Sending your Adobe Premiere Pro projects directly into SpeedGrade just got easier with the 2015 release of both applications. Just use the “Direct Link to Adobe SpeedGrade…” command in the Premiere Pro File menu. Also, you now have access to the Lumetri color engine if you choose to stay in Premiere. Grading and correcting can be done without leaving your favorite editor. So the question arises, if I can color correct in Premiere using the same tools that I would use in SpeedGrade, then why do I need SpeedGrade?
Sometimes it’s the real estate. Color correcting and shot matching in SG is done with a dedicated user interface. The application frame is designed for the task. The same processes if handled in Premiere is done inside of a tightly packed Premiere workspace panel.
SpeedGrade has a lot more going for it than just handling those processes. Besides dedicated workspaces for pan and scan, having multiple playheads driving multiple views of the timeline is critical to matching shots with professional judgment, especially when your attempt to explain a waveform scope isn’t helping the client seated next to you.
Color timing, matching and grading are jobs that require (at a minimum) some focus and a small amount of dedicated skill and understanding. Do you really want your editors spending hours on a process better suited for a program like SpeedGrade and driven by a person that understands color? As usual the choice is yours. The money, on the other hand is there to make. Having the wrong person or application trying to complete a specialized task? Well the money is there to waste. I hope it’s your money, not the client’s.
In 2015 I had an opportunity to teach a class to three members of the Third Combat Camera Squadron, United States Air Force out of San Antonio Texas.
The class was at Future Media Concepts in Irvine and the course was Adobe SpeedGrade. Contact FMC today and learn the ease of the application that supports your professional workflow.