From SpeedGrade back to Premiere...

Greetings Adobe Community,
I'm working on a project where I have to do the video edit and the color correction using Premiere CS6 and Adobe SpeedGrade.
I'm working with R3D 5K footage. I successfully imported the EDL from my sequence to SpeedGrade, I graded and then exported to ProRes4444, and my next step would be to connect the graded footage to my sequence in Premiere... except that I don't know how to do it.
I tried replacing footage from my project panel, but that made a mess, and besides I'd have replace each r3d file individually, which tells me I am on the wrong path.
I would also like to know if I'm doing the right thing by exporting ProRess4444, or should I use another option for greatest quality?
Any advice that would point me in the right direction will be greatly appreciated. Thank you!

Is there a reason why you need to grade the footage pre-edit in a way that Premiere's basic color-correcting tools (such as the 3-way CC) won't handle?
You're asking for a 'workflow option' but what you're doing now is essentially correct, just not in that order.
Import to Prem -> cut - > EDL -> load in Sg -> grade -> render.
There's a lot of confusion about how Sg works with Premiere Pro, the truth is it doesn't - not yet. In the digital cinema industry unless there's something so hideously-off thatyou can't see what you're cutting, the edit happens before anyone even begins to think about grading. Only when the cuts are nailed is the EDL handed off to the colorist (another person in another office, possibly another planet, with a completely different set of hardware and training). It's much more efficient as they only have to grade the footage chosen for output - time and money isn't wasted processing frames that nobody's going to see - and shot matching is easy because they know where the cuts are. Sg was designed for that industry, so it's very much an end-of-pipe product. Unfortunately until Adobe bought IRIDAS, Premiere Pro was also at the end of that pipe.
I'll admit Adobe haven't helped the situation by promoting Sg as a Shiny New Toy For Everyone. It's not (yet) - the fact it prefers everyone to have a Tangent desk rather gives away the intended audience. Sg is very good at what it does and has a couple of unique features (such as Macbeth detection) but it's by no means the only way to get a 'look' onto your footage.
Until CC arrives in a couple of weeks, the possible workflows starting in Prem are:
Edit your raw (or offline) files, then pass to Sg via EDL (or DPX for people without timecoded media), grade and export from there (the way IRIDAS planned it to work).
Bring some sample clips into Sg, construct a grade and export the LUT files, then (try to) apply those in Prem or AE as Fuzzy suggests. It's not without problems but it's an option if you have an existing .look and don't have the time to deconstruct it.
Use Prem's inbuilt CC effects or a third-party plugin (e.g. those from Magic Bullet).

Similar Messages

Linking back into premiere, PSDs unlink

I was just wondering if anyone else has experienced an unlinking issue when moving from Speedgrade back into Premiere with direct link? I have 3 PSDs on the line, and every time I move from SG back to PPro two of them unlink and the third remains linked.. I cannot fathom why this might be the case.. none of my source files are moving, and it is very inconvenient. Any solutions to the problem would be appreciated, or if it is a bug perhaps a fix could be implemented in a future release.
Thanks!

Hi,
Some PSDs could cause that problem. We are trying to solve that problem for a future release.
I'm sending you a PM.
Thanks,
Fran

Problems with masks after sending sequence back from SpeedGrade to Premiere (CC)

Hello,
I'm colour grading a clip in SpeedGrade CC using the new direct link function. For the colour grading I used different layers and also masks. Once I'm done I sent my sequence back to Premiere Pro CC.
I see, Premiere shows me exactly the colour correction I did in SpeedGrade except of one thing:
The places where I used masks in SpeedGrade to light them for instance a bit up are now full of pixeled lines...
I thought it's just a problem with the Preview, so I exported it. The pixeled lines stayed.
Again: In SpeedGrade is everything fine, but when I'm sending the sequence back to Premiere there are these pixels.
It's really irritating because one day before it worked very good without any problems and I was practically doing the same as now.
Please help me, if you can! Thank You!

Thank you but my masks are not animated. Premiere just can't reflect the colour correction I did for these masks. Here's an example...on the right edge I created a mask in SpeedGrade. And that's what Premiere is showing me when I send the sequence back from SpeedGrade to it:
Does anybody know the solution?

