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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
20 Chapter 1 Color Correction Basics
Note: Color includes printer points controls for colorists who are familiar with this
method of color correction. For more information, see “Advanced Tab” on page 204.
Tape-to-Tape Color Correction
With projects shot on videotape (and those shot on film that can’t afford a second
telecine pass), the color correction process fits into the traditional video offline/online
workflow. Once the edit has been locked, the final master tape is assembled, either by
being reconformed on the system originally used to do the offline or by taking the EDL
and original source tapes to an online suite compatible with the source tape formats.
If the online assembly is happening in a high-end online suite, then color correction
can be performed either during the assembly of the master tape or after assembly by
running the master tape through a color correction session.
Note: If the final master tape is color corrected, the colorist must carefully dissolve and
wipe color correction operations to match video dissolves and wipes happening in the
program.
Either way, the video signal is run through dedicated video color correction hardware
and software, and the colorist uses the tape’s master timecode to set up and preserve
color correction settings for every shot of every scene.
While video color correction started with controls as humble as those used by film
colorists, the evolution of the online color correction suite introduced many more tools
to the process, including separate corrections for discrete tonal zones, secondary color
correction of specific subjects via keying and shapes controls, and many, many other
creative options previously unavailable to the film colorist.
Color Correcting Via a Second Telecine Pass
Programs shot on film that are destined for video mastering, such as for an episodic
broadcast series, may end up back in the telecine suite for their final color correction
pass. Once editing is complete and the picture is locked, a cut list or pull list (similar to
that used for a negative conform) is created that matches the EDL of the edited
program.
TelecineVideo Tapes
Offline Edit
Final
Master Tape
Tape Suite