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
Using Proxies
If you're working with a project that uses Cineon or DPX image sequences, you can use
the Color proxy mechanism to work faster with high-resolution media. The proxy
mechanism in Color is not available to projects using QuickTime media, unless you’re
using native RED QuickTime media. RED QuickTime media is capable of generating proxy
data on the fly depending on how the Render Proxy, Grading Proxy, and Playback Proxy
pop-up menus are set.
• Enable Proxy Support: Turning this button on enables the use of lower-resolution
substitute media, called proxies, in place of the source media in your project. Using
proxies increases playback, grading, and rendering performance, although your shots
are displayed at lower quality. If you’re grading DPX or Cineon media, proxies may only
be used once they've been generated; proxies are generated using the same format
as the source media. (For more information on how to generate proxies, see Generating
and Deleting Proxies.)
If you’re grading native RED QuickTime media, you can turn on proxy resolutions at
any time, without the need to generate proxy media; they’re generated on the fly.
Note: In all cases, while resolution may be reduced, proxies are completely
color-accurate.
• Render Proxy pop-up menu: Lets you choose a proxy resolution with which to render
your output media. This can be useful if you want to quickly render a set of media to
test the return trip of a roundtrip workflow. This menu defaults to Half Resolution and,
in most cases, should be left at that setting.
• Grading Proxy pop-up menu: Lets you choose a proxy resolution to use while adjusting
the controls in any of the rooms. This increases the interactivity of the user interface
and the speed with which the image being worked on updates while you adjust different
grading controls. When you finish making an adjustment, the image goes back to its
full resolution.
• Playback Proxy pop-up menu: Lets you choose a proxy resolution to use during playback,
increasing your playback frame rate by lowering the quality of the image. When playback
stops, the image goes back to its full resolution.
141Chapter 5 Configuring the Setup Room