Roundtrip workflow from Premiere to Speedgrade to Premiere?

Hi!
I see how to bring my project from Premiere to Speedgrade. But how do I continue working with Premiere and see the reflected grading?
So, changes made in Speedgrade, don't update the look or footage in Premiere?
Thanks
Max

Check the Pan & Scan module for custom output settings:
http://helpx.adobe.com/content/help/en/speedgrade/using/adjust-framing-shots-pan-scan.html
eeaumen wrote:
I would also like to go back to premiere so I can export 2.35:1 with DSLR files.  I cannot find a way to do it from SG.
Pat

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    If you "send" a Premiere Pro sequence to Sg you will render out a single DPX image sequence (including effects and transitions, and without any references to edit markers or original filenames) and so importing that back into Pr would flatten your entire timeline to a single clip. Any changes to the Pr timeline and you'd have to do it all over again.
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    Grade all your footage before ever touching Pr, export everything to lossless video or image sequences and work with those, forgetting about the original files completely (you'll need a bunch of disk space and hopefully a MOS shooting pattern, as your audio will be split out).
    Grade a sample of every clip you're using, then save a Look for each one. Export the Looks as 3D LUT files (.cube) and use a plugin to apply them to your clips. Right now there's no official plugin for Premiere (Magic Bullet LUT Buddy isn't certified past CS5) but After Effects can apply both the .cube and the .look files via the "Apply Color LUT" effect. Note that some changes in Sg are not included in the Look, such as the choice of color space and tone curve, so what you see in Sg may not be what you get back in Pr.
    I'm not downplaying the abilities of Sg, but it's a colorist's tool and doesn't sit very well in the CS6 unified concept of "one person can make a movie". It helps to think of it in terms of the union system in Hollywood - an editor never grades and a colorist never edits, so their tools look completely different, work completely different, and the electronic conversation only goes in one direction.
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    Unfortunately this is a limitation of the EDL-format. Other competitive applications show the same results with exporting a EDL form a scene-detected clip. The purpose of an EDL was to be able to lay out an edit as efficiently form one machine to an other, with tape or film as footage. 'dumb'-cuts are ignored because they have no purpose for this. Now, two generations later, we want those dub-cuts for various reasons... If requested Adobe to alter the edl-creation in SG so then when importing it in PR, the dumb-cuts stay.
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    When opening an adobe premiere project in Speed Grade 7.1, the application crashes.  This crash also occurs when using the Direct Link feature in Adobe Premiere CC.
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      Additional Information 2:          741a5fa265975a1d1d11a07a26a2d59a
      Additional Information 3:          531c
      Additional Information 4:          531c0e5785e312687e62b7e68c22f3f5

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    http://forums.adobe.com/message/5807672
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