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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
186 Chapter 9 Primary In
Note: To better illustrate the effect of the Shadow color control, the previous examples
were shown with Broadcast Safe disabled so that image values below 0 percent
wouldn’t be clipped.
Midtones Color Adjustments
Adjustments made with the Midtones color balance control apply the correction using
a Power operation (the new pixel value = old pixel value ^ adjustment). The result is
that midtones adjustments have the greatest effect on color values at 50 percent
lightness, and fall off as color values near 0 and 100 percent lightness.
This lets you make color adjustments that exclude the shadows and highlights in the
image. For example, you could add a bit of blue to the midtones to cool off an actor’s
skin tone, while leaving your shadows deep and untinted and your highlights clean
and pure.