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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
214 Chapter 10 Secondaries
To use the eyedropper to pull a secondary key:
1 Click the eyedropper.
The eyedropper becomes highlighted, and crosshairs appear superimposed over the
image in the Preview and Broadcast monitors. You use these crosshairs to sample the
HSL values from pixels in the image.
2 Move the mouse to position the crosshairs on a pixel with the color you want to key
on, and click once to sample color from a single pixel.
The crosshairs disappear, and the HSL controls are adjusted to include the sampled
values in order to create the keyed matte. In addition, the Enabled button turns on
automatically (which turns on the effect of the secondary operation in that tab). The
Previews tab becomes selected in the middle of the Secondaries room, showing the
keyed matte that’s being created by the HSL qualifiers (for more information, see
“Previews Tab” on page 219).
Once you’ve created the keyed mate, the next step is to use the color correction
controls at the top of the Secondaries room to actually make the correction. For more
information, see Chapter 9, “Primary In,” on page 163.