1.5
Table Of Contents
- Color User Manual
- Contents
- Welcome to Color
- Color Correction Basics
- Color Correction Workflows
- An Overview of the Color Workflow
- Limitations in Color
- Video Finishing Workflows Using Final Cut Pro
- Importing Projects from Other Video Editing Applications
- Digital Cinema Workflows Using Apple ProRes 4444
- Finishing Projects Using RED Media
- Digital Intermediate Workflows Using DPX/Cineon Media
- Using EDLs, Timecode, and Frame Numbers to Conform Projects
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects
- Saving and Opening Archives
- Moving Projects from Final Cut Pro to Color
- Before You Export Your Final Cut Pro Project
- Move Clips That Aren’t Being Composited to Track V1 in the Timeline
- Remove Unnecessary Video Filters
- Organize All Color Corrector 3-Way Filters
- Divide Long Projects into Reels
- Export Self-Contained QuickTime Files for Effects Clips You Need to Color Correct
- Use Uncompressed or Lightly Compressed Still Image Formats
- Make Sure All Freeze Frame Effects Are on Track V1
- Make Sure All Clips Have the Same Frame Rate
- Media Manage Your Project, If Necessary
- Recapture Offline Media at Online Quality, If Necessary
- Check All Transitions and Effects If You Plan to Render 2K or 4K Image Sequences for Film Out
- Using the Send To Color Command in Final Cut Pro
- Importing an XML File into Color
- Before You Export Your Final Cut Pro Project
- Importing EDLs
- EDL Import Settings
- Relinking Media
- Importing Media Directly into the Timeline
- Compatible Media Formats
- Moving Projects from Color to Final Cut Pro
- Exporting EDLs
- Reconforming Projects
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Configuring the Setup Room
- The File Browser
- Using the Shots Browser
- The Grades Bin
- The Project Settings Tab
- The Messages Tab
- The User Preferences Tab
- Monitoring Your Project
- Timeline Playback, Navigation, and Editing
- Basic Timeline Elements
- Customizing the Timeline Interface
- Working with Tracks
- Selecting the Current Shot
- Timeline Playback
- Zooming In and Out of the Timeline
- Timeline Navigation
- Selecting Shots in the Timeline
- Working with Grades in the Timeline
- The Settings 1 Tab
- The Settings 2 Tab
- Editing Controls and Procedures
- Analyzing Signals Using the Video Scopes
- The Primary In Room
- The Secondaries Room
- What Is the Secondaries Room Used For?
- Where to Start in the Secondaries Room?
- The Enabled Button in the Secondaries Room
- Choosing a Region to Correct Using the HSL Qualifiers
- Controls in the Previews Tab
- Isolating a Region Using the Vignette Controls
- Adjusting the Inside and Outside of a Secondary Operation
- The Secondary Curves Explained
- Reset Controls in the Secondaries Room
- The Color FX Room
- The Primary Out Room
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- 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
- Managing a Shot’s Corrections Using Multiple Rooms
- Keyframing
- The Geometry Room
- The Still Store
- The Render Queue
- Appendix A: Calibrating Your Monitor
- Appendix B: Keyboard Shortcuts in Color
- Appendix C: Using Multi-Touch Controls in Color
- Appendix D: Setting Up a Control Surface
Don’t Reedit Projects in Color
By default, all the video tracks of projects sent from Final Cut Pro are locked. When you’re
grading a project, it’s important to avoid unlocking them or making any editorial changes
to the shots in the Color Timeline if you’re planning to send the project back to
Final Cut Pro.
If you need to make an editorial change, reedit the original sequence in Final Cut Pro,
export a new XML file, and use the Reconform command to update the Color Timeline
to match the changes. For more information, see Reconforming Projects. For more
information about Final Cut Pro XML files, see the Final Cut Pro 7 User Manual.
Importing an XML File into Color
If you need to deliver a Final Cut Pro sequence and its media to another facility to be
graded using Color, you can also use the Export XML command in Final Cut Pro to export
the sequence. For more information about exporting XML from Final Cut Pro, see the
Final Cut Pro 7 User Manual.
In Color, you then use the Import XML command to turn the XML file into a Color project.
To speed up this process, you can copy the XML file you want to import into the default
project directory specified by Color.
To import an XML file into Color
1 Do one of the following:
• Open Color.
• If Color is already open, choose File > Import > XML.
2 Choose an XML file from the Projects dialog.
3 Click Load.
A new Color project is automatically created in the default project directory specified in
User Preferences. The shots that appear in the Timeline should match the original
Final Cut Pro sequence that was exported.
Don’t Reedit Imported XML Projects in Color
By default, all the video tracks of imported XML projects are locked. When you’re grading
a project, it’s important to avoid unlocking them or making any editorial changes to
the shots in the Color Timeline if you’re planning to send the project back to Final Cut Pro.
If you need to make an editorial change, reedit the original sequence in Final Cut Pro,
export a new XML file (see the Final Cut Pro 7 User Manual for more information), and
use the Reconform command to update the Color Timeline to match the changes. For
more information, see Reconforming Projects.
100 Chapter 4 Importing and Managing Projects and Media