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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
Chapter 8 Video Scopes 149
Overlay
The Overlay scope presents information that’s identical to that in the Parade scope,
except that the waveforms representing the red, green, and blue channels are
superimposed directly over one another.
This can make it easier to spot the relative differences or similarities in overlapping
areas of the three color channels that are supposed to be identical, such as neutral
whites, grays, or blacks.
Another feature of this display is that when the video scopes are set to display color (by
turning off the Monochrome Scopes parameter), then areas of the graticule where the
red, green, and blue waveforms precisely overlap appear white. This makes it easy to
see when you’ve eliminated color casts in the shadows and highlights by balancing all
three channels.
Red/Green/Blue Channels
These scopes show isolated waveforms for each of the color channels. They’re useful
when you want a closer look at a single channel’s values.