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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
166 Chapter 9 Primary In
Step 4: Make more specific adjustments
If you still feel that there are specific aspects of the image that need further adjustment
after steps one through three, you can turn to the curves controls, which let you make
targeted adjustments to the color and contrast of the image within specifically defined
zones of tonality. Past a certain point, however, it may also be easier to move on to the
Secondaries room, covered in Chapter 10, “Secondaries,” on page 209.
Using the Primary Contrast Controls
If you strip away the color in an image (you can do this by setting the Saturation
control to 0), the grayscale image that remains represents the luma component of the
image, which is the portion of the image that controls the lightness of the image. As
explained in “The Y’C
B
C
R
Color Model” on page 24, the luma of an image is derived
from a weighted ratio of the red, green, and blue channels of the image which
corresponds to the eye’s sensitivity to each color.
Although luma was originally a video concept, you can manipulate the luma
component of images using the contrast controls in Color no matter what the
originating format. These controls let you adjust the lightness of an image more or less
independently from its color.
Note: Extreme adjustments to image contrast may have an effect on image saturation.