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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 183
Understanding Shadow, Midtone, and Highlight Adjustments
Like many other color correction environments, Color provides a set of three color
balance controls for the specific adjustment of color that falls within each of three
overlapping zones of image tonality. These tonal zones are the shadows, midtones, and
highlights of the image, which were covered in the previous section on contrast. If you
were to reduce the tonality of an image into these three zones, it might look
something like the following illustration.
Three-zone controls allow you to make targeted adjustments to the color that falls
within the highlights of an image, without affecting color in the shadows. Similarly,
they allow you to make separate adjustments to differently lit portions of the image to
either make corrections or achieve stylized looks.
Original color image
Simulated tonal zones, shadows, midtones, and
highlights
Areas most affected by the Midtone color
balance control
Areas most affected by the Shadow color
balance controlmidtones using the Luma curve
Areas most affected by the Highlight color balance control