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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
22 Chapter 1 Color Correction Basics
Color Correction in Color
You’ve seen how color correction is done in other post-production environments. This
section describes how Color fits into a typical film or video post-production process.
Color provides many of the same high-end color correction tools on your desktop that
were previously available in high-end tape-to-tape and telecine color correction suites.
In addition, Color provides additional tools in the Color FX room that are more
commonly found in dedicated compositing applications, which give you even more
detailed control over the images in your program (for more information, see
Chapter 11, “Color FX,” on page 235).
Color has been designed as a color correction environment for either film or video. It’s
resolution independent, supporting everything from standard definition video up to 2K
film scans. It also supports multiple media formats and is compatible with image data
using a variety of image sequence formats and QuickTime codecs.
Color also has been designed to be incorporated into a digital intermediate workflow.
Digital intermediate refers to a high-quality digital version of your program that can be
edited, color corrected, and otherwise digitally manipulated using computer hardware
and software, instead of tape machines or optical printers.
Editors, effects artists, and colorists who finish video programs in a tapeless fashion
have effectively been working with digital intermediates for years, but the term usually
describes the process of scanning film frames digitally, for the purposes of doing all
edit conforming, effects, and color correction digitally. It is then the digital image data
which is printed directly to film or compiled as a file for digital projection.
Other Advantages to Telecine Transfers
In addition to color correction, a colorist working with a telecine has many other
options available, depending on what kinds of issues may have come up during the
edit.
 Using a telecine to pull the image straight off the film negative, the colorist can
reposition the image to include parts of the film image that fall outside the action
safe area of video.
 With the telecine, the image can also be enlarged optically, potentially up to 50
percent without visible distortion.
 The ability to reframe shots in the telecine allows the director or producer to make
significant changes to a scene, turning a medium shot into a close-up for dramatic
effect, or moving the entire frame up to crop out a microphone that’s inadvertently
dropped into the shot.