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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 187
Highlights Color Adjustments
Adjustments made using the Highlight color balance control apply a multiply operation
to the image (the color that’s selected in the Highlight color control is simply multiplied
with that of every pixel in the image). By definition, multiply color correction
operations fall off in the darker portions of an image and have no effect whatsoever in
regions of 0 percent black.
The Highlight color control is extremely useful for correcting color balance problems
resulting from the dominant light source that’s creating the highlights, without
inadvertently tinting the shadows. In the following example, a bit of blue is added to
the highlights to neutralize the orange from the tungsten lighting.
Color Balance Control Overlap
The broadly overlapping nature of color correction adjustments made with the three
color balance controls is necessary to ensure a smooth transition from adjustments
made in one tonal zone to another, in order to prevent banding and other artifacts. In
general, adjustments made to the color in one tonal zone also affect other tonal zones
in the following ways:
 Adjustments made to the Shadow color controls overlap the midtones and the
darker portion of the highlights, but exclude areas of the image at the highest
percentages.