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
Reconforming Projects
Whether your project was sent from Final Cut Pro, or imported via an EDL from any other
editing environment, you have the option of automatically reconforming your Color
project to match any editorial changes made to the original Final Cut Pro sequence, which
can save you hours of tedious labor.
Color matches each project to the sequence that was originally sent to Color using an
internal ID number. Because of this, you can only reconform by reediting the actual
sequence that you originally sent to Color. Any attempt to reconform a duplicate of the
original sequence will not work.
To reconform an XML-based Color project
1 Export an updated XML file of the reedited Final Cut Pro sequence from Final Cut Pro.
2 Open the Color project you need to update, then choose File > Reconform.
3 Select the XML file that was exported in step 1 using the Reconform XML dialog, then
click Load.
The shots in the Timeline should update to reflect the imported changes, and the
Reconform column in the Shots browser is updated with the status of every shot that
was affected by the Reconform operation.
You can also reconform projects that were originally imported using EDLs.
To reconform an EDL-based Color project
1 Export an updated EDL of the reedited sequence from the originating application.
2 Open the Color project you need to update, then choose File > Reconform.
3 Select the EDL file that was exported in step 1 using the Reconform dialog, then click
Load.
As is the case when you reconform an XML-based project, the Reconform column in the
Shots browser in the Setup room is updated with the status of each shot that’s been
modified by the Reconform operation. This lets you identify shots that might need
readjustment as a result of such changes, sorting them by type for fast navigation. For
more information, see Column Headers in the Shots Browser.
Converting Cineon and DPX Image Sequences to QuickTime
You can use Color to convert Cineon and DPX image sequences to QuickTime files to
facilitate a variety of workflows.
• If you’re starting out with 2K or 4K DPX or Cineon film scans or digital camera output,
you can downconvert matching QuickTime media files at offline resolution by choosing
a smaller resolution preset, and choosing ProRes 422 as the QuickTime export codec.
You can then use this media to do an offline edit.
115Chapter 4 Importing and Managing Projects and Media