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
• Force RGB: This option is disabled for standard definition projects. This setting is meant
to be used when you're working with high definition Y′C
B
C
R
source media that you're
monitoring on an external broadcast monitor via a supported broadcast video interface.
It determines how the RGB image data that's calculated internally by Color is converted
to Y′C
B
C
R
image data for display:
• If Force RGB is turned off: This conversion is done by Color in software. This consumes
processor resources and may noticeably reduce your real-time performance as a
result.
• If Force RGB is turned on: Color sends RGB image data straight to the broadcast video
interface that's installed on your computer and relies on the interface to do the
conversion using dedicated hardware. This lightens the processing load on your
computer and is recommended to optimize your real-time performance. When
monitoring legalized video between 0 and 100 IRE, there should be a minimal
difference between the image that's displayed with Force RGB turned on or off. When
Force RGB is turned on, super-white and out-of-gamut chroma values will not be
displayed by your broadcast display, nor will they appear on external video scopes
analyzing your broadcast video interface's output. This limitation only affects
monitoring; the internal image processing performed by Color retains this data. As
a result, you will always see super-white image data on the Color software scopes
when it's present, and uncorrected super-white and out-of-gamut chroma levels are
always preserved when you export your final media. If Broadcast Safe is turned on
in the Project Settings, you may not notice any difference in the display of these
"illegal" levels, since they're being limited by Color.
• Disable Vid-Out During Playback: Turning this option on disables video output via your
broadcast interface during playback. While paused, the frame at the position of the
playhead is still output to video. This is useful if your project is so effects-intensive that
video playback is too slow to be useful. With this option turned on, you can make
adjustments and monitor the image while paused and then get a look at the program
in motion via the preview display, which usually plays faster.
• Update UI During Playback: Turning this option on allows selected windows of the Color
interface to update dynamically as the project plays back. This updates the controls
and scopes during playback from grade to grade, but potentially slows playback
performance, so it's off by default. There are two options:
• Update Primary Display: Updates the main interface controls in the Primary In,
Secondaries, Color FX, Primary Out, and Geometry rooms. Turning this option on lets
you see how the controls change from grade to grade and how they animate if you
have keyframed grades.
• Update Secondary Display: Updates the Scopes window. This is the way to get updated
video scopes during playback. With this option turned off, the video preview still
plays, but the video scopes disappear.
143Chapter 5 Configuring the Setup Room