and realistic) to render all the comps to DPX Ae title, pull those and the original film in Sg with EDL, rank and for DPX and re export - import in Pr to add titles, credits and export to TIFF for STC? Or would it be OK just to export the entire chronology of Pr to DPX, including titles, credits and comps Ae as a single series DPX and draw than in Sg and end there? The audio will be added separately as part of the process of creation of the DCP in any case. If I use Ae separately encode any part, what do I need to worry when you export the files, color space, etc., to ensure consistency between them and native images in Sg (Ae being aware of color)?

  There will be other people with more experience in day-to-day practice advice on one of the two approaches.

  I always prefer to keep things very simple - I then push everything through the same pipe and use a trust format.

  With respect to EI, the production should be 709, too.

  BTW, I hope that your film D810 is also Rec.709 - if it is Adobe RGB, there is additional work to come.

  3. how Sg supports RGB data internally? If I insert the Rec708 RGB data, Sg converts to XYZ to perform any processing and then back to Rec709 for Sg monitor? If this is the case, how does he know the original source color space if I didn't say it (to convert)? Or, Sg ignores color space altogether if the calibration is not used, or until you make and apply a LUT, and the work on whatever data RGB is there anyway (that is, the numbers are a few numbers)? It seems that Sg may not care what are RGB data, which is why we use LUTS with abandon (which themselves define the source and target color spaces), unlike the ICC using the mid-range PCS for transformations of all (most) and some information must be known (or suspected).

  SG is transparent - are simply numbers. This means that your AE 709 output and body will look just the same, and it will work fine with a monitor calibrated to 709.

  4. can you explain the purpose and use of the color tab space by default in Sg? I think I have watched all of your videos teaching and cannot recall having seen all the details that helped me to better understand how make us of it (assuming that I need in my particular case). I don't know that it touches in the Official Journal or how to use it best.

  I hope that I will get to write something about this more later this week. As expected, it is a little more complicated - and things have changed since the CS6.

  5. oh, Yes, the conversion of 23.976 in 24 hours! For the best compatibility with festivals, I intend to create my DCP to 24,000 IPS, not 23.976 native of the original images. Do you have a recommendation on WHERE I need to do this transformation? My calendar of current Pr sequence is 23.976. I would like to copy and past the cut into a sequence of nine 24,000 timeline, just convert on export DPX, or leave at 23.976 until exporting of Sg, or...? I created the soundtrack of export 23.976, unfortunately, but I can fix it in AU to adapt to 24,000. I know just as SOUL, Pr, Ae, and Sg all have slight differences, advantages and disadvantages, in their rendering engines and don't really know what is the best to use in my situation. Any ideas on that?

  Yet once, others hopefully have tips that are a little more generated by being in the thick of things - I this post separately on the forum of the SOUL.

  In my humble OPINION, any temporal conversion is troubled. Most players DCP accept on any fps lately, and so I would leave it alone.

  If you do not need to convert, it should be done as part of the final output and as an alternative to the original (you are eliminating the possibility to leave it blank by converting in advance).

  Oh, regarding the thing Qt already mentioned: If you can, avoid using all Quicktimes in CS6 workflow.

  I try whenever I can ;-) BTW, do you know if this flaw affect the use of the Avid DNxHD codec under the aegis of the QT?

  Yes, it's certainly wrong. Some applications decode DNxHD natively, others allow the engine to QT. The latter showed a wide variety of results in gamma, saturation, estimated - according to the version of QT you have and the DNxHD plugin version.

  These days, not a big problem with the CC package - we went to unified and native decoding for applications later.

  CS6 is not really an ideal environment for the use of this codec, so I would start not looking for various workaround solutions that you will find on the internet. There is always something that will make you difficulty, yet one thing at the end (and compromise, you don't want to).

  See you soon,.

  Patrick

• Make questions

  

  Rendering problem:

  New to GM, made a preset for export to QuickTime and strip the audio. The rendering machine is 0% for 'Good' without making any executives and export anything to the results area. Where to start to fix this error? Thank you!

  I called Adobe support line and had the matter cleared up with one of their tech REPS that the problem apparently lied in my preferences of SpeedGrade, who got "crossed". So reset us them to the default values and she was very well, there weren't no concrete reason for the question though.

