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
• To Do: The shot has not yet been corrected in any room.
• Aborted: Rendering of this shot has been stopped.
Possible Flags in the Reconform Column
Each shot that has been affected by a Reconform operation has one of four possible flags
that appear in the Reconform column of the Shots browser:
• Shorten: The shot has been shortened.
• Content Shift: The shot's duration and position in the Timeline are the same, but its
content has been slipped.
• Moved: The shot has been moved to another position in the Timeline.
• Added: This shot has been added to the project.
Explanation of Percentages in the Match Column
The Match column displays the percentage of confidence that each shot in the Timeline
has been correctly linked to the corresponding DPX, Cineon, or QuickTime source media,
based on the methods used to do the linking. The percentages displayed correspond to
the following linking methods:
• 100% confidence means the timecode for that shot in the EDL matched the timecode
found in the header data of the corresponding DPX or Cineon frame, and the EDL reel
number matched the name of the directory in which that frame appears.
• 75% confidence means the timecode for that shot in the EDL matched the frame
number of that DPX or Cineon frame, and the EDL reel number matched the name of
the directory in which that frame appears. For more information on timecode–to–frame
number conversions, see Required Image Sequence Filenaming.
• 50% confidence means the timecode for that shot in the EDL matched the timecode
found in the header data of the corresponding DPX or Cineon frame, but the reel
number could not be matched to the name of the directory in which that frame appears.
• 25% confidence means the timecode for that shot in the EDL matched the frame
number of that DPX or Cineon frame, but the reel number could not be matched to
the name of the directory in which that frame appears. For more information on
timecode–to–frame number conversions, see Required Image Sequence Filenaming.
• 0% confidence means that no media could be found to match the timecode for that
shot in the EDL, and the shot is offline in the Color Timeline.
Customizing the Shots Browser
The following procedures describe ways you can sort and modify the Shots browser.
125Chapter 5 Configuring the Setup Room