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
Compatible Third-Party QuickTime Codecs
Color supports the following third-party codecs from AJA for import:
• AJA Kona 10-bit Log RGB
• AJA Kona 10-bit RGB
Note: The AJA Kona codecs are not installed by QuickTime by default and are available
only from AJA.
Color also supports native RED QuickTime files when you install the necessary RED software
for Final Cut Studio. For more information, visit http://www.red.com.
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 medium-bandwidth, high-quality compressed codec, suitable for
mastering standard definition video. Encodes video at 10 bits per channel with 4:2:2
chroma subsampling. Supports a variable bit rate (VBR) of 35 to 50 mbps. Supports any
frame size.
• Apple ProRes 422 (HQ): A higher-bandwidth version of Apple ProRes 422, suitable for
capturing and mastering high definition video. Supports a variable bit rate (VBR) of 145
to 220 mbps. Supports any frame size.
• Apple ProRes 4444: The highest-bandwidth version of Apple ProRes, suitable for high
definition or digital cinema mastering. Lightly compressed, with a variable bit rate (VBR)
depending on frame size and frame rate. (An example is 330 mbps at 1920x1080 60i
or 1280x720 60p.) Encodes video at up to 10 bits per channel with 4:4:4 chroma
subsampling. Supports a lossless compressed alpha channel, although Color does not
render alpha channel data.
• Uncompressed 8-bit 422: 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 422: 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.
109Chapter 4 Importing and Managing Projects and Media