How do I extract files from a dvd I have already burned to re-edit back in Premiere?

I'm trying to extract the files from a dvd back to Premiere, the project was assembled with Premiere Pro 1.5, I need to re-edit that same project. The dvd is not a data disk.
Please help!!

Along with the material in Eddie's link, you might want to read over this ARTICLE by Jeff Bellune, posted in the Adobe Encore FAQ's. While it addresses getting the material into Encore for authoring, much will apply to your situation.
Personally, I use an A-D bridge (though the file structure is already in digital form) to Capture directly from my DVD player to my computer. This is for non-commercial DVD's from my clients, where the original material is no longer available.. It's quick, easy and my Capture software Exports as DV-AVI Type II, so there is no additional conversion needed. If I need to work on the Menu structure, etc., then I use a workflow similar to Jeff's, outlined in his article.
Good luck, and please follow Eddie's link,
Hunt

Round tripping from Premiere CC to Audition CC back to Premiere-no video

My last big project was on Adobe CS6 and roundtripped from Premiere to Audition and back to Premiere and it all worked out great. Been doing the recent project with Premiere CC to Audiition CC. Made the audio adustments in Audition, saved, etc and went to export under Multitrack>Premiere Pro(and keeping the individual stems). When I saw the new sequence in PP project panel and opened it up, but all I got were the edited audio tracks, but no video. I tried it three times and the same thing happened. I can't send out the finished movie without the video. And I won't start over and copy and paste the video over the new audio sequence(still on seperate video tracks before the final tweaking). What was changed from CS6 to CC?

Not a direct reply to your question but...
I have only exported video to Audition as a reference track- preferring to use the PP timeline for the master export. I somehow feel it's less prone to image quality loss (codec dependent!)
To that end, I add the imported Audition mix-down either as a single or multiple stems, depending upon the project requirements, and place them in sync in the original timeline.

From Premiere to AE, then Back into Premiere

I have edited some footage in Premiere and applied a bunch of effects to it by importing the sequence to AE. I now wish to export the resulting AE comp BACK into Premiere, but while it appears in the bin, it's not allowing me to drag it onto the timeline? Is there any way around this?

You can't reimport AE composition with dynamically linked sequence back into PrPro. Similarly you can't replace a group of clips in PrPro timeline or a sequence, which already contains dynamically linked composition, with dynamically linked composition once again, 'cos that creates an infinite loop.
If you want to bring your dynamically linked sequence back to PrPro, export digital intermediate out of AE and import it into PrPro.

Levels sent back to Premiere from Audition higher / clipping

I am editing a multitrack sequence in Premiere CC and sending it to Audition CC for audio cleanup. I need to run an Match Volume to get the audio up and it works fine. The metering shows average around -8,-6 db and peaks no more than -3 db. However, when I send it back to Premiere, the levels are higher and blowing past 0 db on multiple locations, causing clipping of course. The levers are higher in Premiere than they are in Audition. This makes absolutely no sense.
I have found this discussion below and tried the solution, but it had no effect on my issue. I am not using a compressor on my audio, so maybe this is why it didn't work.
http://forums.adobe.com/message/4182747#4182747
Any suggestions? Thanks.

There is a difference between sending individual clips to Audition, and sending a sequence. When sending a clip or clips to edit in the Waveform view, Premiere first performs a render and replace in its own timeline, generating a new wave file. When you edit and save that wave file in Audition, it automatically updates the clip in the Premiere timeline since Premiere is referencing that new, shared file.
However, when sending a sequence to Audition, the original Premiere timeline is left untouched. New clips are generated by Premiere, based on the clips in your timeline, and imported to Audition as a multitrack sequence. However, when working in this mode you are working on an entirely separate project and what you send back to Premiere is fully rendered stems - one or more fully mixed wave files that get placed on their own audio track in your Premiere sequence. Once these stems are back in Premiere, you can mute the original audio tracks as the new audio file is the synchronized and mixed audio.
It can get more involved if you wish. You can configure your Audition session with busses and route your audio channels through those, then send each Bus output as a separate stem to Audition. You may want to do this if you anticipate offering multiple dialog tracks in your final video, but plan to have music and atmosphere tracks remain the same. You can also send each track in Audition back as a separate stem, which would allow you further control in Premiere or reduce the risk of sync problems if you need to make an edit to the video afterward.
If you're still having troubles, please describe the exact series of steps and menu commands you are following and we can see where the trouble may be.

