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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 11 Color FX 255
Lift
Lift uniformly lightens or darkens the entire image, altering the shadows, midtones,
and highlights by the same amount. This node has four parameters:
 Lift: Adjusts the red, green, and blue channels simultaneously, for an overall change
to image brightness.
 Red Lift: Adjusts the red channel only, enabling color correction based on a lift
adjustment for that channel.
 Green Lift: Adjusts the green channel only, enabling color correction based on a lift
adjustment for that channel.
 Blue Lift: Adjusts the blue channel only, enabling color correction based on a lift
adjustment for that channel.
Maximum
Averages adjacent pixels together (how many is based on the Brush Size parameter), to
produce a single, larger pixel based on the brightest value in that pixel group. Larger
values result in flattened, almost watercolor-like versions of the image. This node is also
useful for expanding the white areas and smoothing out grayscale images that you’re
using as mattes. This node has one parameter:
 Brush Size: Defines how many pixels are averaged into a single, larger pixel.
Extremely large values result in progressively larger, overlapping square pixels of
uniform color, emphasizing lighter pastel-like tones in the image.
Minimum
Averages adjacent pixels together (how many is based on the Brush Size parameter), to
produce a single, larger pixel based on the darkest value in that pixel group. Larger
values result in flattened, darkened versions of the image. This node is also useful for
expanding the black areas and smoothing out grayscale images that you’re using as
mattes. This node has one parameter:
 Brush Size: Defines how many pixels are averaged into a single, larger pixel.
Extremely large values result in progressively larger, overlapping square pixels of
uniform color, emphasizing darker, muddier tones in the image.
Printer Lights
Provides Red, Green, and Blur parameters for color correction that work identically to
the Printer Points controls in the Advanced tab of the Primary In room. For more
information, see “Printer Points Controls” on page 205.
Saturation
Raises or lowers overall image saturation, making the image more or less colorful. This
node has one parameter:
 Saturation: The default value of 1 produces no change. 0 is a completely desaturated
image, while the maximum value of 10 produces an excessively saturated, hyper-
stylized version of the image.