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
• A subset of codecs that can be used for rendering your final output when Original
Format is chosen in the Export Codec pop-up menu of the Project Settings tab of the
Setup room. (These appear in column 2.) Original Format is only available when you’ve
used the Send To Color command in Final Cut Pro or when you’ve imported a
Final Cut Pro file that’s been exported as an XML file.
• By default, only seven codecs are available in the Export Codec pop-up menu for
upconverting your source media to a higher-quality format. (These appear in column
3.) These include the Apple ProRes 422, Apple ProRes 422 (HQ), and Apple ProRes 4444
codecs, and the Apple Uncompressed 8-bit 4:2:2 and Apple Uncompressed 10-bit 4:2:2
codecs. Apple ProRes 422 (LT) and Apple ProRes 422 (Proxy) are included for offline
media conversions in digital intermediate and other workflows.
• If you’ve installed a video interface from AJA, you should see an additional option—AJA
Kona 10-bit RGB.
Important: Many of the codecs in column 1 that Color supports for media import, such
as the XDCAM, MPEG IMX, and HDV families of codecs, cannot be rendered using the
Original Format option. If the media in your project uses a codec that’s not supported
for output, every shot in your project will be rendered using one of the supported codecs
listed in column 3. For more information, see Some Media Formats Require Rendering to
a Different Format.
Supported as export codecSupported as original formatSupported for import
NoNoAnimation
NoNoApple Intermediate Codec
NoYesApple Pixlet
YesYesApple ProRes 422 (Proxy)
YesYesApple ProRes 422 (LT)
YesYesApple ProRes 422
YesYesApple ProRes 422 (HQ)
YesYesApple ProRes 4444
NoNoAVCHD
NoNoAVC-Intra
NoYesDVCPRO 50 - NTSC
NoYesDVCPRO 50 - PAL
NoYesDV - PAL
NoYesDV/DVCPRO - NTSC
NoYesDVCPRO - PAL
NoYesDVCPRO HD 1080i50
NoYesDVCPRO HD 1080i60
107Chapter 4 Importing and Managing Projects and Media