Cannot Render from SpeedGrade CS6

So, I'm doing some testing to see if SpeedGrade CS6 is for me or not, and honestly…I love what I've seen so far. But, I'm having an issue that's probably easy to resolve (no pun intended), but for the life of me I can't figure out why.
I put a quick sequence of 4K R3D files together in Premiere CS6, exported an EDL, opened the EDL in SpeedGrade and linked back to the footage. Everything seems to work fine. I've graded my clips, added a vignette, and now I'm trying to render/export. But the "Render" button seems permanently greyed out. No matter what combination of output options I choose, it just won't let me start a render session. I'm running the latest CS6, updated via the Adobe Updater. I'm working on a 15" MacBook Pro with Core i7 processor and plenty of RAM. The only connected peripheral is a Thunderbolt RAID setup.
Any ideas why I can't render?
Thanks!

Hello Stephen,
simple things first...
Did you set an output name?
If not, the render button will be grayed out.
Cheers
Thomas
Am 21.06.12 21:25, schrieb stephenamick:
>
Cannot Render from SpeedGrade CS6
created by stephenamick <http://forums.adobe.com/people/stephenamick> in /SpeedGrade/ - View the full discussion <http://forums.adobe.com/message/4511674#4511674

Exporting Timeline from Speedgrade

I am working with Premiere Pro and Speedgrade CC. I find using the direct-link is fine but a bit limiting in terms of the full potential of Speedgrade. The direct-link from Premiere Pro also seems to slow up my system and grading becomes very clunky despite my 3.5Ghz i7, 3Tb fusion drive, 4gb graphics card, 32gb ram brand new iMac27 !
So I have exported my timeline from Premiere pro as an EDL and imported the clips natively into Speedgrade. I can now add grading layers etc and the processor seems to deal with this much better. Grading is fast and efficient working with the clips this way. The problem i have now is exporting from Speedgrade and getting my timeline back into Premiere Pro for finishing , titling etc and final export.
I have managed by default i think to export my timeline as individual clips using the PathElement-0 option from the Render panel ( i found this on a tutorial ) and the clips are saved in a folder as .mov files. When I import these back into Premiere Pro they are in a random order and not in sequence.
How can i now re-form my timeline from these clips in Premiere ?
I have tried saving an EDL from the Timeline tab in Speedgrade but this just refers back to the imported non-graded clips NOT the new graded clips in my Speedgrade timeline ?
Does anyone have a good Premiere Pro / Speedgrade roundtrip that excludes the Direct-Link to Speedgrade ???
Thanks
Best
Mark

Sorry to be so long in replying ... but here's my bit. Adobe's staffers have indicated they are moving from the "old" EDL process to the direct-link, and so ... it's not a heavily supported nor even considered part of the internal thinking process ... I think that's fair to say. Still available but not emphasized? I've noted the staffers don't tend to work here so much with internal-Adobe EDL questions, mostly for those who are clearly working with timelines from other sources and therefore MUST use EDL & XML importing.
I'm wondering if part of your slow-down issues are waiting until your editing is finished to edit-lock & THEN only taking a "final" timeline into Sg? Prior to the CC-model with the Direct Link so heavily incorporated, that was the ONLY thing that made sense. Now, it's so fast to buzz forth & back that working sub-sequences is becoming common and "standard" ... if for no other reason than Sg is faster in d-l mode with shorter sequences, rather than say working a single 87 minute sequence. My personal model is to take sequences over for basic correction early on, pretty much as soon as I've got them mostly sorted. Especially if I've got b-roll the quality or "feel" of which I'm not sure. (Some of my b-roll is provided by others ...) After seeing the way the look can be worked with each, I may even change some of my sequence editing choices. And playing back the full Master sequence in the Program Monitor I can see if I need to adjust any sub-sequences to better match.
As to using the old way ... I think using proxies might work better, but I don't have much experience with that. I know that was standard and most colorists knew how to do that sleeping. I did it a few times, and once or twice even got it right first off without futzing. Other times I was on here for questions, which got some raised eye-brow comments back & forth between the Experienced Masters ... "geez, dumb noob's anywayz ... "
SpeedGrade can do this, the controls are still there and pretty much unchanged if I never learned to decipher the Gobbledeegook Speak. Check out some of the tutorials for CS6 days, as that was still heavily used at that time.
Neil

