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Table Of Contents
- Color User Manual
- Contents
- Color Documentation and Resources
- Color Correction Basics
- Color Correction Workflows
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects and Archives
- Moving Projects Between FinalCutPro and Color
- Reconforming Projects
- Importing EDLs
- Exporting EDLs
- Relinking QuickTime Media
- Importing Media Directly into The Timeline
- Compatible Media Formats
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Setup
- Monitoring
- Timeline Playback, Navigation, and Editing
- Video Scopes
- Primary In
- Secondaries
- Color FX
- Primary Out
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Applying Saved Corrections and Grades to Shots
- Managing Grades in the Timeline
- Using the “Copy to” Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Using the Primary, Secondary, and Color FX Rooms Together to Manage Each Shot’s Corrections
- Keyframing
- Geometry
- Still Store
- Render Queue
- Calibrating Your Monitor
- Keyboard Shortcuts
- Setting Up a Control Surface
- Index
108 Chapter 5 Setup
 Turning this setting on causes in keyframed changes in hue to be animated
radially, with the hue cycling through all hues on the color wheel in between the
current and target hues. This results in visible color cycling if you’re animating a
change from one hue to any other that’s not directly adjacent on the color wheel.
This is the method that Final Cut Pro uses when animating color adjustments in
the Color Corrector and Color Corrector 3-way filters.
 Internal Pixel Format: The option you choose from this pop-up menu determines the
bit depth Color uses for the internal processing of color, both during real-time
playback and when rendering the final output. Bit depth is expressed as the number
of bits per color channel, and describes the total number of values used to display
the range of color by every pixel of an image. Higher bit depths result in a higher-
quality image, but are more processor intensive to play back and render.
 8-bit: The lowest bit depth at which Color can operate, and the least processor-
intensive.
 10-bit: The minimum recommended bit depth recommended for projects
incorporating secondary color correction and vignetting, regardless of the source.
 12-bit: A higher bit depth supported by some video cards.
 16-bit: An extremely high-quality bit depth. It has been suggested that 16-bit is the
best linear equivalent to 10-bit log when working on images from film scans.
 Float: The highest level of image-processing quality available in Color. Float refers
to the use of floating-point math to store and calculate fractional data. This means
that values higher then 1 can be used to store data that would otherwise be
rounded down using the integer-based 8-, 10-, 12-, and 16-bit depths. Float is an
extremely processor intensive bit depth, so plan for longer rendering times.
Note: Float is not available when using NVidia graphics cards.
Animated color control adjustment
with radial interpolation turned on
Animated color control adjustment
with radial interpolation turned off