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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 9 Primary In 171
Adjusting the Midtones
The Midtone contrast slider lets you make a nonlinear adjustment to the distribution of
midtones in the image (sometimes referred to generically as a gamma adjustment).
What this means is that you can adjust the middle tones of the image without
changing the darkness of the shadows or the lightness of the highlights.
Here are two examples of using the Midtone contrast slider. The midtones have been
lowered in the following image. Notice how the overall image has darkened, with more
of the picture appearing in the shadows; however, the highlights are still bright, and
the shadow detail has not been lost. The top and bottom of the gradient’s slope in the
Waveform Monitor remain more or less in place, and the slope itself curves downward,
illustrating the nonlinear nature of the adjustment.