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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
182 Chapter 9 Primary In
There are three color balance controls in the Primary In, Secondaries, and Primary Out
rooms. Each one lets you make adjustments to specific tonal regions of the image.
Using Color Balance Controls with a Control Surface
The three color balance controls correspond to the three trackballs, or joyballs, on
compatible control surfaces. Whereas you can only adjust one color balance control at
a time using the onscreen controls with a mouse, you can adjust all three color balance
controls simultaneously using a hardware control surface.
When using a control surface, the Hue Wheel Angle and Joyball Sensitivity parameters
in the User Prefs tab of the Setup room let you customize the operation of these
controls. For more information on adjusting these parameters, see “Control Surface
Settings” on page 103.
When Is a Color Cast a Creative Look?
It’s important to bear in mind that color casts aren’t always bad things. In particular, if
the Director of Photography is being creative with the lighting, there may in fact be
color casts throughout the tonal range of the image. It’s important to distinguish
between color casts that are there either accidentally or because of conditions of the
shoot and the stylistic choices made when lighting each scene. In all cases, clear
communication between the Director of Photography and the colorist is essential.