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
• Project Resolution: The resolution of the Color project you’re creating. In general, this
should match the resolution of the source media that you’re linking to.
• Height: The height of the selected frame size.
• Width: The width of the selected frame size.
• Source Directory: The directory specified here directs the EDL parser to the exact path
where the DPX or Cineon scans or QuickTime files associated with that project are
located. You can specify the location of the source media by typing the directory path
into this field, or clicking Browse to use the file browser. There are two methods you
use to link an EDL to the source media it corresponds to.
• If you simply choose a directory that contains media, that media will be linked using
each clip’s timecode track and reel number. If you’re linking to DPX or Cineon scans,
the methods used are described in How Does Color Relink DPX/Cineon Frames to
an EDL?
• Choose a Cinema Tools database, if one is available. When you choose a Cinema Tools
database associated with the Final Cut Pro project that created an EDL, Cinema Tools
is directed to relink the EDL with all associated DPX, Cineon, or even QuickTime media
based on information within the database. The advantage of this method is that, in
the event of problems, you can troubleshoot the Cinema Tools database
independently to resolve the discrepancy before trying to import the EDL into Color.
For more information, see Relinking DPX/Cineon Frames to an EDL Using a
Cinema Tools Database.
After you initiate EDL import, if the Source Directory you specified has any potential
media conflicts (for example, two clips with overlapping timecode or a missing reel
number), you see a warning dialog that gives you the option of writing a text file log
of all potential conflicts to help you sort them out.
After import, a Match column appears in the Shots browser of the Setup room. This
column displays the percentage of confidence that each shot in the Timeline has been
correctly linked to its corresponding DPX, Cineon, or QuickTime source media, based
on the methods used to do the linking. For more information on how EDLs are linked
with DPX or Cineon image sequence frames, see How Does Color Relink DPX/Cineon
Frames to an EDL? For more information on the Match column in the Shots browser,
see Explanation of Percentages in the Match Column.
103Chapter 4 Importing and Managing Projects and Media