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You're correct: the last version of SpeedGrade was 2015.1, and that could do the "Direct Link" process with PrPro 2015.2. The were both in the 9.x build series.
The only way to use SpeedGrade with a later build series ... say the current 11.x builds of the 2017 series, is by modding the header for a PrPro project file (the prproj file) so Sg 2015.1 "sees" that file as a PrPro 2015.2 file. One character is all that needs changing, and it still works a second build series.
There are threads here of how to manually do this (both Mac & PC), it takes a minute or so after you get used to doing it. Also, for PC's, user Patrick Zadrobilek has his own Ntown Productions site, and he's made a little app he sells for a very few euros that does a save-as of a prproj file, and then auto-increments the resulting file plus changes the one character so that Sg 2015.1 can be used with it.
After completing work in Sg, you save the file from Sg, "open" that file in his PrProBCC app again, and it reverts the file to 2017 status. You can't use AE comps in a sequence that you send to Sg this way, those need to be replaced with full-media clips rendered out of AE and used on the sequence prior to sending it to Sg.
You can look back through the forum and from the thread titles see the various threads involved.
Many thanks for your explanations. I'll try your workaround.
Have a nice day,
Hope it works ... feel free to ask!
When is there an update for Speedgrade? Is it developed?
SpeedGrade is officially on "hiatus" ... while they're trying to figure out if they will rebuild it (as they did with Audition a year/two back) or EOL it. So currently there is no public statement as to whether or not they have even reached a decision. At MAX in San Diego last November, I was told they haven't even scheduled the decision/discussion period for that yet.
Since then, they may have ... or maybe not. We won't know until they announce something. I'm certainly hoping for a decision to rebuild it. To me, the Lumetri panel is an interesting and fascinating tool for some things ... I'm even doing a series of blogs on using Lumetri with the Tangent Ripple and Elements panels, with advice on how to get the most speed and accuracy out of that tool.
However, it is a limited tool-set, and I'd rather have something with a vastly more complete colorist set of tools. Such as Speedgrade. Among other things, shotmatching is tedious in Lumetri and wondrously fast in SpeedGrade.
Which is why I still use fellow Sg user Patrick Zadrobilek's Ntown Production's app, PrProBCC, to auto-convert a 2017 project so that Sg 2015.1 can still see it in "direct link" mode. Then run the project file back through PrProBCC to get it reverted to a 2017 header. That's discussed in a number of other threads on here.
Many thanks for the detailed answer.
If you haven't been "around", there's some of the major pieces to just getting work done you won't know. So I try to help people get through and at times around the "landscape" as much of the way to just get stuff out isn't obvious at first ... or even fifth ... look at it.
But once you start understanding things, then ... work flows.
SpeedGrade 2017 HAS been released, but it's called DaVinci Resolve 14 by Blackmagic Design. And guess what? The 4K Studio version is no longer $999, but $299!
I have been a fervent, outspoken fan of SpeedGrade since I learned to use both the EDL and flattened file workflows and used the software to beautifully grade a short film. In the face of the professional world's embracing of Resolve, I've stood by SpeedGrade the way I've stood by Audition while movies and commercials are mixed in Pro Tools.
For me, $50 a month is worth it (barely) when Adobe advances not just an all-inclusive editing program, but also mixing, color, effects and still-photography software options.
The Lumetri color panel in Premiere doesn't even come close to what I can do in SpeedGrade. I could not live without 2-up and 3-up displays, shot matching, and most importantly, a responsiveness while making adjustments I just can't achieve within Premiere's color panel.
I've stayed away from Resolve because of 1. the cost and 2. the learning curve. However, now that the price has dropped, and given the huge advances Resolve is making in editing as well, the time may have come for me to take a serious look at their option.
I think creative color is one of the most underutilized aspects of image making. Cinematography might begin on set, but it lives or dies in color-correction. Nothing has disappointed me more than Adobe's lack of support for a standalone color-correction option.
I remain an Adobe fanboy. But with everything becoming an essential panel within Premiere, we'll see how long my $50 a month loyalty lasts.
Understood. So ... totally. Sigh.