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
2 Choose File > Send To > Final Cut Pro.
There are two possible warnings that may come up at this point:
• If you haven’t rendered every shot in Color at this point, you are warned. It’s a good
idea to click No to cancel the operation and render all of your shots prior to sending
the project back to Final Cut Pro.
• If the codec or frame size has been changed, either by you or as a result of rendering
your media to a mastering quality format, you are presented with the option to change
the sequence settings of the sequence being sent. For more information, see Some
Media Formats Require Rendering to a Different Format.
A new sequence is automatically created within the original Final Cut Pro project from
which the program came. However, if the Final Cut Pro project the program was originally
sent from is unavailable, has been renamed, or has been moved to another location, then
a new Final Cut Pro project will be created to contain the new sequence. Either way, every
clip in the new sequence is automatically linked to the color-corrected media you rendered
out of Color.
Exporting XML for Final Cut Pro Import
Another way of moving a Color project back to Final Cut Pro is to export an XML version
of your Color project.
To export an XML file back to Final Cut Pro for final output
1 Go through the Timeline and choose which grade you want to use for each of the clips
in your project.
Since each shot in your program may have up to four separately rendered versions of
media in the render directory, the rendered media that each shot is linked to in the
exported XML project file is determined by its currently selected grade.
2 Chose File > Export > XML.
3 When the Export XML Options dialog appears, click Browse.
4 Enter a name for the XML file you’re exporting in the File field of the Export XML File
dialog.
5 Choose a location for the file, then click Save.
6 Click OK.
A new XML project file is created, and the clips within are automatically linked to the
media directory specified in the Project Settings tab in the Setup room.
Note: If you haven’t exported rendered media from your Color project yet, the XML file
is linked to the original project media.
113Chapter 4 Importing and Managing Projects and Media