Importing graded footage back to Premiere Pro CS6

I am trying to color correct/grade my clips. I sent it to Speedgrade through Premiere Pro (CS6) but after rendering it out as a DPX, and trying to send it back to Premiere Pro (DPX as image sequence), not all graded clips were there. (Clip is 4:40 min) but only 1:39 min is what was imported back to Premiere Pro.

I've found on occasion that I've tried to export and didn't catch that the export dialog thought I was only trying to export something highlighted or had another setting for "area selected". I would guess you've run afoul of something similar ... or a box that was checked you might not even realize was there. As I just found trying to (for the first time in a year) export an EDL from PrPro to Sg. I had to puzzle out something like three different places the two programs were trying to help me before I could get the blasted EDL and footage both imported to the same Sg timeline.
As an alternative to DPX there is of course two different EDL processes ... one where you simply export an EDL and then after creating your Sg project, navigate to that through Sg's Media panel, drag it to the timeline, then using the Media Panel navigate to the folder containing your clips, then use the "load from desktop" option to populate your timeline.
The other ... you export both the EDL and the sequence from timeline, and then put one on the new Sg project timeline, drag the other on top. It takes a bit longer to do the export from PrPro of the footage which is probably not needed most of the time.
I've just put up on the forum an explanation of how to do this with progressive footage and avoid the hiccups the two programs can throw at you. The first one ... if all your media is in a single folder-tree ... is very quick & easy. That EDL export is nearly instantaneous, and the clips load over it just bango ... now, I used to have problems at times exporting (rendering) a timeline out of Sg. I don't know if an EDL process can work sending grading back to PrPro, I think you'd have to render out. But many people did that all the time without problems.
Neil

Steps to send a clip to AE to utilize Warp Stabilizer VFX then back to Premiere Pro CC

So I use Warp Stabilizer for about 200 clips per project. It's effectiveness has shaped how I shoot. It's awesome. Now there's VFX in AE...Can someone layout the steps involved in the following:
a) Taking a clip from Premiere Pro CC and sending it to After Effects CC (I'm not that versed in using AE having not used it in quite a while)
b) Then how to apply the new Warp Stabilizer VFX (I assume just go to effects>distort>WarpStabilizerVFX ???) ... (if there are tutorials on how exactly to use it, especially detailing exactly how to utilize the new feature of isolating what in the frame is to be stabilized that would be great too)
c) Then how to send it back to Premiere Pro CC. (I'm guessing I just save it and let dynamic link take care of the rest?)
I've tried right-clicking on a clip and selecting "replace with AE composition" (is that what I should do?), then applying the effect but I get a "warp stabilizer VFX analysis doesn't work with Collapse Transformations" message so I stopped. If it makes any difference, the majority of my footage is shot at 60p and then interpreted and edited at 23.976fps. Thanks!
NOTE TO STAFF: I've said it before and I'll say it again as someone who uses warp stabilizer several hundred times per week, I still think the default "method" in the settings should be "Position, Scale, Rotation" instead of Subspace Warp because it works FAR better (less wobble and less scaling about 90% of the time). Can't help myself I had to bring that up again here.

a) Select a clip in PrPro timeline, right-click and choose 'Replace With After Effects Composition'. Take care of handles if you might need them (that's rather general tip).
Warning about Collapse Transformation switch indicates that you have 'Scale to Frame Size' option enabled for your clips in PrPro timeline. If that was done intentionally, you can simply toggle the Collapse Transformation switch (small sun icon) off. If not, rather disable 'Scale to Frame Size' for your clips in PrPro timeline.
b) Quite a boring but covering almost all necessary details tutorial on basic work with Warp Stabilizer in AE CC from Adobe TV:
Some advanced techniques from Lynda.com
and Mathias Möhl:
c) When you're happy with your work in AE and going to lock it, render a digital intermediate out of AE, import it into PrPro and replace your dynamically linked composition in the timeline with that DI (see this good old thread on Dynamic Link workflow, pay attention to Todd's comments).
If you leave the 'Include Project Link' checkbox in the Output Module Settings dialog enabled while rendering your DI, you can easily get back to appropriate AE project so as to maybe tweak some settings: just select your DI in PrPro timeline, right-click and choose 'Edit Original'.
Mind the bloating issue, keep the amount of applied Warp Stabilizer instances in a single AE project reasonable.

