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
Note: For all these reasons, consumer televisions and displays are not typically appropriate
for professional work, although they can be valuable for previewing how your program
might look in an average living room.
Set Up Your Viewing Environment Carefully
The environment in which you view your monitor also has a significant impact on your
ability to properly evaluate the image.
• There should be no direct light spilling on the front of your monitor.
• Ambient room lighting should be subdued and indirect, and there should be no direct
light sources within your field of view.
• Ambient room lighting should match the color temperature of your monitor (6500K
in North and South America and Europe, and 9300K in Asia).
• There should be indirect lighting behind the viewing monitor that’s between 10–25%
of the brightness of the installed monitor set to display pure white.
• The ideal viewing distance for a given monitor is approximately five times the vertical
height of its screen.
• The color of the room within your working field of vision should be a neutral gray.
These precautions will help to prevent eye fatigue and inadvertent color biasing while
you work and will also maximize the image quality you’ll perceive on your display.
Calibrate Your Monitor Regularly
Make sure you calibrate your monitor regularly. For maximum precision, some monitors
have integrated probes for automatic calibration. Otherwise, you can use third-party
probes and calibration software to make the same measurements. In a purely broadcast
setting, you can also rely on the standard color bars procedure you are used to.
For more information on adjusting a monitor using color bars, see Calibrating Your
Monitor.
Adjust the Color Interface for Your Monitoring Environment
The Color interface is deliberately darkened in order to reduce the amount of light spill
on your desktop. If you want to subdue the interface even further, the UI Saturation
setting in the User Prefs tab of the Setup room lets you lower the saturation of most of
the controls in the Primary In, Secondaries, and Primary Out rooms, as well as the color
displayed by the video scopes.
Using Display LUTs
Color supports the use of 3D look up tables (LUTs) for calibrating your display to match
an appropriate broadcast standard or to simulate the characteristics of a target output
device (for example, how the image you’re correcting will look when printed to film).
153Chapter 6 Monitoring Your Project










