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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
194 Chapter 9 Primary In
These two control points roughly correspond to the shadow and highlight contrast
controls. If you add a third control point to the luma curve somewhere in the center,
you can adjust the distribution of midtones that fall between the black and white
points. This adjustment is similar to that using the Midtones contrast control. Moving
this middle control point up raises the distribution of midtones, lightening the image
while leaving the white and black points pinned in place.
Moving the same control point down lowers the distribution of midtones, darkening
the image while leaving the white and black points pinned in place.
While these three control points can mimic the functionality of the Shadow, Midtone,
and HIghlight contrast controls, the true power of curves comes from the ability to add
several control points to make targeted adjustments to the lightness of specific tonal
regions in the image.