Importing a HD .MTS video into AE and back to Premiere with minimal quality loss

Hi all,
AE doesn't seem to support .MTS... so I'm trying to find a way to get a few clips into AE, remove some grain with the grain removal tool, and then get them back into Premiere into my main project. Does anyone have any advice about the best format (and maybe a converter tool) and method for doing this?
I appreciate it!

Which version of AE? AE has supported P2/ XDCAM/ AVCHD files for a while now, all of which can be labeled as MTS. Without exactly knowing what files, nobody wil lbe able to give concrete advice on converters and such. That aside, there's no need to turn this into a science lesson - simply export image sequences or losslessly compressed Quicktime files (Animation, PNG) from Premiere. any otehr format will only introduce another level of compression, which kinda defeats the purpose of denoising it in the first place...
Mylenium

Dynamic link button from speed grade to premiere is grey.

Dynamic Link button from Speedgrade to Premier is grey. No problems Linking from Premier to SG, but no way to send the project back to Premier. The project is in Apple ProRes 4444. I have a Mac Pro last generation. Thanks for an urgent help!

Well... I have done everything you advice first SG, but it didn't work, so I have cleaned the whole CC, erasing any possible trace of it from my computer, then I have gone through the Cleaner Tool and reinstalled brand new the whole thing.
My builds now:
PrPro: 8.2.0(65)
SpeedGrade: 8.2x51
Exactly the same. Obviously, troubleshooting.
For what I understand, according to your comment, is that I ave to match the builds, which would mean either to low down PP to 51 or up SG to 65... Is ti that or am I getting crazy?
But how the hell to do it?
I have a 2 hours film with a 1 month grading work on it stuck in SG... Aaaaahhhhh!
(Oh, the good old times of FCP 7 and Color... NEVER A PROBLEM)
Best,
Luis

Use speedgrade looks in premiere pro

Hey all,
I hear Premiere CC lets you export a dpx and then build the looks, and rather than export the footage from speedgrade causing an edit lock, large space use, and time, and transistion loss you can just apply the saved look file to the clips in PP..
This is a godly feature and is worth alot more than I pay for creative cloud lol. The only problem; I have no idea how to do this.

Here's what I have been doing.
Load the clip you want to color correct/grade into speedgrade. After you have the desired look you want, hit ctrl+p (mac: Cmd+p) to save the look.
Then right-click on the new preset look you just made and select "Export Look" a menu will pop up. Select "Export". Save the zip file somewhere on you PC
open the zip file and extract the .Look or .cube file from the zip.
Open up Premeire, load a project. Add the "Lumetri" to the desire clip. Lumetri will ask you to find a LUT to add to the clip. Go to the extracted .look or .cube you made from
speedgrade and now you're done.
I hope this helps

SDI Output from Speedgrade

I have a blackmagic design decklink SDI card. Works ok with Premiere, but I don't see any way to output a signal from speedgrade. (There's an SDI out option if I have a specific nVidia quadro sdi card, but I don't have that and I'm not going to buy it just so I can use speedgrade.)
Kind of hard to grade without a proper SDI output to a calibrated monitor... Am I missing something or is this feature just not part of speedgrade?

I'm currently deciding between configuring a Speedgrade and DaVinci Resolve system. I was hoping that Speedgrade would work with my Kona 3 card. As the Davinci requires buying the decklink card as well as two graphcis cards.
I realize that a Quadro 4000 will speed performance up. Wondering if the Quadro 4000 can be configured to do SDI out through by adapting the displayport output?
Would be great if the Adobe Speedgrade web page made the SDI monitoring workflow more clear. So far working through the trial,it looks like great software.

From SpeedGrade back to Premiere...

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