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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
204 Chapter 9 Primary In
 Shadow Sat.: This parameter controls the saturation in the shadows of your image.
You can selectively desaturate the shadows on your image to create deeper looking
blacks and to eliminate inappropriate color in the shadows of your images for a more
cinematic look.
Master Contrast Controls
Three additional parameters also affect image contrast. For more information on
contrast adjustments, see “Using the Primary Contrast Controls” on page 166.
 Master Lift: Unlike the primary Shadow contrast slider, the Master Lift parameter only
functions as an add or subtract operator, making an overall luma adjustment to the
entire image regardless of how the Limit Shadow Adjustments control is set. For
more information on lift adjustments, see “Adjusting the Black Point with the Shadow
Slider” on page 168.
 Master Gain: This parameter works exactly like the primary Highlight contrast slider,
adjusting the white point while leaving the black point at its current level and scaling
all of the midtones in between the two.
 Master Gamma: This parameter works exactly like the primary Midtone contrast
slider, adjusting the distribution of midtones between 0 and 100 percent.
Advanced Tab
This tab contains another set of parameters for adjusting each of the three primary
color channels within each of the three tonal zones. Additionally, there are a set of
Printer Points controls for colorists who are used to optical color grading for film.
Original image
Shadow saturation turned all the way down