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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
86 Chapter 4 Importing and Managing Projects and Media
Compatible QuickTime Codecs for Output
The purpose of Color is to create high-quality color-corrected media that can be
reimported into Final Cut Pro for output to tape, QuickTime conversion, or compression
for use by DVD Studio Pro. For this reason, the list of codecs that are supported for
rendering out of Color is limited to high-quality codecs suitable for media exchange
and mastering.
 Apple ProRes 422: A low-bandwidth, high-quality compressed codec for capture and
output. Encodes video at 10 bits per channel with 4:2:2 chroma subsampling.
Supports a variable bit rate (VBR) of 35 to 50 mbps, which is suitable for mastering
standard definition video. Supports any frame size.
 Apple ProRes 422 (HQ): A higher-bandwidth version of Apple ProRes 422. Supports a
variable bit rate (VBR) of 145 to 220 mbps, which is suitable for mastering high
definition video. Supports any frame size.
 Uncompressed 8-bit 4:2:2: A completely uncompressed, 8-bit-per-channel codec with
4:2:2 chroma subsampling. Supports any frame size. Suitable for mastering any
format of video.
 Uncompressed 10-bit 4:2:2: A completely uncompressed, 10-bit-per-channel codec
with 4:2:2 chroma subsampling. Supports any frame size. Suitable for mastering any
format of video.
Color also supports the following third party codec for rendering.
 AJA Kona 10-bit RGB
Note: The AJA Kona codecs are not installed by QuickTime by default, and are only
available from AJA.
You can render your project out of Color using one of several high-quality mastering
codecs, regardless of the codec or level of compression that is used by the source
media. You can take advantage of this to facilitate a workflow where you import
compressed media into Color, and then export the corrected output as uncompressed
media before sending your project to Final Cut Pro. This way, you reap the benefits of
saving hard drive space and avoiding rerendering times up front, while preserving all
the quality of your high-bit-depth adjustments when you render your output media
prior to sending your project back to Final Cut Pro.