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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
Chapter 10 Secondaries 231
For example, if you add four control points to the Saturation curve to lower the green-
through-blue range of the curve, you can smoothly desaturate everything that’s blue
and green throughout the frame, while leaving all other colors intact.
One of the nicest aspects of these controls is that they allow for extremely specific
adjustments to narrow or wide areas of color, with exceptionally smooth transitions
from the corrected to the uncorrected areas of the image. In many instances, the
results may be smoother than might be achievable with the HSL qualifiers.
Another key advantage these controls have over the HSL qualifiers is that you can
make simultaneous adjustments to discontiguous ranges of hue. In other words, you
can boost or lower values in the red, green, and blue areas of an image while
minimizing the effect of this adjustment on the yellow, cyan, and magenta portions of
the image.
Before
After
Sat curve adjustment