• Two questions about the color of Lumetri (workspace color)

  The first question:

  Let´s I have three clips on the timeline, left to right, A clip, clip B and C clip. If I place the CTI to clip B and then move on to working color space that I can easily do magic with color Lumetri in the Lumetri color Panel. But, if I decide now that the adjustments I made to clip B would be great to use for the C clip, is there a way to simply click a button or assign a keyboard shortcut that auto-magiquement copy the clip B to the C clip settings? (the clip B to clamp A (or) It would speed up the workflow much.

  Yes, I know that I can copy/paste from the effect options, but given that the Lumetri color Panel is right and options effect is extreme left would be great avoid using the mouse too. Avid Media Composer has this function is very convenient. I guess that Final Cut Pro 7 did not have it. If she had been in Premiere Pro...

  The second question:

  Is there a way to alternate the color of Lumetri power of in Lumetri color instead of the effect controls panel? Yet once, too much mousing for such a task simple. If I select the color of Lumetri in effect options I can use the hotkey "effect on" to toggle color Lumetri or not, but this same shortcut does not work in Lumetri Panel which is odd color.

  Any help is appreciated!

  1. Unfortunately, no.  It's just one of the many features that we had in SpeedGrade have not yet in PP, Adobe decision taken to kill premature Direct relationship.

  2. Fortunately, Yes.  There's a shortcut not assigned for this.  I use the 0, the default key in SpeedGrade.

• SpeedGrade 2015 - opens only the old project PremierPro files after update.

  Why does it always seems to be collateral damage when Adobe frees the last round of updates for 2015 CC - this time with SpeedGrade. The last update you could open the new PremierPro project files. (see: https://i.gyazo.com/a7b7ccbb2018946daabbaab8741b2a54.png). Curiously, PP project files created before the last update (oldest files) open very well.

  

  Adobe has intensified the question.

  Hi OldScout,

  The last update you could open the new PremierPro project files.

  Probably, this is because the function of Direct link has been deleted in first Pro CC 2013.3 (10.3). Try importing a PCA produced the Premiere Pro sequence instead.

  Sorry for the frustration.

  Thank you
  Kevin

• Video card for Speedgrade

  Hello, just one question please: adobe speedgrade runs on nvidia gtx960m?

  Hello

  Video card requirements

  You must use a video card with 1 GB of memory or more.

  The video card must support OpenGL 2.0 or higher

  You MUST have the last video card for your video card drivers.

  More bandwidth memory best

  If you need an SDI output, then you need one card Quadro, otherwise any video card which has the above specifications will be fine.

  Vinay

• Direct link to adobe speedgrade, clips watch black

  I tired to send a Direct link to adobe the first pro speedgrade. Most of the clips appeared, but some gave me a blank screen. After a few tests more than clips became black screens.

  
  Now almost all of the first 6 clips just show me a black screen

  I tried to change/activate hardware acceleration, restart the software, clear the memory cache to Prime Minister.
  Nothing helps.

  My system specs.
  

  Thanks in advance for your help.

  If you take a new sequence of several the involved and 'safe' music videos, without other effects applied to them, always make the same question in SpeedGrade?

  I would start by "naked" clips on a new sequence in a new project, my car... just a few clips.

  Put them on a sequence, go to SpeedGrade.

  Add one of these things to a clip or two... go to SpeedGrade.

  And now, to see if there is first of all a functioning without problems of SpeedGrade for you... and if so how the problems are.

  Neil

• right to After Effects, first, SpeedGrade workflow

  Hello world.

  I have a big question about how to use the dynamic links between After Effects, first announcement SpeedGrade expecially to make the color.

  I usually start with a pre cut first, without any color (speaking of lumetri) and then I export images in ae.

  I usually import fotage in Ae doing a simple copy and paste from Pr chronology to Ae.

  I don't like the links dynamics because big nested comps. After that I usually have to redo some cuts (because of last-minute client changes) so if I use the dynamics it just does not work because the comp is locked.

  Also, assuming that the same thing happens if I create a dynamic according links for the first I present the nested compositions. So if I want to do some color extended on the front lumetri I am having the same problem.

