1.0
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
Chapter 8 Video Scopes 143
 In Double Display mode: Up to three video scopes are displayed in the Scopes
window, in addition to the video preview.
Video Scopes Accuracy
To create a real-time analysis of the video signal (even during adjustment and
playback), Color downsamples the current image to a resolution of 384 x 192. The
downsampled image is then analyzed, and the resulting data displayed by the
currently selected scopes. This same downsampled resolution is used regardless of
the original resolution of the source media.
Using this method, every pixel contributes to the final analysis of the image. In tests,
the graphs produced by the Color video scopes closely match those produced by
dedicated video scopes, and are extremely useful as an aid to evaluating and
matching shots while you work in Color. However, you should be aware that the
Color analysis is still an approximation of the total data. Dedicated video scopes are
still valuable for critical evaluation.
Note: If you’re concerned about catching stray out-of-gamut pixels while you make
adjustments for QC purposes, you can turn on the Broadcast Safe settings to protect
yourself from QC violations. For more information, see “Broadcast Safe Settings” on
page 100.