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Chapter 7 Timeline Playback, Navigation, and Editing 133
The Settings 2 Tab
This second tab contains additional settings that let you modify the header data of DPX
image files.
 Override Header Settings: Turning this setting on overrides the following settings in
the DPX header for the current shot.
 Log: This setting lets you enable or disable the log to linear image conversion that
Color automatically performs to 10-bit log DPX and Cineon files.
 Printing Density: This pop-up menu is only selectable when the current project is set
to use Cineon or DPX image sequences. It lets you explicitly choose the numeric
range of values that are used to process color to ensure compatibility with your post-
production pipeline. These options determine what the black and white points are
set to in media that’s rendered out of Color. There are three options:
 Film (95 Black – 685 White : Logarithmic)
 Video (65 Black – 940 White : Linear)
 Linear (0 Black – 1023 White)
Important: The default black point for DPX film scans is typically 95, and the default
white point for DPX film scans is typically 685. It’s important to make sure that the
Black Point and White Point settings aren’t filled with spurious data. Check with your
lab to verify the appropriate settings.
 DeInterlace: Turning this button on lets you individually deinterlace clips. This setting
overrides the Deinterlace Renders and Deinterlace Previews settings in the Project
Settings tab. When DeInterlace is turned on, both video fields are averaged together
to create a single frame.
Editing Controls and Procedures
Color is not intended to be an editing environment, and as a result its editing toolset
isn’t as complete as that of an application like Final Cut Pro. In fact, most of the time
you want to be careful not to make any editorial changes at all to your project in Color,
for a variety of reasons:
 Unlocking the tracks of projects that were imported via XML or sent from
Final Cut Pro and that will be returning to Final Cut Pro risks disrupting the project
data, preventing you from successfully sending the project back to Final Cut Pro.
 If you make edits to an project that was sent from Final Cut Pro, you’ll only be able to
send a simplified version of that project back to Final Cut Pro which contains only the
shots and transitions in track V1, and the Pan & Scan settings in the Geometry room.
 If you import an EDL and make edits, you can export an EDL from Color that
incorporates your changes; however, that EDL will only contain the shots and
transitions in track V1.
 If the project you’ve imported is synchronized to an audio mix, then making any
editorial changes risks breaking the audio sync.