  So, why we cannot get a dynamic link 'open' smart?

  My workflow is probably wrong, but you must understand that I do all my work on my own, so I'd go back between the two after and first. Generally, I applied my color at the end of my work process, after having put graphics, stuff on caterpillars, etc. 3d.

  I don't see any use for these dynamic link. They seems to be quite difficult.

  Can someone explain a workflow that is not to destroy the dynamic process of back and forth between Pr, Ae, SpeedGrade and so on?

  Thank you

  You don't want the Dynamic Link option. More like file > import > Import Premiere Pro Project

• What are the ideal memory for Adobe SpeedGrade parameters

  What are the ideal memory settings Adobe SpeedGrade? If it is possible how can I define a perfect way for my pc and Adobe Cloud applications?

  Because when I use SG need all the RAM (95%) in use and it crashes sometimes, through the use of all the RAM.

  SG settings and the PC:

  The PC:
  Intel core I7 processor - 5930K 3, 5 GHz
  16 GB OF RAM
  64 bit
  SG
  2015.0 CC release
  Memory management
  Installed RAM 16 GB
  Reserved for other applications 8.2 GB RAM
  RAM available fot Adobe apps 7.7 GB

  If it is possible how can I set the optimal settings for my pc and Adobe Cloud applications?

  Thank you in advance.

  
  

  Kind regards

  
  

  Michael
  

  SpeedGrade 2015.0 RAM eating bug, didn't matter what parameters have been set, SG would eat all the RAM

  I paste the link to the thread here related Speedgrade eat all my 32 GB of RAM - question?

  After SpeedGrade 2015.0 came SpeedGrade 2015.0.1 (or was it a different number?). Now the current version is 2015.1

  If you want to avoid the RAM eating problem, consider an update - but also consider that it is not recommended to update to mid-project. Also consider that when direct linking of first in SpeedGrade versions must match. If you update a you will be locked out of each other - as in if you update SpeedGrdae, but not first, your first will be able to open your "latest version SpeedGrade.

• SpeedGrade Audio via the wrong output

  Weird question in SpeedGrade:

  I made a link Direct to my first project in SpeedGrade. Everything works fine except the audio plays project not through external speakers (who work in other applications, it is not a thing of the system), through the internal speakers on my Mac tower under my desk.

  Is there a setting somewhere that I have to change? If so, how it access? SpeedGrade seems to have almost no menus.

  Thanks for the help.

  SpeedGrade was originally Iridas, a ranking program designed for professional colorists, people who use "surfaces" rather than keyboards, mouse or Wacom tablets to work their magic. So... what they did not WANT a 'big' piece of UI by stuff never used, so... minimalist menu system.

  Since Iridas was bought by Adobe and became "SpeedGrade", they made a number of changes... but the system menus of SO - not Adobe has survived.

  The "Key" icon is the settings menu... and below you can see the places to set to get what you want.

  

  The second option-arrow on the right, the 'device '... I have three different choices on my computer for it. It is probably the thing you need to work with until it comes out in the right place.

  Neil

• Ode and breaking of SpeedGrade.

  I'm on it. SpeedGrade, I love you - but - you're too unstable, too capricious and when I try to use the first projects in your program (so convenient!) My $10,000 workstation slows down speed I knew on my Pentium in 05. IM sad that you leave me cold, in the free when you stop for no reason and my RAM is no longer you watch even after your scopes devoured most of it - Im so sorry, SpeedGrade but I just have a question: can I get out of my LUT your bin? Because I travel with DaVinci Resolve.

  Depending on your operating system, your LUT is in some places. You can use the 'breadcrumb' of the LUT research section to find the disk...

  (1) click on the + icon in the lower left corner of the user interface...

  2) click on the triangle next to 'Film' for the list...

  (3) choose LUT in the list...

  (4) select three points "breadcrumb" here icon circled in red...

  

  5) look in records examples Lumetri & Look... unless you have stored the manufacture craft of your LUT or downloaded elsewhere. If so, use this process to get where you select that LUT to and note which folder on the computer that you are in...

  Wishin ' you did not have this problem, but... being the best help I can. Best wishes...

  Neil