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 9 Primary In 181
In the previous example, the image has a red color cast in the highlights, which can be
confirmed by the height of the top of the red channel in the Parade scope.
To correct this, you need to simultaneously lower the red channel and raise the blue
channel, which you can do by dragging the highlight color balance control. The easy
way to remember how to make a correction of this nature is to drag the color balance
control handle toward the secondary of the color that’s too strong. In this case, the
color cast is a reddish/orange, so dragging the color control in the opposite direction,
toward bluish/cyan, rebalances the color channels in the appropriate manner. The
Midtone color balance control is used because the majority of the image that’s being
adjusted lies between 80 and 20 percent.
If you watch the Parade scope while you make this change, you can see the color
channels being rebalanced, while you also observe the correction affecting the image
on your broadcast display.