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
• Printing Density pop-up menu: This pop-up menu can only be manually changed when
the Render File Type is set to DPX. It lets you choose how to map 0 percent black and
100 percent white to the minimum and maximum numeric ranges that each format
supports. Additionally, the option you choose determines whether or not super-white
values are preserved. For more information, see Choosing Printing Density When
Rendering DPX Media.
Note: Choosing Cineon as the Render File Type limits the Printing Density to Film (95
Black - 685 White : Logarithmic), while choosing QuickTime as the Render File Type
limits it to Linear (0 Black - 1023 White).
• Render File Type pop-up menu: This parameter is automatically set based on the type
of media your project uses. If you send a project from Final Cut Pro, this parameter is
set to QuickTime, and is unalterable. If you create a Color project from scratch, this
pop-up menu lets you choose the format with which to render your final media. When
working on 2K and 4K film projects using image sequences, you'll probably choose
Cineon or DPX, while video projects will most likely be rendered as QuickTime files.
• Deinterlace Renders: Turning this option on deinterlaces all shots being viewed on the
preview and broadcast displays and also deinterlaces media that's rendered out of
Color.
Note: Deinterlacing in Color is done very simply, by averaging both fields together to
create a single frame. The resulting image may appear softened. There is also a
deinterlacing parameter available for each shot in the Shot Settings tab next to the
Timeline, which lets you selectively deinterlace individual shots without deinterlacing
the entire program. For more information, see The Settings 2 Tab.
• Deinterlace Previews: Turning this option on deinterlaces all shots being viewed on the
preview and broadcast displays but media rendered out of Color remains interlaced.
• QuickTime Export Codecs pop-up menu: If QuickTime is selected in the Render File Type
pop-up menu, this pop-up menu lets you choose the codec with which to render media
out of your project. If this menu is set to Original Format, the export codec will
automatically match the codec specified in the sequence settings of the originating
Final Cut Pro sequence. (This option is only available when using the Send To Color
command or when importing an exported Final Cut Pro XML file.)
The QuickTime Export codec does not need to match the codec used by the source
media. You can use this menu to force Color to upconvert your media to a minimally
compressed or uncompressed format. The options in this pop-up menu are limited to
the QuickTime codecs that are currently supported for rendering media out of Color.
132 Chapter 5 Configuring the Setup Room