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
Because of this, you may occasionally notice differences between images that were
initially corrected at less than 16-bit, and the same images changed to render at Floating
Point. This is particularly true in the Color FX room.
For more information about bit depth, see How Do Bit Depth and Channel Data
Correspond?
How Do Bit Depth and Channel Data Correspond?
The actual range of values used by each channel for every pixel at a given bit depth is
calculated by taking 2 to the nth power, where n is the bit depth itself. For example, the
range of values used for 8-bit color is 2 to the 8th power, or 256 values per channel. The
range of values for 16-bit color is 2 to the 10th power, or 65536 values per channel.
However, this isn't the whole story. How much of the available numeric range is actually
used depends on how the image data is encoded.
• Full Range: Image data using the RGB color space encodes each color channel using
the full numeric range that's available. This means that 8-bit video color channels use
a value in the range of 0–255 and 10-bit channels use a range of 1–1023.
• Studio Range: 8- and 10-bit video image data that's stored using the Y′C
B
C
R
color space
uses a range of values for each channel. This means that a subset of the actual range
of available values is used, in order to leave the headroom for super-black and
super-white that the video standard requires.
For example, the luma of 8-bit Y′C
B
C
R
uses the range of 16–236, leaving 1–15 and
235–254 reserved for headroom in the signal. The luma of 10-bit Y′C
B
C
R
uses the range
of 64–940, with 4–63 and 941–1019 reserved for headroom.
Furthermore, the lowest and highest values are reserved for non-image data, and the
chroma components (C
B
and C
R
) use a wider range of values (16–240 for 8-bit video,
and 64–960 for 10-bit video).
Auto Save Settings
Two settings let you turn on or off automatic saving in Color.
• Auto-Save Projects: Turning this option on enables automatic saving.
• Auto-Save Time (Minutes): Specifies how many minutes pass before the project is saved
again. This is set to 5 minutes by default.
147Chapter 5 Configuring the Setup Room